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1
Stone, Villani Nicolas. « The dissolution of constitutions : Aristotle in Italian political thought from Niccolò Machiavelli to Giovanni Botero ». Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:600663d5-b566-46c0-8a7a-418fca1d635b.
Texte intégralRésumé :
This thesis studies the reception of Aristotle's political thought in sixteenth-century Italy. It focuses on Aristotle's discussion of the dissolution of constitutions in Book 5 of the Politics and aims to show how Aristotle's political thought remained central to late Renaissance political discourse. No comprehensive study of the topic exists. Modern historiography on Renaissance political thought generally downplays the importance of Aristotle in the history of sixteenth-century Italian political thought and emphasises the Roman tradition over the Greek. This research aims to fill the gap in modern scholarship and revise modern interpretation of Renaissance political theory. This thesis is essentially divided into three parts, each part containing two chapters. Part I is largely introductory. Chapter 1 offers a historiographical review of modern scholarship on the reception of Aristotle in the Renaissance and early-modern political thought. Chapter 2 explores the revival of Greek studies in the fifteenth century and the changing perception of Aristotle's Politics in the Renaissance. Part II focuses on Aristotle and Machiavelli. Chapter 3 examines the similarities between Aristotle's analysis of the means of preserving tyranny and Machiavelli's discussion of how to mantenere lo stato in The Prince. Chapter 4 explores the effects that these similarities between Aristotle and Machiavelli had on the reception of Aristotle in Renaissance political thought. Part III centres on Aristotle in the republican and vernacular traditions. Chapter 5 explains the importance of Aristotle's discussion of the dissolution of constitutions to Renaissance republican political thought. Chapter 6 underlines the continuous relevance of Aristotle's Politics in the second half of the sixteenth century. The conclusion sums up the central argument of each chapter and invites us to explore the influence of Aristotle on reason of state literature.
2
Graheli, Shanti. « The circulation and collection of Italian printed books in sixteenth-century France ». Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/7809.
Texte intégralRésumé :
This thesis is an examination of the circulation networks and the patterns of collection of Italian printed books in France in the sixteenth century. Although the cultural relations between the Italian and French territory have been studied, a systematic survey to assess the impact of books on the shaping of the French Renaissance has never been attempted. The first section of this study examines the trade routes and networks which facilitated the circulation of Italian printed books across the French territory. Because of the nature of the French early modern book trade, focused primarily on two major centres (Paris and Lyon), a geographical division has been adopted in investigating this phenomenon. Chapter one explores the trade networks existing in sixteenth-century Lyon, from the powerful Compagnie des Libraires to the activity of the libraires italianisants in the second half of the century. Chapter two examines the importance of Italian editions in Paris. Chapter three is devoted to the circulation of Italian books in the provinces and the impact of large regional centres and trade routes on the availability of books locally. Chapter four investigates private networks and their importance in making specific texts available to French readers. The second section of this study investigates the status and importance of Italian printed books within French Renaissance libraries. Chapter five looks into the development of the French Royal library and the role played by Italian items in defining its identity as an institution. Chapter six examines the presence of Italian books in French aristocratic and courtly collections. Chapter seven is devoted to the libraries of the French literary milieu, analysing the extent to which Italian books were cherished as literary exemplars, particularly with regard to vernacular texts. Chapter eight examines the presence of Italian books in professional collections, with particular attention here given to texts in Latin and other scholarly languages imported from Italy. The conclusion draws all of these strands together, looking at the specific role played by Italian culture, through the printed book, on the development of the French Renaissance. A catalogue of about 2,400 Italian printed books with early modern French provenance is included as an appendix volume. This data provides the evidential basis for this study.
3
Diffley, Paul Brian. « Paolo Beni : a biographical and critical study ». Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:fcd4391e-4bfc-41bb-abbd-37ae4ba33158.
Texte intégralRésumé :
The thesis is divided into three parts. Part One treats Beni's life and works from his birth in 1553 to 1604. His birth, his ancestry, his early education, his early careers, his Jesuit career and its aftermath are described from documentary evidence. His works of this period, most of which are inextricably connected with his life, are also briefly treated, Part Two narrates the events of the remainder of his life: his writing, his teaching, his publishing, his polemical writing, his relationship with his family, his last illness and death. Part Three provides a more ample critical assessment of his major writings after 1604, grouped according to subject-matter. Chapters are devoted to his criticism of Tasso, to his linguistic writings, to his theory and practice of poetry, history and rhetoric. The conclusion summarizes the pattern of his life and reassesses his importance. The Bibliography is divided into two parts. The first contains Beni's writings in three sections: (a) published works, with a note on the Opera omnia; (b) MS works; (c) a chronological reference list of his (mostly unpublished) letters. Part Two contains all other works consulted, MS and printed.
4
Murdock, Mark Cammeron. « In the Company of Cheaters (16th-Century Aristocrats and 20th-Century Gangsters) ». BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/1775.
Texte intégralRésumé :
This document contains a meta-commentary on the article that I co-authored with Dr. Corry Cropper entitled Breaking the Duel's Rules: Brantôme, Mérimée, and Melville, that will be published in the next issue of Essays in French Literature and Culture, and an annotated bibliography of primary and secondary sources featuring summaries and important quotes dealing with duels, honor, honor codes, cheating, historical causality, chance, and sexuality. Also, several examples of film noir are cited with brief summaries and key events noted. The article we wrote studies two instances of cheating in duels: one found in Brantôme's Discours sur les duels and the other in Prosper Mérimée's Chronique du règne de Charles IX, and the traditional, as well as anti-causal, repercussions they had. Melville's Le Deuxième souffle is also analyzed with regards to the Gaullist Gu Minda and the end of the aristocratic codes of honor that those of his generation dearly respected but that were overcome by the commercial world of republican law and order.
5
Pinkston, Pamela. « Philosophic and scientific concepts of space : their effects on sixteenth century Italian art and architecture ». Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/21733.
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6
Luscombe, Desley School of History UNSW. « Inscribing the architect :the depiction of the attributes of the architect in frontispieces to sixteenth century Italian architectural treatises ». Awarded by:University of New South Wales. School of History, 2004. http://handle.unsw.edu.au/1959.4/31896.
Texte intégralRésumé :
This study investigates the changing understanding of the role of the ???architect??? in Italy during the sixteenth century by examining frontispieces to published architectural treatises. From analysis of these illustrations four attributes emerge as important to new societal understandings of the role of ???architect.??? The first attribute is the desire to delineate the boundaries of knowledge for architecture as a discipline, relevant to sixteenth-century society. The second is the depiction of the ???architect,??? as an intellectual engaged in the resolution of practical, political, economic and philosophical considerations of his practice. The third represents the ???architect??? having a specific domain of activity in the design of civic spaces of magnificence not only for patrons but also for the city per se. The fourth represents the ???architect??? and society as perceiving a commonality of an architectural role beyond the boundary of individual locations and patrons. Five treatises meet the criteria set for this study: Sebastiano Serlio???s Regole generali di architetura sopra le Cinque maniere de gli edifici cio??, Toscano, Dorico, Ionico, Corinthio, et Composito, con gli essempi dell???antiquita, che, per la magior parte concordano con la dottrina di Vitruvio, 1537, his, Il Terzo libro nel qual si figurano, e descrivono le antichita di Roma, 1540, Cosimo Bartoli???s translation of Alberti???s De re aedificatoria titled L???architettura di Leonbattista Alberti, tradotta in lingua fiorentina da Cossimo Bartoli, Gentilhuomo, & Academico Fiorentino, 1550; Daniele Barbaro???s translation and commentary on Vitruvius??? De???architetura titled, I dieci libri dell???architettura di M. Vitruvio tradutti et commentati da monsignor Barbaro eletto Patriarca d???Aquileggia, 1556; and Andrea Palladio???s I quattro libri dell???architettura, 1570. A second aim for the study was to review the usefulness of frontispieces as an historical archive. It was found that frontispieces visually structure important ideas by providing a narrative with meaning as an integral part of the illustration. In this narrative frontispiece illustrations prioritise concepts found in the accompanying text and impose a hierarchical structure of importance for fundamental ideas.
7
Langford, Charles K. « Le utopie rinascimentali : esempli moderni di polis perfetta ». Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102806.
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The citizens of utopian Renaissance cities have in common the confidence in the power of reason and moral virtues. The purpose of the thesis is to prove that, in spite of the imaginative and unreal aspects of these utopian societies, they contain the prodroms of the modern societies.The utopias of the Renaissance are projects of a new commonwealth, based on justice and education. The Italian peninsula of the XVI and early XVII century spawned several works belonging to this literary genre, inspired by Plato's Republic and initiated in England with Thomas More's Utopia (1516). Those considered in this thesis, besides Utopia, are: Francesco Doni's Il mondo savio e pazzo (1552), Francesco Patrizi's La Citta felice (1553), Ludovico Agostini's La Repubblica immaginaria (1580), Tommaso Campanella's La Citta del Sole (The City of the Sun) (1602) and Lodovico Zuccolo's Il Belluzzi (1621).
The thesis examines these six main literary works according to the concept of uchronie and escapism, the definitions of utopia by Karl Mannheim, J.C. Davis and Mikhail Bakhtin, the religious and Arcadian elements and the relationship between utopia and satire. The thesis analyzes three essential aspects of the utopian tales: city planning, relationship between man and woman, and education. The utopias of the Renaissance also reveal two different visions: one innovative if compared to the society of the time, and another, post-tridentina, oriented towards a return to more traditional values. The thesis examines the influence of More's work on the utopias of the Renaissance by analyzing and comparing a series of topics, like the title of the work, the narrator, fantastical names and ideas, the role of Plato, property and inequity, the choice of woman and the concept of beauty, daily labor, the function of God, and the concept of law.
The utopias of the Renaissance have various modern aspects: a utilitarian justice, a better place of woman in the society, the laicity of the government, the "rationality" of war, secularism, education, health, social justice, assistance to elderly. They also contain myopias, like an unrealistic economic model and a static society.
8
Scheu, Julia. « Ut pictura philosophia ». Doctoral thesis, Humboldt-Universität zu Berlin, Kultur-, Sozial- und Bildungswissenschaftliche Fakultät, 2017. http://dx.doi.org/10.18452/17801.
Texte intégralRésumé :
Die Untersuchung widmet sich der visuellen Thematisierung autoreferentieller Fragestellungen zur Genese sowie den Grundlagen und Zielen von Malerei in der italienischen Druckgraphik des ausgehenden 16. und 17. Jahrhunderts. Erstmals wird diese bildliche Auseinandersetzung mit abstrakten kunsttheoretischen Inhalten zum zentralen Untersuchungsgegenstand erklärt und anhand von vier hinsichtlich ihrer ikonographischen Dichte herausragenden druckgraphischen Beispielen - Federico Zuccaris Lamento della pittura, Pietro Testas Liceo della pittura, Salvator Rosas Genio di Salvator Rosa und Carlo Marattas Scuola del Disegno – vergleichend analysiert. Neben der Rekonstruktion der Entstehungszusammenhänge befasst sich die Analyse mit dem Verhältnis von Text und Bild, offenen Fragen der Ikonographie, der zeitgenössischen Verlagssituation sowie dem Adressatenkreis und somit schließlich der Motivation für jene komplexen bildlichen Reflexionen über Malerei. Als zentrale Gemeinsamkeit der kunsttheoretischen Blätter, welche im Kontext der römischen Akademiebewegung entstanden sind, konnte das Bestreben, die Malerei im Sinne einer Metawissenschaft über das neuzeitliche Wissenschaftspanorama hinauszuheben, erschlossen werden. Anhand einer umfassenden Neubewertung der einzigartigen Ikonographien wird erstmals aufgezeigt, dass dem Vergleich zwischen Malerei und Philosophie als der Mutter aller Wissenschaften in der visuellen Kunsttheorie des 17. Jahrhunderts eine vollkommen neuartige Bedeutung zukommt. Dieser hat neue Spielräume für die bildliche Definition des künstlerischen Selbstverständnisses eröffnet, die der traditionelle, aus dem Horazschen Diktum „Ut pictura poesis“ hervorgegangene Vergleich zwischen Malerei und Dichtung nicht in ausreichender Form bereit hielt. Folglich thematisiert die vorliegende Untersuchung auch die Frage nach dem spezifischen reflexiven Potenzial des Bildes, seiner medialen Autonomie und seiner möglichen Vorrangstellung gegenüber dem Medium der Sprache.The study deals with the pictorial examination of self-implicating topics relating to the genesis, the fundamentals and the aims of painting by Italian printmaking of the late 16th and 17th century. For the first time, a research is focussed on the pictorial examination of abstract contents of art theory as shown in the selected and compared examples which are extraordinary regarding their iconographical concentration – the Lamento della pittura by Federico Zuccari, the Liceo della pittura by Pierto Testa, the Genio di Salvator Rosa by Salvator Rosa and the Scuola del Disegno by Carlo Maratta. Besides the reconstruction of the history of origins the research is dealing with the relationship of image and text, problems of iconography, the coeval publishing situation as well as the target audience of these prints and finally the motivation for those very complex visual reflections on painting. As essential similarity of those arttheoretical prints, which all araised within the context of the Roman Art Accademy, has been determined the ambition to specify painting as a kind of Meta-science, which is somehow superior to all other modern age sciences. By means of an extensive reevaluation of the unique iconography of every single sheet it became feasible to illustrate that the comparison between painting and philosophy as the origin of the entire spectrum of sciences has attained a completely new dimension within the pictorial art theory of the 17th century. The novel comparison has opened a wider range and diversity for the visual definition of the artists` self-conception compared to the traditional comparison between painting and poetry, as it emerged from the dictum „Ut pictura poesis“ by Horaz. Accordingly the study deals with the question of the particular reflexive capability of images, their medial autonomy and their potential primacy over language.
9
Giselbrecht, Elisabeth Anna. « Crossing boundaries : the printed dissemination of Italian sacred music in German-speaking areas (1580-1620) ». Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283907.
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10
Adrien, Marie-Hélène. « Pontus de Tyard, 1521-1605, entre Platon et Aristote ». Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65959.
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11
Storch, Michael. « Applied imagination : Giordano Bruno and the creation of magical images ». Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102846.
Texte intégralRésumé :
The creation and manipulation of infinite images is central to Bruno's thought, but to the best of my knowledge, this has never been properly treated before. This project is a departure from much of the current scholarship on Bruno which has focused on his contribution to scientific thought, and downplayed or ignored the Hermetic and magical elements which pervade his work. Each chapter deals with different works of Bruno, and different aspects of his philosophy, and each is rooted in the larger project of uncovering the role, meaning, and application of images in Bruno's thought.The general arc of the thesis is from the interior and personal to the cosmological and metaphysical. Chapter 1 begins with a study of the faculty of phantasy and the role of images on human cognition. This is Bruno's epistemology and anthropology as expressed in Imaginum. Chapter 2 covers the ethical and social applications of images, and how the control of images manipulates reality. This concept is represented in the reconstruction of the universe in The Expulsion of the Triumphant Beast. Chapter 3 deals with the physics---or mechanics---of his philosophy, with its roots in Hermetic magic as described in Vinculis and Magia, wherein images are used to create bonds. Chapter 4 addresses Bruno's cosmology, which adopts the Copernican model and reinterprets that model as a hieroglyph. It is the heuristic key in Ash Wednesday Supper, the image of which exists in the faculty of phantasy and becomes embedded on to the universe. The two become indistinguishable and work in union. Through the coincidence of opposites, matter becomes form and God becomes man. The image of the infinite cosmos becomes re-embedded in the single instance of an image in the faculty of Phantasy.
The conclusion will bring together these epistemological, ethical, mechanical, cosmological, and metaphysical strains of Bruno's philosophy into a statement on the Brunian reformation as he saw it, and on the contemporary relevance of his theory and application of images.
12
Lamal, Nina. « Le orecchie si piene di Fiandra : Italian news and histories on the Revolt in the Netherlands (1566-1648) ». Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6902.
Texte intégralRésumé :
This thesis examines the Italian news reports, political debates and histories of the revolt in the Netherlands between 1566 and 1648. Many Italians were directly involved in this conflict and were keen narrators of these wars. Despite this, a systematic study of the Italian interest for the conflict has not yet been undertaken. This thesis argues that the complex political constellation of the Italian peninsula, dominated by the Habsburg monarchy, shaped the Italian news, debates and interpretations of the Dutch Revolt. Chapter one examines the different ways in which news from the Low Countries reached Italian states. It demonstrates that Italian military officers, active on the battlefield in the Netherlands in the Habsburg army, played a crucial role as purveyors of news and opinion on the conflict. The two following chapters study the circulation of political treatises on the Italian peninsula. Chapter two reconstructs the debates sparked by the events in the Low Countries between 1576 and 1577. Chapter three examines the descriptions of the emergence of a new state in the Northern Netherlands and the discourses on war and peace between 1590 and 1609. Chapter four looks into the development of a market for printed news pamphlets and explores the connections between manuscript and printed news. Chapter five studies how news was used by Italian history writers in their contemporary chronicles. It also investigates how these authors celebrated Italian protagonists in the war as Italian and Catholic heroes. The conclusion examines the evolution of all these Italian discourses related to Dutch Revolt.
13
Taylor, Chloë. « The aesthetics of sadism and masochism in Italian renaissance painting / ». Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79810.
Texte intégralRésumé :
This thesis analyses selected paintings and aspects of life of the Italian Renaissance in terms of the aesthetic properties of sadistic and masochistic symptomatologies and creative production, as these have been explored by philosophers such as Michel Foucault, Roland Barthes, Marcel Henaff, and Gilles Deleuze. One question which arises from this analysis, and is considered in this thesis, is of the relation between sexual perversion and history, and in particular between experiences of violence, (dis)pleasure and desire, and historically specific forms of discourse and power, such as legislation on rape; myths and practices concerning marriage alliance; the depiction of such myths and practices in art; religion; and family structures. A second question which this thesis explores is the manners in which sadistic and masochistic artistic production function politically, to bolster pre-existing gender ideologies or to subvert them. Finally, this thesis considers the relation between sadism and masochism and visuality, both by bringing literary models of perversion to an interpretation of paintings, and by exploring the amenability of different genres of visual art to sadism and masochism respectively.
14
Souza, Tais Freitas de. « A autobiografia de Benvenuto Cellini no Brasil do século XX : subsídios para estudos de traduções e adaptações ». Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-06102010-115721/.
Texte intégralRésumé :
Este trabalho busca fornecer alguns dados básicos sobre as leituras da Vita de Cellini no Brasil do século XX. Depois de considerações introdutórias sobre o autor e sua obra, dá-se atenção à única tradução brasileira completa de sua autobiografia, seguindo-se breve menção de adaptações em livros e filmes.This work tries to provide some basic data about XX century Brazilian readings of Cellini´s Vita. After introductory considerations about the author and his work, the only complete Brazilian translation of his autobiography is presented, while adaptations in books and films are also briefly mentioned.
15
Rocco, Patricia. « Performing female artistic identity : Lavinia Fontana, Elisabetta Sirani and the allegorical self-portrait in sixteenth and seventeenth-century Bologna ». Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99389.
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Artemisia Gentileschi's self-portrait, Allegory of Painting, painted in 1630, has activated a complex discussion of female artistic identity in which performance is tied to concerns with status. This thesis addresses an earlier history of development in allegorical self-portraiture in the work of the sixteenth-century Bolognese artist, Lavinia Fontana, and her seventeenth-century successor, Elisabetta Sirani. I argue that the female artist's negotiation for status was played out in the transformation from a more official mode of self presentation, such as Fontana's Self-Portrait at the Keyboard , to a deliberate performative shift of embodied personification in her self-portrait as Judith with the head of Holofernes and her later self portraits as St. Barbara in the Apparition of the Madonna and Child to the Five Saints. This negotiation of artistic status continues with Sirani's self-portraits in Judith and the Allegory of Painting, and as what I suggest are more ambiguous and ambitious representations of anti-heroines, Cleopatra and Circe. I also discuss the important role that the emerging genre of biography plays in the female artist's struggle for status. The thesis explores the shift in visual conventions in relation to discourses of artistic identity, gender and genre---such as the donnesca mano---that circulated in Renaissance historiography in Italy, and more specifically, in the cultural milieu of Bologna.
16
Archer, Carol. « Skin to work : shifting materialities, ambiguous boundaries ». Thesis, View thesis, 1998. http://handle.uws.edu.au:8081/1959.7/380.
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This thesis challenges existing readings of paintings by Alberto Burri which discuss the work in relation to matter or the body or the psyche. The reading of Burri's Ferro, Sacco, Combustione Legno and Grande Legno G59 demonstrates how the work effects a dynamic quality of alternation between the skin and 'brute' matter. The signification of the work shifts between two types of materiality - that of sheet metal, hessian, plastic and plywood and that of the wounded human skin and psyche.It is argued that the ambiguity of the materiality of Burri's paintings effects a dynamic reciprocity between subject and object. The author argues that Burri's painting alerts the viewer to the reciprocities between industrial materials, corporeal surfaces and subjectivities, to the continuities and ambiguities with and between the skin and work
17
Jones, Nikkole R. « La Gioconda ». ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1861.
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Set in 16th century Florence, Italy, "La Gioconda" takes you on the journey of Lisa del Gioconda, the woman behind one of the most recognized paintings in the world, The Mona Lisa. Married off at a young age, Lisa finds comfort in her secret love affair with Art. Her secret world crosses paths with an Art apprentice, Leonardo da Vinci, who takes her on as his student. Lisa tells her husband that she is at church praying while spending her afternoons with Da Vinci, mastering her craft and technique. A love affair begins to blossom and Lisa is forced to make a big decision in the end. Secrets begin to unravel including the truth behind Da Vinci's original painting of the Mona Lisa before it became what we all know it to be today.
18
Martino, Floriano. « Intellettuali del XX secolo : Garin e le Cronache di filosofia italiana ». Doctoral thesis, Scuola Normale Superiore, 2017. http://hdl.handle.net/11384/86145.
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Tsoumis, Karine. « Giovanni Battista Cavalieri's Ecclesiae militantis triumphi : Jesuits, martyrs, print, and the counter-reformation ». Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83842.
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Five hundred years of Christian martyrdom are represented in the Ecclesiae militantis triumphi (1583). Engraved by Giovanni Battista Cavalieri, the series that was bound into a book reproduces a fresco cycle in the church of San Stefano Rotondo in Rome. While the church belonged to the Jesuit German-Hungarian College, the book accompanied priests in their proselytizing mission in Northern Europe. This thesis will look at the function of the book in relation to various audiences, in different viewing contexts. Analyzed primarily in relation to the intended Jesuit audience as an object of devotion, the book will also be inserted within the Early Christian revival promoted by Gregory XIII (1572-1585). Finally, it will be looked at in relation to an audience composed of individuals interested in factual knowledge about Early Christian history and in the martyr as a historical figure. A general endeavor of the thesis is to situate the Ecclesiae militantis triumphi in relation to late sixteen-century representations of martyrdom, both Catholic and Protestant, as well as in relation to other contemporary Roman printed works.
20
Sherman, Allison M. « The lost Venetian church of Santa Maria Assunta dei Crociferi : form, decoration, and patronage ». Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1021.
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This dissertation reconstructs the original form and sixteenth-century decoration of the lost Venetian church of Santa Maria Assunta dei Crociferi, destroyed after the suppression of the Crociferi in 1656 to make way for the present church of the Gesuiti. The destruction of the church, the scattering of its contents, and the almost total lack of documentation of the religious order for which the space was built, has obscured our understanding of the many works of art it once contained, produced by some of the most important Venetian artists of the sixteenth century. This project seeks to correct scholarly neglect of this important church, and to restore context and meaning to these objects by reconstructing their original placement in the interest of a collective interpretation. Various types, patterns and phases of patronage at the church—monastic, private and corporate—are discussed to reveal interconnections between these groups, and to highlight to role of the Crociferi as architects of a sophisticated decorative programme that was designed to respond to the latest artistic trends, and to visually demonstrate their adherence to orthodoxy at a moment of religious upheaval and reform.
21
Carotti, Laura. « Loquentes magistri. Giordano Bruno e l'arte della lettura ». Doctoral thesis, Scuola Normale Superiore, 2018. http://hdl.handle.net/11384/86227.
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Byington, Elisa Lustosa. « Giorgio Vasari e a edição das "vidas" = entre a Academia Florentina e a Academia do Desenho ». [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280013.
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Orientador: Luiz Cesar Marques FilhoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: A primeira edição de "As Vidas dos mais excelentes arquitetos, pintores e escultores italianos de Cimabue aos nossos dias", escrita por Giorgio Vasari (1511-1574), arquiteto e pintor de Arezzo, é publicada em 1550. Ela é marcada pelas questões que animavam a Academia Florentina (1541) - a questão da historia, da língua vernácula e da sua difusão - e pela "disputa entre as artes", conforme proposta por Benedetto Varchi (1503-1565) nas célebres "Duas Lições". A segunda edição das "Vidas", publicada em 1568, será marcada por outra academia e por nova versão da "disputa"; i.é, pela Academia delle Arti del Disegno e o texto "Una Selva di Notizie", escrito por Dom Vincenzo Borghini(1515-1580), lugar-tenente da nova academia, rediscutindo a hierarquia entre as artes. Para a nova Academia, fundada em 1563, e para o texto "Una Selva di Notizie" (1564), a referência e modelo eram aqueles, institucional e intelectual, da década de "40. Tanto a academia dos artistas, fundada pelo próprio Vasari junto com o filólogo Borghini, seria inspirada na Academia Florentina, conforme declarado por eles, quanto a retomada da "disputa entre as artes" pelo lugar-tenente da Academia do Desenho, fazia referência à Lição de Varchi e às cartas escritas pelos artistas em resposta ao debate de quase vinte anos antes. Tais aspectos institucionais, e as distintas características do debate intelectual, influenciam respectivamente cada uma das edições com idéias que procuramos ressaltar e analisar no âmbito da política cultural do duque Cosimo I
Abstract: The first edition os the "Lives of the most excellent architetcts, painters and sculptors from Cimabue to ourdays" written by Giorgio Vasari (1511-1574), architect and painter of Arezzo, is published in 1550. It is marked by questions that directed the Florentine Academy (1541) - the question of history, of the vernacular ando its dissemination - and by the "dispute between the arts", as proposed by Benedetto Varchi (1503- 1565) in the famous "Due Lezzioni" (Two Lessons). The second edition of the "Lives", published in 1568, is marked by another Academy and by new version of the "dispute"; i.e. by the Academia delle Arti del Disegno and the text "Una Selva di Notizie", written by Don Vincenzo Borghini(1515-1580), lieutenant of the new Academy, rejudging the hierarchy between the arts. For the new Academy, founded in 1563, and the text "Una Selva di Notizie" (1564), the reference and model were those, institutional and intellectual, of the "40s. Both the academy of the artists, founded by Vasari himself along with the philologist Borghini, would be inspired by the Florentine Academy, as stated by them, as the resumption of the "dispute between the arts" by the Lieutenant of the Academy of drawing, made reference to the Lesson of Varchi and letters written by the artists in response to the debate of almost twenty years before. Such institutional aspects, and the distinct characteristics of the intellectual debate, influence respectively each of editions with ideas that emphasize and analyze the cultural policy of the Duke Cosimo
Doutorado
Historia da Arte
Doutor em História
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LUNA, GONZALEZ Adriana. « From self-preservation to self-liking in Paolo Mattia Doria : civil philosophy and natural jurisprudence in the early Italian Enlightenment ». Doctoral thesis, 2009. http://hdl.handle.net/1814/12705.
Texte intégralRésumé :
Defence Date: 07/09/2009Examining Board: Prof. Martin van Gelderen (European University Institute) supervisor; Prof. Vittor Ivo Comparato (Università di Perugia); Prof. Sebastian Conrad (European University Institute); Prof. Maurizio Viroli (Princeton University) external supervisor
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
From the outset of his intellectual life Doria had been a civil philosopher interested in reflecting, in a secular manner on the foundations of civil society thereby departing from the more traditional discussions that took as their framework moral philosophy and natural law theories. Unlike other Catholic thinkers, when discussing happiness Doria was not interested in debating religious issues such as salvation, revelation, or the states of beatitude or contemplation and how these might give meaning to ‘ happiness’. For this reason this thesis explores Doria’s varying and evolving conceptions of human nature and happiness, trying to follow their development and their role in shaping Doria’s political thought. A further aim is to ascertain the implications of these developments and to analyse Doria’s discussions of the foundations of the civil life, his understanding of men as individuals, their sociability and the legitimation of human politics. I am interested in elucidating to what extent he believed that men act as moral beings in Doria’s political philosophy, which features of their psychologies he considers decisive in judging men’s rationality and morality, i.e. how he grounds their judgements and acts in order to justify their legitimacy. In short the key question here is: How, in other words, does Doria ground his theory of human agency and men’s freedom to act in politics? Doria is writing at a critical moment in the history of civil and moral philosophy not only in the Neapolitan but also, in the European context.
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Cattaneo, Graziella. « Alcune poetesse italiane del cinquecento (Italian female poets of the 16th century) ». Thesis, 2014. http://hdl.handle.net/10539/15962.
Texte intégralRésumé :
A dissertation submitted to the Faculty of Arts
University of the Witwatersrand, Johannesburg
for the Degree of Master of Arts
Johannesburg, 1983The present M.A thesis reviews and analyzes a previously underestimated area of sixteenth century Italian literature, namely the stylized lyric poetry of five representative female authors, whose production spans the whole period. The differences between the various poetesses, even inside their conventional thematic choices, are considerable. They allow us to identify a variety of expressional modes in the development of a fairly limited stylistic canon whose intuitive rules were felt by each of the writers. These differences are seen to be determined both by the individual personality of each poetess and by the single perspective according to which each chose to interpret the role of the lyric poet. Hence we can observe, in broad lines, the intellectualized lyric of Vittoria Colonna, the passionate manner of Gaspara Stampa, the more rational poetics of Veronica Gambara, all in more or less direct contrast with the freer manner of Veronica Franco and the tormented self-dramatization of Isabella Morra, The study argues that this diversity of treatment accounts for the comparativist interest which criticism should take in coming to terms with both the biographical background and poetic results of five significant female writers- Thus their work is compared both from a historical viewpoint and from specific personal angles which attempt to highlight their occasional openings towards a strikingly modern formulation of the emotion in writing.
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TERVOORT, Adrianus. « The Iter Italicum and the Northern Netherlands : Dutch students at Italian universities and their role in the Netherlands' society ». Doctoral thesis, 2000. http://hdl.handle.net/1814/5995.
Texte intégralRésumé :
Defence date: 14 October 2000Supervisors: Prof. dr. J. Brewer ; Prof. dr. H. de Ridder-Symoens
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
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BARRINGTON, Robert. « Philosophy and the court in the literature of the early English Renaissance ». Doctoral thesis, 1993. http://hdl.handle.net/1814/5735.
Texte intégralRésumé :
Defence date: 9 July 1993Examining board: Prof. Franco Angiolini, EUI (supervisor) ; Prof. Dominic Baker-Smith, University of Amsterdam ; Prof. Gigliola Margiotta-Broglio, Università di Firenze ; Dr. David Starkey, The London School of Economics ; Prof. J.B. Trapp, The Warburg Institute, London
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
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GORMAN, Michael John. « The scientific counter-revolution : mathematics, natural philosophy and experimentalism in Jesuit culture 1580-c1670 ». Doctoral thesis, 1999. http://hdl.handle.net/1814/5821.
Texte intégralRésumé :
Defence date: 26 April 1999Examining Board: Mario Biagioli, Harvard University ; John Brewer, European University Institute ; Paolo Galluzzi, Università degli Studi di Firenze (external supervisor) ; Dominique Julia, CNRS (thesis supervisor) ; Simon Schaffer, University of Cambridge
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
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« Musica poetica in sixteeth-century reformation Germany ». 2010. http://library.cuhk.edu.hk/record=b5896632.
Texte intégralRésumé :
Wong, Helen Kin Hoi."December 2009."
Thesis (M.Phil.)--Chinese University of Hong Kong, 2010.
Includes bibliographical references (leaves 70-108).
Abstracts in English and Chinese.
Abstract --- p.i
Acknowledgements --- p.iii
Introduction --- p.1
Chapter Chapter 1. --- Luther´ةs Ideas about Music: A Historical Precursor to Musica Poetica --- p.7
Luther´ةs Educational Background --- p.7
Luther´ةs Aesthetic --- p.11
The Greek Doctrine of Ethos --- p.12
Biblical Reference to Music --- p.13
Luther´ةs Parting with the Church Fathers --- p.15
The Place of Music within Luther´ةs Theology --- p.16
The Function of Music within the Lutheran Theology --- p.17
Chorales --- p.19
The Use of Polyphonic Music in the Lutheran Liturgy --- p.21
Luther´ةs Views on the Importance of Music in Education --- p.23
Chapter 2. --- The Rise of Musica Poetica in Sixteenth-Century Lutheran Germany --- p.25
Definition of Musica Poetica --- p.33
"Heinrich Faber: De Musica Poetica, 1548" --- p.38
"Gallus Dressier: Praecepta Musica Poeticae, 1563" --- p.39
"Seth Calvisius: Melopoiia Sive Melodiae Condendae Ratio, Quam Vulgo Musicam Poeticam Vocant (Erfurt, 1592)" --- p.41
"Joachim Burmeister: Hypomnematum Musicae Poeticae, 1599" --- p.42
Chapter 3. --- Musica Poetica in the Lutheran Latin School: Rhetorically Inspired Compositional Instruction --- p.46
Teachers of Musica Poetica --- p.46
Students of Musica Poetica --- p.49
The Pedagogical Method of Musica Poetica:
Praeceptum-Exemplum-Imitatio --- p.54
Praceptum --- p.56
Exemplum --- p.60
Imitatio --- p.61
Chapter 4. --- Conclusion - Understanding Musica Poetica in Sixteenth-Century Lutheran Germany --- p.67
Religious Functions as Expressive Goals --- p.67
"From Context to Method, or Vice Versa" --- p.68
Bibliography --- p.70
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Peterson, Heather Rose. « Heavenly influences : the cosmic and social order of New Spain at the turn of the seventeenth century ». Thesis, 2009. http://hdl.handle.net/2152/ETD-UT-2009-12-613.
Texte intégralRésumé :
This is the story of Spanish belonging in New Spain and the creation of New Spaniards. Tracing Spanish perceptions of place, the body, belonging, and Indian mortality, as well as constructions of “nativeness” and “Spanishness” from the conquest, this work does three things. First it examines the ideological constructs behind Spanish belonging, and the ideas that Spaniards brought with them about their bodies and their relationship to the environment. Second it follows the progression of these ideas through the first three generations of Spanish colonization, paying particular attention to the way that political rivalries, the exigencies of the crown, and Indian mortality affected discourse on belonging and identity. Finally, it captures a moment at the turn of the seventeenth century, when residents of New Spain began to re-imagine their belonging and their relationship to the land and its original inhabitants.text
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Galler, Jayson Scott 1966. « Logic and argumentation in the Book of Concord ». Thesis, 2007. http://hdl.handle.net/2152/3474.
Texte intégralRésumé :
The sixteenth-century Reformation in Germany is often viewed as having made a radical change by breaking with the thinking of the past and starting something new. One example given is the Reformation's perceived rejection of philosophy (that is, philosophy's method, subject matter, and purpose), although the regard for philosophy has often been assessed only on the basis of second-order data. Past research has looked at various individuals' keeping or breaking with the preceding era and at the question of continuity between individuals within the Reformation movement of the sixteenth century. This interdisciplinary study examines the regard for philosophy and both the keeping and breaking of the whole movement, by considering how philosophy is used in The Book of Concord, which contains Reformation documents from the earlier and later sixteenth-century that were widely accepted and given authoritative status. The specific Book of Concord uses of philosophy considered are second-order statements about philosophy and its cognates and about logic, as well as first-order uses of organization by [ancient Greek topoi] ("topics") or loci ("places") and of argumentation by both induction (namely, example and analogy) and deduction. The study's taking philosophical uses as indicators of regard for philosophy has been called for in previous research and is relatively unique. Another significant contribution of this study is a detailed treatment of syllogisms used in arguing, for example, for the Reformers' position that justification, or righteousness before God, is only on account of faith in Jesus Christ. The study also considers the Reformers' formal distinction between justification and sanctification, or holy living, as a case study for philosophy in service to theology as its handmaiden in a ministerial role. More than finding an inexplicable, eclectic use, the dissertation concludes that The Book of Concord where necessary rejects philosophy and logic but nevertheless at the same time makes use of them, except where the use of such methods contradicts or goes beyond the Reformers' understanding of God's revelation in the Bible. Such rejection but simultaneous use both keeps and breaks with the preceding medieval period and continuous within the Reformation movement of the sixteenth century.
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Gordejeva, Anna. « Náměty z commedie dell'arte ve výtvarném umění ». Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-358148.
Texte intégralRésumé :
The aim of this thesis is to evaluate certain artistic pieces with motives of Italian Theatre of Renaissance. Further, this work discusses the literature dedicated to this topic in the framework of Czech and foreign history of art and theatre. In this regard, attention is drawn to analysis and the interpretation of particular pieces of an art from the formal and iconographic perspectives. The introduction is concerned with the key historical aspects and personalities of the Commedia dell'arte in connection with chosen pieces of art. Based on provided facts, this thesis comes to an acquired evaluation and comparisons of motives with the character of theatre performance.
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ROICK, Matthias. « Mercury in Naples : the moral and political thought of Giovanni Pontano ». Doctoral thesis, 2009. http://hdl.handle.net/1814/13281.
Texte intégralRésumé :
Defence date: 26 October 2009Examining Board: Prof. Martin van Gelderen (EUI) - supervisor; Prof. Anthony Molho (EUI); Prof. Riccardo Fubini (University of Florence); Prof. Thomas Kaufmann (University of Göttingen).
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
The present study returns to Giovanni Gioviano Pontano's role as a thinker and philosopher. It is based on the treatises and tracts Pontano wrote, to which scant attention has been paid until now, but also on his ad hoc political writings and his better known dialogues and poems. It moves between different fields of inquiry including history, philosophy, and literature, trying to represent Pontano's thought not only in its doctrinal aspects, but in a more comprehensive and contextualized perspective. Within this perspective, his thought will appear as mercurial as Pontano himself. It is not a set of explicit, philosophical doctrines that can be described within a coherent theoretical framework, but a cluster of different thoughts, attitudes, and practices.