Thèses : « Roma moderna »

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Martins, Adilton Luis 1978. « O espírito do medo : Roma de Montesquieu ». [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280820.

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Orientador: Paulo Celso Miceli
Tese (doutorado) - Universidade Estadual de Campionas, Instituto de Filosofia e Ciências Humanas
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Resumo: O resumo poderá ser visualizado no texto completo da tese digital
Abstract: The abstract is available with the full electronic document
Doutorado
Historia Cultural
Doutor em História

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León, Ramón. « Mecacci, L. (1999). Psicología moderna e postmoderna. Roma - Bari : Editori Laterza, 192 p ». Pontificia Universidad Católica del Perú, 2002. http://repositorio.pucp.edu.pe/index/handle/123456789/100012.

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Libro de denso contenido, pero de estilo accesible al lector medianamente informado; obra de pequeño formato y dedicada a temas de amplio alcance: esas son apreciaciones que surgen tras la lectura de Psicología moderna e postmodema.Su autor, Luciano Mecacci, poco conocido en el mundo de habla hispana, es probablemente el más prolífico autor de la psicología italianade nuestros días. Su último libro - posterior al que comentamos,dedicado a los "desastres del psicoanálisis"- , es una ácida pero muybien fundamentada crítica a las ideas de Freud como práctica psicoterapéutica

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Tomassetti, Stefano <1992&gt. « L'Oratorio e la cura. Assistenza e medicina nella Roma dei papi (secc. XVI-XVII) ». Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2022. http://amsdottorato.unibo.it/9716/1/S.%20Tomassetti%2C%20L%27Oratorio%20e%20la%20cura%20%28tesi%20di%20dottorato%29.pdf.

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La tesi è incentrata sul rapporto tra una comunità religiosa maschile, la Congregazione dell'Oratorio di Roma dei secoli XVI e XVII, e il concetto di cura, mettendo in dialogo storia sociale, storia religiosa e storia della medicina. La prima parte indaga il coinvolgimento degli Oratoriani nella rete caritativa urbana, sottolineando il loro contributo nello sviluppo e nell'amministrazione di una serie di ospedali, ma anche il loro impegno pratico nella cura spirituale e corporale dei malati. La seconda parte prende in esame i professionisti sanitari che frequentavano l'Oratorio, inquadrando il loro rapporto con i padri nel quadro di una più ampia rete di connessioni sociali e politiche nella Roma pontificia. Inoltre, mettendo in rilievo le specificità di speziali, barbieri-chirurghi e medici, l'indagine considera il loro coinvolgimento nella vita religiosa della comunità e la messa a frutto del loro sapere, in ambito umanistico e anatomico. La terza parte studia il complesso rapporto dei sacerdoti con il proprio corpo e con la salute. Viene rilevato il peso delle condizioni sanitarie nell’accettazione di nuovi membri, i legami tra estetica, identità sociale e medicina, ma si prendono in considerazione anche l’ambigua funzione del cibo – inteso come strumento di ascesi che di cura – e il funzionamento concreto dell'organizzazione medica della comunità. Inoltre, un capitolo analizza la circolazione del sapere medico, evidenziando il ruolo della biblioteca, la raccolta e lo scambio di ricette mediche e l'importanza della spezieria comunitaria, mentre un altro capitolo si focalizza sui viaggi terapeutici e sulla pratica del termalismo. L'ultima parte è incentrata sulla peste romana del 1656-57, analizzando il modo in cui la Congregazione affrontò lo scoppio e lo sviluppo dell'epidemia, sia in casa che in città, per sottolineare il fragile e ambiguo equilibrio che definirono tra carità e tutela della salute.
The thesis focuses on the relationship between a male religious community, the Congregation of the Oratory of Rome of the 16th and 17th centuries, and healthcare, connecting social history, religious history and history of medicine. The first part centers on the involvement of the Oratorians in the urban charitable network, underlining their contribution in the development and the administration of a series of hospitals, but also their practical commitment in the spiritual and bodily care of the sick. The second part concentrates on the health professionals who attended the Oratory, framing their relationship with the fathers within a broader network of social and political connections in the Papal Rome. Also, stressing the differences between apothecaries, barber-surgeons and physicians, the analysis considers their involvement in the religious life of the community and the exploitation of their humanistic and anatomical expertise. The third part studies the complex relationship of the priests with their own bodies and healthcare. It highlights the weight of bodily conditions for the acceptance of new members in the Oratory, and the links between aesthetics, social identity and medicine, but it takes into account also the ambiguous functions of food – intended as a tool both for asceticism and healthcare – and the concrete functioning of the medical organization of the community. Moreover, a chapter analyses the circulation of medical knowledge, highlighting the role of the library, the collection and exchange of medical recipes and the importance of the Oratorian apothecary shop, while another chapter concentrates upon the therapeutic voyages and the practice of thermalism. The last part, focusing on the Roman plague of 1656-57, analyses how the Congregation coped with the epidemic outbreak and development, both in the house and in the city, in order to underline their fragile and ambiguous balance between charity and health protection.

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Checchi, Guido <1983&gt. « Roma 1572 : la "fiammata mistica" di Anthonie Blocklandt, El Greco e Giovanni de' Vecchi ». Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amsdottorato.unibo.it/8206/1/Checchi_Guido_tesi.pdf.

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Nel libro Pittura e Controriforma: l’arte senza tempo di Scipione da Gaeta, edito nel 1957, Federico Zeri affronta, tra i primi in Italia, la questione delle immagini nella crisi religiosa del XVI secolo causata dalla Riforma. A quel processo di semplificazione formale dell’arte sacra secondo i precetti tridentini, si accompagna anche un’inquieta e fremente vena mistica in alcuni artisti, espressione di una spiritualità più complessa. Zeri sottolinea che questa tendenza nasce con Giovanni de’ Vecchi (1543-1615), El Greco (1541-1614) e l’olandese Anthonie Blocklandt van Montfoort (1533 ca-1583). Il loro probabile incontro nel 1572 a Roma alla corte del cardinal Alessandro Farnese avrebbe acceso la “fiamma suprema del misticismo pittorico del cinquecento”. I tre pittori dimostrano di avere in comune assonanze stilistiche, nonostante la diversa provenienza e formazione. Il più maturo Blocklandt potrebbe aver contribuito al visionario linguaggio di El Greco toledano. Questa complessa ipotesi non è mai stata verificata approfonditamente anche se nel corso degli anni vi sono stati numerosi contributi alle figure di questi tre artisti, contributi sempre però apportati separatamente l’uno dall’altro, dove la questione della relazione fra i tre è stata solo sfiorata. La ricerca ha attraversato gli studi sui tre diversi artisti con gli aggiornamenti dell’ultimo sessantennio, insieme ad un approfondimento del contesto storico e religioso attorno al 1572, e ad un‘analisi delle opere attorno al 1570-1575 di Blocklandt, El Greco e de’Vecchi.
In Pittura e Controriforma: l’arte senza tempo di Scipione da Gaeta, edited in 1957, Federico Zeri is among the first in Italy to discuss the question of images in the religious crisis caused by the Reformation in the XVI century. Above the process of formal simplification and touching pietism, another trend appears made of dramatic and trembling mystic traits of some artists, symptom of more complex spirituality. Zeri highlights how this tendency born with Giovanni de’ Vecchi (1543-1615), El Greco (1541-1614) and the Dutch Anthonie Blocklandt van Montfoort (1533 ca-1583). The “fiamma suprema del misticismo pittorico del cinquecento”, the mystic blaze, was lit up in 1572 by the encounter of three painters in Rome at the court of cardinal Alessandro Farnese. These artists unexpectedly show stylistic assonances, despite their different background and training. The elder and mature Blocklandt might have helped the visionary language of El Greco’s Spanish period. This complex hypothesis has never been thoroughly verified, even though, along the years, the studies about three artists have given many contributions. But, they were made separately from each other, where the question of the relationship among the three was only touched lightly. The research has gone through studies on the three different artists with updates over the last sixty years, jointly with a deepening of the historical and religious context around 1572, and an analysis of paintings around 1570-1575 made by Blockland, El Greco and de’Vecchi.

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Farina, Arianna <1985&gt. « «La città più ornata di tutto il mondo» : facciate decorate a Roma fra XV e XVI secolo ». Doctoral thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/8364.

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Il progetto si propone di indagare una diffusa pratica decorativa della Roma rinascimentale: l’uso cioè di dipingere le facciate di edifici civili del centro storico con apparati iconografici e tecniche variegate. La ricostruzione documentaria delle decorazioni dei prospetti, andati in gran parte perduti, andrà integrata con uno studio topografico, con documenti su modelli, genealogie e committenze per far luce su fenomeni e prospettive artistiche, storiche e macro-culturali ancora ‘aperte’ alla ricerca. Inoltre, si analizzeranno le possibilità di ripristino mnemonico e visivo di questo patrimonio: dalle fonti bibliografiche e iconografiche reperite alle possibilità offerte dalla nuove tecnologie applicate all'arte con i suoi molteplici strumenti.

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BRUNETTI, Vittoria. « Basilicae Vaticanae Sculptor. Lorenzo Ottoni e il sistema della scultura a Roma tra fine Sei e primo Settecento ». Doctoral thesis, Scuola Normale Superiore, 2021. http://hdl.handle.net/11384/109431.

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Palumbo, Michela <1998&gt. « La Galleria Nazionale d'Arte Moderna e Contemporanea di Roma : gli ordinamenti e l'attività didattica dal 1915 ad oggi ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/20456.

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Nel primo capitolo si tracceranno le origini della galleria (come è nata, il trasferimento nella sede di Valle Giulia e la progettazione dell’edificio ad opera di Cesare Bazzani) e si prenderanno in considerazione il primo ordinamento nella sede di Valle Giulia ad opera di Ugo Fleres nel 1915 e il secondo ordinamento ad opera di Roberto Papini nel 1938, analizzando in particolare l’attività di quest’ultimo e l’impegno nel promuovere la Galleria come centro di studio, stroncato dall’insorgere della Seconda Guerra Mondiale. Durante quegli anni fu fondamentale la direzione di Palma Bucarelli, alla quale sarà dedicato il secondo capitolo, in cui, in una prima parte si esamineranno gli ordinamenti da lei proposti, e, in una seconda parte la sua attività didattica, avviata anche grazie al sostegno da parte di critici di primo piano come Lionello Venturi e Giulio Carlo Argan, proponendo in ultimo un confronto con la parallela attività didattica promossa da Caterina Marcenaro in quegli anni a Genova. Nel terzo capitolo si prenderanno in considerazione gli ordinamenti degli anni Ottanta e Novanta, in particolare quello proposto da Sandra Pinto, proponendo un confronto con un'altra realtà italiana che si è inserita nella scena dell’arte contemporanea in quegli anni, il Castello di Rivoli. Infine nel quarto capitolo si metterà in luce l’ultimo ordinamento della Galleria, proposto da Cristiana Collu nel 2016, che ha rivoluzionato lo spazio espositivo, suscitando critiche ma anche numerose approvazioni, e si illustreranno i servizi educativi che la Galleria Nazionale propone oggi, come l’adesione al progetto «Museo per tutti» o altri progetti come «La memoria del bello» per persone affette da Alzheimer.

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SCANU, LARA. « Rifar Ferrara in Roma. Alessandro d’Este, un cardinale dimezzato tra diplomazia e collezionismo ». Doctoral thesis, Università degli studi di Ferrara, 2022. http://hdl.handle.net/11392/2488241.

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Questo lavoro di ricerca intende ricostruire, attraverso l’analisi degli eventi storico-culturali che coinvolsero Ferrara e la corte Estense alla fine del XVI secolo, il tessuto formativo del cardinale Alessandro d’Este per dimostrare il suo ruolo fondamentale nella realizzazione della sua collezione romana e nella diffusione della pittura ferrarese nelle raccolte d’arte della capitale pontificia di inizio Seicento. A partire dallo stato degli studi già effettuati sulla sua personalità sia per quanto riguarda le raccolte d’arte, sia per quanto concerne il suo ruolo politico nel complesso scacchiere della Devoluzione allo Stato Pontificio del 1598, è stata portata avanti un’indagine sulla formazione artistica di Alessandro in seno ai grandi pittori della Maniera ferrarese, soprattutto grazie alla pratica del disegno appresa dal Bastarolo, e sui luoghi della sua infanzia, dove ha potuto costruire ed esercitare il suo gusto come collezionista. La corte romana del porporato Estense si pone in continuità con la trattatistica rinascimentale e, al tempo stesso, risulta di grande innovazione in particolare per il suo ruolo di protettore di artisti, come nei casi di Lavinia Fontana, Annibale Mancini ed Emmanuel Sbaigher restituiti dai documenti d’archivio, e per la raccolta di pitture, un nucleo di opere dal forte carattere identitario, che rispecchiano alla perfezione la personalità e il ruolo di Alessandro all’interno della corte pontificia. Questi due aspetti, grazie all’enucleazione di alcune notizie emerse dalle ricerche archivistiche, hanno contribuito a confermare che la presenza del cardinale Estense a Roma è stato uno dei motivi che hanno condotto a un radicale cambiamento di interesse dal collezionismo di antichità cinquecentesco a quello pittorico secentesco. In tal senso, risultano fondamentali alcune scelte di Alessandro, come quella di esporre accanto ad alcuni dipinti originali della pittura del Rinascimento delle copie realizzati da artisti ferraresi contemporanei o di realizzare una galleria di ritratti così come suggerito da Giovan Battista Marino nella sua Galeria. Tutti gli attori della complessa vicenda si concretizzano all’interno del testamento del prelato ferrarese, dove emerge l’importante legame con i cardinali Borghese e Barberini, reso ancora più saldo dalla presenza presso le loro corti, alla sua morte, di Annibale Mancini ed Emmanuel Sbaigher, eredi, propagatori e traghettatori della memoria figurativa estense nelle dimore romane del Seicento.
This research work aims to reconstruct, through the analysis of the historical and cultural events that involved Ferrara and the Este court at the end of the Sixteenth century, the Alessandro d’Este’s education to demonstrate its fundamental role in the creation of his Roman collection and in the dissemination of Ferrara paintings in the art collections of the papal city at the beginning of the Seventeenth century. Starting from the studies already published on his personality regards his art collection and his political role in the complex events of the Devolution to the Papal State of 1598, the analysis on Alessandro was conducted through the deepening of his artistic training within the great painters of the Ferrara manner, above all thanks to the practice of drawing learned from Bastarolo, and on the residences of his childhood, where he was able to build and exercise his taste as a collector. The Roman court of the Estense cardinal is in continuity with the Renaissance treatises and, at the same time, is innovative for his role as patron of artists, as in the cases of Lavinia Fontana, Annibale Mancini and Emmanuel Sbaigher found in the archive documents, and for the paintings collection with a strong identity character, which perfectly reflect the personality and role of Alessandro within the papal court. These two aspects, thanks to the enucleation of some information emerged from archival research, have helped to confirm that the presence of Cardinal d’Este in Rome was one of the reasons that led to a radical change of interest from collecting Sixteenth century antiquities to painting in seventeenth century. On this way, some of Alessandro’s choices are fundamental, such as to display copies made by contemporary Ferrarese artists next to some original paintings of Renaissance or to realize a portrait gallery as suggested by Giovan Battista Marino in his Galeria. All the protagonists of the complex affair are concretized in the prelate’s will, where the important link with the cardinals Borghese and Barberini emerges, made even more solid by the presence at their courts, on his death, of Annibale Mancini and Emmanuel Sbaigher, heirs, propagators and bearers of the Estense figurative memory in the Roman residences of the Seventeenth century.

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LUCREZIO, MONTICELLI CHIARA. « Alle origini della polizia moderna : apparati di controllo ecclesiastici e nuovi sistemi di polizia nella Roma del primo Ottocento ». Doctoral thesis, Università degli Studi di Roma "Tor Vergata", 2009. http://hdl.handle.net/2108/794.

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Un’ampia storiografia ha analizzato gli apparati di polizia sorti tra XVIII e XIX secolo negli Stati europei come oggetto di studio ricco di implicazioni per la comprensione dei processi di modernizzazione. Negli anni più recenti l’interesse esclusivamente giuridico-istituzionale si è inoltre arricchito di un approccio maggiormente attento alle pratiche diffuse nella società, ai meccanismi di legittimazione popolare, alle culture amministrative e professionali del personale impiegato, restituendo così valore alla dimensione sociale in cui la storia di questa istituzione è immersa. La presente ricerca si colloca all’interno di questo contesto storiografico individuando nel periodo della Restaurazione romana la nascita di un modello di polizia con caratteristiche istituzionali, organizzative e operative comparabili alle coeve polizie diffuse in Italia e in Europa. Anche in una realtà peculiare come quella dello Stato pontificio, ancora fortemente legata a condizioni socio-politiche riconducibili all’ancien régime, penetrarono alcuni modelli di governo importati dai francesi nel corso delle occupazioni: un esempio fu proprio l’istituzione di una Direzione generale di polizia nel 1816. Questo nuovo organismo centralizzato, attraverso l’articolazione periferica sul territorio, si sovrappose alle preesistenti strutture di controllo ecclesiastico deputate, sin dal Concilio di Trento, allo svolgimento di molte funzioni analoghe. In special modo nella dimensione urbana di Roma, parroci e poliziotti si trovarono fianco a fianco nell’adempiere ad alcuni dei loro principali compiti di sorveglianza della popolazione (certificazioni anagrafiche, registrazione dei movimenti, rilascio passaporti) e del “buon costume” (precetti, ammonizioni, segnalazioni ai tribunali), facendo però capo a distinti apparati amministrativi, seppur sotto l’unica guida politica del sovrano-pontefice. A contrapporsi furono un progetto di “sacralizzazione” (culminato con la riforma delle parrocchie del 1824 e il Giubileo del 1825) ed uno di “secolarizzazione” della città, a cui corrisposero due concezioni distinte di governo della popolazione e del territorio che si confrontarono influenzandosi a vicenda. Se nel resto dei paesi cattolici l’istituzione della polizia, a partire dal riformismo settecentesco fino agli sviluppi ottocenteschi, coincise con l’abolizione dei tribunali ecclesiastici e dei sistemi di controllo connessi, nello Stato pontificio si sviluppò una particolare convivenza tra queste istituzioni che consente di incrociare le fonti da esse prodotte. La ricerca si pone l’obiettivo di individuare gli elementi di conflitto e collaborazione tra i diversi apparati al fine di meglio valutare i fattori di continuità e rottura nelle istituzioni e nella società della prima metà del XIX secolo. A tale scopo la prospettiva è incentrata su un triplice livello di questioni: l’assetto legislativo e normativo, i rapporti tra gli organismi nello svolgimento pratico delle rispettive funzioni, il grado di riconoscimento e legittimazione da parte della popolazione. L’ipotesi di fondo è quella di un’interazione tra strutture ecclesiastiche e nuova polizia nella definizione di un inedito campo di saperi e tecniche di controllo, registrazione e identificazione della popolazione. Allo stesso tempo il caso di studio considerato dimostra l’influenza esercitata dai sistemi ecclesiastici nella definizione di una moderna polizia, ponendo così il problema di estendere tale paradigma interpretativo ad altri contesti che conobbero forme più marcate di secolarizzazione nel corso dell’Ottocento.
The police apparatuses emerged in the European states of 18th-19th centuries have been widely studied as a subject particularly relevant to the understanding of modernization processes. In recent years new approaches to social practices, popular legitimization, administrative and professional cultures, have enriched traditional views based on institutional and judiciary studies. This research follows such new approaches, focussing on Rome in the era of Restoration, when a modern police was established with institutional and organizational characteristics quite similar to the Italian and European model. Even in such a peculiar context as the State of the Pope, strictly bound to the legacy of ancien regime, some models of government exported by the French were maintained. The General Police Department was clearly established in 1816 on the pattern of the French heritage. This new centralised body overlapped the former ecclesiastic control structures, created since the time of the Trento Council. Priests and policemen operated simultaneously in the urban territory of Rome for implementing their tasks of surveillance of the public order (identity certification, check of population mobility, release of passports) and of “buon costume” (bids, warnings, judiciary denounciations), depending however from different administrative bodies, although under the unified rule of the King-Pope. Consequently, two opposite approaches either toward increased “sacralisation” (based on parishes reform in 1824 and Giubileo in 1825) and toward “secularisation” of the city confronted each other, implying distinct concepts of government. But those two concepts also showed mutual influence. While in other countries of Catholic Europe, to begin from 18th century reforms, the establishment of centralised police led to the abolition of ecclesiastic law courts and of their own control systems, in the State of the Pope a coexistence emerged between old and new institutions. Such peculiarity allows the historian to examine and compare two different sets of sources. The research aims at assessing the elements of conflict and cooperation between the two police apparatuses, thus providing better knowledge of the balance between continuity and change in institutions and society during the first half of the 19th century. Three aspects have been particularly considered: the legal system, the relationship between different police bodies, the social perception and legitimization. The basic thesis here pointed out is that an interaction took place between church apparatuses and new police institutions in the field of control, registration and identification practices of the population. Our particular case study shows, at the same time, that ecclesiastic control mechanisms had some role in the formation of modern police. Such interpretative paradigm might reveal relevance to other European experiences, also presenting the persistence of ecclesiastic structures, even if underlying and less incumbent.

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MATARAZZO, MARIA GABRIELLA. « «Le ragioni de’ lumi e dell’ombre» : teoria e prassi del chiaroscuro nella Roma del Seicento ». Doctoral thesis, Scuola Normale Superiore, 2020. http://hdl.handle.net/11384/104224.

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[dall'intoduzione]: La presente tesi dottorale analizza il concetto di «chiaroscuro» all’interno del dialogo tra pittura, scultura e grafica nella teoria e nelle prassi artistiche del Seicento romano, attraverso un’indagine delle fonti letterarie condotta in parallelo con l’analisi tecnica e stilistica di esperienze figurative significative per la resa di valori di plasticità e di digradamento atmosferico. In particolare, la tesi individua nel Seicento il momento cruciale del passaggio del termine «chiaroscuro» da vocabolo per indicare una categoria strettamente tecnica (per Vasari, la pittura a grisaille, i disegni su carta tinta e le xilografie a tre legni inchiostrati) a lemma per alludere a una più ampia nozione critica, secondo un’accezione tuttora vigente.

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Fraioli, Martina <1993&gt. « Cambiamento organizzativo e nuovi obiettivi nella riforma dei musei italiani : il caso della Galleria Nazionale d'Arte Moderna e Contemporanea di Roma ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/13947.

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A seguito di uno stage di sei mesi presso la Galleria Nazionale d’Arte Moderna e Contemporanea di Roma, l’obiettivo principale di questo lavoro di ricerca è stato quello di analizzare al contempo il complesso riassetto organizzativo del museo conseguente alla Riforma del 2014 e l’adozione di nuove strategie di engagement partecipativo. Attraverso dei framework teorici sui temi del cambiamento organizzativo e dell'audience development, si è dimostrato, quindi, come il museo abbia risposto agli obiettivi di pubblico fissati dal legislatore in maniera efficace ed innovativa, ma in un contesto organizzativo incerto e frammentario. Si è giunti alla conclusione che, in tale clima, i nuovi progetti partecipativi hanno influito non solo sul rapporto del museo con il proprio pubblico, ma anche sulle relazioni interne e sulla capacità dello staff di collaborare e negoziare. Tenendo conto della natura pubblica e nazionale del museo oggetto del caso studio, è stato inoltre necessario fornire un’analisi generale preliminare circa l’impegno dei policy maker, internazionali e nazionali, per un rinnovamento delle mission delle istituzioni museali e lo sviluppo di una mentalità audience-centric.

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Cicalini, Giorgia <1991&gt. « Palma Bucarelli e la Biennale di Venezia (1948-68) : acquisizioni, prestiti e interventi critici della Direttrice della Galleria Nazionale d'Arte Moderna di Roma ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/9773.

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Lo scopo di questa tesi è analizzare le relazioni che Palma Bucarelli ha intrattenuto con la Biennale di Venezia, prendendo in considerazione il periodo 1948 - 1968. La questione viene esaminata da due punti di vista: quello istituzionale, che impegna la Bucarelli, in qualità di direttrice della Galleria Nazionale d’Arte moderna di Roma, nel prestare ed acquistare opere alla manifestazione veneziana, e nel presentare il proprio museo, attraverso una selezione di recenti acquisizioni, alla mostra speciale “Arte d’Oggi nei Musei” organizzata durante la Biennale del 1964; e quello più “critico”, in particolare focalizzato sulle personali, organizzate con la sua collaborazione, di Turcato, Fautrier, Giacometti e Pascali. Da entrambi i livelli di lettura emerge la linearità e l’avanguardia del pensiero della Bucarelli, che sempre si dedicò coraggiosamente alla salvaguardia del patrimonio e all'affermazione dell’arte astratta, difendendo e promuovendo gli artisti che più stimava. Così il museo inevitabilmente si identifica con la figura della sua direttrice, documentando l’arte attuale attraverso l’aggiornamento sul piano internazionale, la cura dell’aspetto didattico, e dando spazio all'arte nuova e ai giovani artisti. Modalità oltretutto analoghe a quelle adottate dalle Biennali prese in esame. La ricerca è stata svolta principalmente attraverso la consultazione di documenti conservati presso: l’Archivio Storico delle Arti Contemporanee della Biennale di Venezia, l’Archivio Storico della Galleria Nazionale di Roma e l’Archivio Centrale dello Stato.

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Parisi, Camilla. « Filippo della Valle 1698-1768. Percorsi critici per uno studio della scultura a Roma nella prima metà del Settecento ». Doctoral thesis, Scuola Normale Superiore, 2019. http://hdl.handle.net/11384/85768.

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ALBERTI, ALESSIA. « L'INDICE DI ANTONIO LAFRERY : ORIGINI E RICOSTRUZIONE DI UN REPERTORIO DI IMMAGINI A STAMPA NELL'ETA' DELLA CONTRORIFORMA ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2010. http://hdl.handle.net/10280/749.

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L’Indice di Antonio Lafrery (1512-1577) è il catalogo della sua produzione editoriale fino alla metà degli anni settanta del Cinquecento. In questo studio vengono identificate le opere in esso citate. Le novità che emergono riguardano soprattutto le corrispondenze tra le sezioni in cui l’Indice è strutturato e le raccolte in volume pubblicate da Lafrery, portandone a conoscenza di nuove rispetto ai noti “Speculum Romanae Magnificentiae” e “Tavole Moderne di Geografia”. Sono poi indagati i contatti dell’editore con umanisti, collezionisti e mecenati.
The Antonio Lafrery ‘s “Indice” (1512-1577) is the catalog of his editorial production until the mid-seventies of the sixteenth century. In this study the works cited therein are identified. The news that emerge mainly concern the correspondence between the sections in which the index is structured and collected in a volume published by Lafrery, leading to new knowledge in relation to known "Speculum Romanae Magnificentiae" and " Tavole Moderne di Geografia ". Then are studied the editor’s contact with humanists, collectors and patrons.

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ALBERTI, ALESSIA. « L'INDICE DI ANTONIO LAFRERY : ORIGINI E RICOSTRUZIONE DI UN REPERTORIO DI IMMAGINI A STAMPA NELL'ETA' DELLA CONTRORIFORMA ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2010. http://hdl.handle.net/10280/749.

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L’Indice di Antonio Lafrery (1512-1577) è il catalogo della sua produzione editoriale fino alla metà degli anni settanta del Cinquecento. In questo studio vengono identificate le opere in esso citate. Le novità che emergono riguardano soprattutto le corrispondenze tra le sezioni in cui l’Indice è strutturato e le raccolte in volume pubblicate da Lafrery, portandone a conoscenza di nuove rispetto ai noti “Speculum Romanae Magnificentiae” e “Tavole Moderne di Geografia”. Sono poi indagati i contatti dell’editore con umanisti, collezionisti e mecenati.
The Antonio Lafrery ‘s “Indice” (1512-1577) is the catalog of his editorial production until the mid-seventies of the sixteenth century. In this study the works cited therein are identified. The news that emerge mainly concern the correspondence between the sections in which the index is structured and collected in a volume published by Lafrery, leading to new knowledge in relation to known "Speculum Romanae Magnificentiae" and " Tavole Moderne di Geografia ". Then are studied the editor’s contact with humanists, collectors and patrons.

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Ulisse, Alessia. « Girolamo Siciolante da Sermoneta nella cultura artistica della Maniera modera : opere, committenza, cronologia ». Doctoral thesis, Università degli studi di Padova, 2018. http://hdl.handle.net/11577/3426824.

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La tesi è incentrata su Girolamo Siciolante da Sermoneta pittore originario del basso Lazio, gravitante intorno alla bottega di Perino del Vaga. L’idea nasce a seguito della convinzione che dopo le importanti campagne di ricerca sul Buonaccorsi condotte negli ultimi decenni, fosse necessaria una revisione del percorso artistico del pittore che Vasari presenta come suo più fedele allievo. Nonostante si fosse messa in evidenza l’importanza di Girolamo Siciolante nello sviluppo della cultura della Maniera, soprattutto con il fondamentale articolo di Federico Zeri (Intorno a Gerolamo Siciolante, in Siciolante in «Bollettino d’Arte», 36.1951, pp. 139- 149), molti problemi rimanevano insoluti, circa i contesti in cui il pittore fu attivo, la committenza che lo interessò e la cronologia della sua attività. Il lavoro è stato condotto mediante la ricerca d’archivio e il rinvenimento di nuovi documenti, con la rilettura di testimonianze edite, ma trascurate e attraverso l’esame stilistico delle opere. Nel lavoro si prova a fornire una migliore comprensione dei rapporti con Perino e il contesto romano del Cinquecento e una messa a fuoco più chiara della cronologia dei soggiorni in Italia settentrionale. Si tenta inoltre una panoramica sulla bottega e si forniscono nuovi dati su alcune commissioni romane del pittore (la cappella Cesi in Santa Maria della Pace, la cappella della Natività nella stessa chiesa, la cappella Függer in Santa Maria dell’Anima, la pala con Madonna e Santi per Sant’Eligio dei Ferrari). Si tenta, infine, mediante l’esame stilistico di realizzare una cronologia delle opere più coerente e di fornire nuovi spunti riflessioni su temi mai, o poco, affrontati: la partecipazione al cantiere di Palazzo Ferretti o la collaborazione con Raffaellino da Reggio.

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VICENTINI, Cecilia. « Il collezionismo privato a Ferrara nel periodo delle Legazioni. Il caso della famiglia Calcagnini ». Doctoral thesis, Università degli studi di Ferrara, 2010. http://hdl.handle.net/11392/2388692.

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This research is centered on the private collections of the city of Ferrara at the time of the Legations. The attention has been focused on a unknown family of Ferrara which was an important role for the artistic movement of that city: the Calcagnini family. The history of this family and its possessions in terms of paintings and works of art was performed in the archives of Modena, Ferrara and Rome where the Calcagnini private heritage it’s recorded (family archive, notary files, letters of the family members, etc.). This thesis is organized into two sections. Aim of the first part is to illustrate the nature of the Calcagnini’s collection during the Seicento and its evolution in the following century; the second part aims to give an overview of its artistic asset, unfortunately lost to this date. This investigation has allowed us to not only follow the hereditary path of the family picture collection from mid of XVII century, but also to display the inedit Calcagnini’s relations – in terms of collecting – with others important families in Ferrara during the seicento and settecento, such as with the Pio di Savoia, Varano and Villa families. The recovered appraisal of the assets, often drawn up by qualified painters, describes different attributive proposals that make us understand the collection trends of the various members of this family. Having a leading member of this family, Carlo Leopoldo, elected bishop and resident in Rome, has enabled to identify new connections, particularly artistic, between the legatine centre and the Papal Court following a tradition started with the devolution in 1598 since Leopoldo’s collection was sent to his heir in Ferrara in 1746. This last rich roman collection, in particularly, reflects the classic-Arcadian taste successful in the contemporary prelates Courts, as we can found in Michel Rocca’s paintings, whose some work of art has been here identified. Like for the Seicento, even for the XVIII Century has been found inventories of other distinguished collectors, strictly related to the ferrarese as well as the roman scenes, like the abbot Giuseppe Carli, erudite connoisseur, or the abbot Carlo Cesare Grazzini whose piece of works ended in the legatine centre as carrier of new ideas and new artistic creations.

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CAVALLINI, GABRIELE. « CREMA AL CROCEVIA DELLA MANIERA : EPISODI ARTISTICI FRA TRADIZIONE LOMBARDA, VIA ROMANA E VIA GENOVESE ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1065.

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La ricerca si focalizza sulle espressioni artistiche a Crema durante il Cinquecento, prendendo in considerazione artisti, episodi particolari, commissioni pubbliche e private. Partendo dall’intervento di Benedetto Diana in Santa Maria della Croce, passando per la bottega di Vincenzo Civerchio, si giunge ad analizzare le figure di Aurelio Buso e Carlo Urbino, fino alla fine del secolo. Il lavoro presenta alcuni documenti inediti, quali uno che attesta la presenza di Aurelio Buso a Genova e altri che mostrano l’origine di Carlo Urbino .
This study is focused on the artistic expressions in Crema along the XVI century, considering artists, happenings, public and private commissions. Starting from the work of Benedetto Diana in Santa Maria della Croce, through the workshop of Vincenzo Civerchio, we arrive studying Aurelio Buso and Carlo Urbino, at the end of the century. This study presents come new documents, as one that certificate the journey of Aurelio Buso to Genua and others that show the origin of Carlo Urbino.

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CAVALLINI, GABRIELE. « CREMA AL CROCEVIA DELLA MANIERA : EPISODI ARTISTICI FRA TRADIZIONE LOMBARDA, VIA ROMANA E VIA GENOVESE ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1065.

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La ricerca si focalizza sulle espressioni artistiche a Crema durante il Cinquecento, prendendo in considerazione artisti, episodi particolari, commissioni pubbliche e private. Partendo dall’intervento di Benedetto Diana in Santa Maria della Croce, passando per la bottega di Vincenzo Civerchio, si giunge ad analizzare le figure di Aurelio Buso e Carlo Urbino, fino alla fine del secolo. Il lavoro presenta alcuni documenti inediti, quali uno che attesta la presenza di Aurelio Buso a Genova e altri che mostrano l’origine di Carlo Urbino .
This study is focused on the artistic expressions in Crema along the XVI century, considering artists, happenings, public and private commissions. Starting from the work of Benedetto Diana in Santa Maria della Croce, through the workshop of Vincenzo Civerchio, we arrive studying Aurelio Buso and Carlo Urbino, at the end of the century. This study presents come new documents, as one that certificate the journey of Aurelio Buso to Genua and others that show the origin of Carlo Urbino.

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Garofalo, Alessio. « De Rerum vinum historiae ». Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amslaurea.unibo.it/19273/.

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Il testo, De rerum vinorum historia, si prefigge il compito di raccontare la storia del vino e del mondo alle sue spalle. Approfondendo le tappe principali di una storia secolare: la storia dell’Enologia. Tale affascinante e lungo percorso, in cui i progressi della civiltà si intrecciano ai progressi della Scienza e della Tecnologia, affonda le sue radici nella leggenda e nella storia delle religioni. La Mesopotamia, Mezzaluna Fertile (culla della civiltà), è considerata la terra madre dei processi fermentativi da cui derivano le bevande euforizzanti. La pratica della vinificazione si è in seguito diffusa presso gli Ebrei, gli Arabi ed i Greci. Nella Roma antica la vinificazione assume importanza soltanto a seguito della conquista della Grecia. Tuttavia la pratica della vitivinicoltura, affinata dai romani, viene diffusa in tutto l'Impero. Dopo l'invasione dei barbari, tutto ciò che riuscirà a sopravvivere dell’amministrazione dell’Impero romano passerà di lì a poco alla Chiesa e anche la storia del vino inizierà un nuovo corso. Nell’ambito della vitivinicoltura l'Epoca Moderna è segnata da notevoli progressi, sia tecnici sia culturali, nei settori agronomico, enologico ed enogastronomico. Durante il XVII Secolo vengono create altre numerosissime bevande. Uno dopo l’altro si affacciano sul mercato a rivaleggiare col vino, nuovi beni di consumo: dal cioccolato al Rum, dal Caffè al Tè; e a seguire Cognac, Whisky ed altri alcolici. Negli ultimi secoli sono progressivamente sfumate le connotazioni rituali e terapeutiche del consumo di vino. Col passare degli anni si può senz’altro dire che il vino non è più solo un rito, un simbolo, una bevanda o il frutto del lavoro dei viticoltori. A tutti gli effetti il vino è divenuto un’esperienza culturale ed emozionale.

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Nascimento, Lúcia Moreira do. « São Luís e a rota do moderno ». Doctoral thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2020. http://hdl.handle.net/10400.5/20781.

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Tese de Doutoramento em Arquitetura com a especialização em Teoria e Prática do Projeto apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Doutor
A presente tese investiga a produção arquitetônica moderna em São Luís do Maranhão, Brasil, entre 1930 e 1960. Busca-se compreender a materialização da imagem da autoridade do Estado, com destaque desde a gestão de Getúlio Vargas (1930-1945) até à inauguração da nova Capital Federal, Brasília (1960), pelo Presidente Juscelino Kubitscheck (1956-1960). Este recorte caracteriza-se pela disseminação dos princípios do Movimento Moderno no Brasil e pelas intervenções arquitetônicas e urbanísticas promovidas pelo Estado. Este intervalo traz marcas da implantação de planos urbanísticos que definiram o desenho de novas avenidas e a ampliação da malha viária em novos eixos de movimento. Para que essas transformações fossem executadas, diversas edificações foram demolidas: casarões coloniais e ecléticos. Nos vazios urbanos surgiram novas soluções espaciais com outro vocabulário arquitetônico. Na contemporaneidade, a linguagem moderna permanece desvalorizada em relação à colonial, há um lento processo de descaraterização, aliado à ausência de legislação de proteção adequada, o que causa o prematuro desaparecimento do acervo. Realiza-se um estudo sistemático apoiado numa metodologia não intervencionista, de base qualitativa e quantitativa, que privilegiou uma abordagem histórica, descritiva e de caráter exploratório de edificações presentes na Rota do Moderno, para verificar a importância dessa arquitetura num território fortemente marcado pela linguagem colonial. Conclui-se que, a Rota do Moderno tem vindo a sofrer profundas descaracterizações.
ABSTRACT: The research of the modern architectural production assembled in São Luís, Maranhão, Brazil, between 1930 and 1960, is the focus of this study. The timespan comprehends the materialization of the image of State authority, with an emphasis on the beginning of Getulio Varga´s administration (1930-1945) to the inauguration of Brasília as the national capital (1960), by the end of the political mandate of Juscelino Kubitscheck (1956-1960). This approach is characterized by the dissemination of Modern Movement principles in Brazil and the architectural and urban interventions promoted by the State. As in other state capitals of Brazil, in São Luís this period was also highlighted by the elaboration and establishment of urban plans that defined the design of new avenues and the expansion of the road network that redesigned new traffic axes. In order to make these transformations effective several buildings were demolished: colonial and eclectic houses. In these urban voids, freed from the former buildings, new spatial solutions have emerged based on the new architectural vocabulary. These buildings reinforced the traffic axes, allowing their insertion with the consolidated urban fabric. Nowadays, modern architectural language remains devalued compared to the colonial one, causing a slow process of disfiguration that, together with the absence of adequate protective legislation, has in some cases led to its premature disappearance. Identifying and valuing this architectural heritage is the objective of this research. For that, a systematic study is carried out based on a non-interventionist methodology, with a qualitative and quantitative basis, which privileged a historical, descriptive and exploratory approach to buildings present in the Modern Route, in order to verify the importance of the architecture of the XX century in a territory strongly characterized by the colonial language.
N/A

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Grau, Donatien. « Le roman romain : généalogie d'un genre français ». Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040069.

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Cette thèse a pour but d’étudier l’émergence et le développement dans la littérature française d’un genre nouveau, du début du XIXe jusqu’à la fin du XXe siècle : le roman romain à sujet contemporain. N’évoquant pas la stabilité de la Ville antique, de ses ruines et de ses monuments, mais le paysage urbain et humain en mouvement de l’époque, il rompt avec la tradition du Grand Tour, qui était implicitement fondée sur la notion qu’aucune fiction ne pouvait être inventée dans le présent éternel de Rome, puisque la perception qu’on en pouvait nourrir était si profondément ancrée dans le passé. En faisant usage du roman, les écrivains étaient confrontés simultanément à la modernité du médium et à la modernisation urbaine et politique de la Ville, alors qu’ils avaient toujours à l’esprit le signe de Rome – le mythe de la Ville Éternelle. Les romans situés dans la Rome contemporaine fournissaient à leurs auteurs la possibilité de traiter des questions les plus fondamentales de l’éthique et de l’esthétique dela fiction : le rôle de la croyance dans la civilisation moderne – en terme de religion et de son contrepoint, la fiction littéraire ; le rôle du passé dans la construction de la modernité ; l’importance du présent dans l’expérience du passé ; la signification des Anciens à l’époque des Modernes. Analyser les formes du roman français à sujet romain contemporain signifie plus encore que de se confronter au portrait d’une ville : c’est une étude de la pertinence des paradigmes occidentaux
This thesis aims to address the emergence and the development in French literature of a whole new genre, from the beginning of the 19th until the end of the 20th century: the contemporaneous Roman-themed novel. Dealing not with the stability of the Ancient City, its ruins and its monuments, but with the shifting urban and human landscape of the time, it disrupts the tradition of the Grand Tour, which was implicitly based on the notion that no fiction could be invented in the eternal present of Rome, since the perception one could have there was so deeply rooted in the past. By using the novel, writers were simultaneously confronted to the modernity of the medium and to the urban and political modernisation of the city, while the sign of Rome – the myth of the Eternal City – was always present in their mind. Novels set in contemporaneous Rome provided their authors with the possibility to engage with the most crucial issues inherent to the aesthetics and ethics of fiction: the role of belief in modern cultures – in terms of religion and its counterpart, literary fiction; the role of the past in the construction of modernity; the importance of the present in the experience of the past; the meaning of the Ancients at the time of the Moderns. Analysing the forms of the French contemporaneous Roman-themed novel signifies even more than engaging with the portrait of a city: it is a study in the relevance of Western paradigms

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Balaÿ, Christophe. « La genèse du roman persan moderne ». Paris 3, 1988. http://www.theses.fr/1988PA03A007.

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Le roman persan moderne s'est constitue comme genre litteraire a part entiere en un temps ou l'iran etait en pleine transformation politique et sociale (xixes). Ces changements socio-politiques, indeniablement, ont entraine des changements litteraires. Mais reciproquement, la naissance du roman et son evolution ont agi efficacement sur le systeme politico-social. C'est de cette interaction que renait le systeme litteraire persan moderne. Phenomenes majeurs de ce renouveau : l' apparition des media et la reproduction mecanique des textes. Dans le cadre des aides technico-pedagogiques fournies par l'europe, l'iran fait brusquement l'experience des cultures etrangeres. Le francais devient langue pedagogique. Un grand effort est accompli dans le domaine de la traduction, sans que distinction soit clairement faite entre litteraire et non litteraire. L'adoption des modeles etrangers fait eclater les normes traditionnelles. Ainsi le centre canonique du systeme litteraire se transforme par la peripherie. Ce processus n'est cependant ni lineaire ni continu. Une periode transitoire (pre-postconstitutionnaliste) est marquee par l'emergence de nouvelles formes et le maintien d'elements traditionnels. Trois oeuvres symbolisent ce processus : ketab-e ahmad, siyahat-name-ye ebrahim beyg, amir arslan. La production romanesque qui s'etend de 1910 a 1940 environ, porte la
Modern persian novel has been established as a true literary genre when persia was facing drastic political and social changes. On the other hand, the birth of modern persian novel and its evolution had a strong and deep effect upon political and social system in iran. It may be said that modern persian literary system took origin and shape from that interaction. The major elements of this literay revival were the importation of new media (press and printing). Through technical and pedagogical assistance, provided by eutope, iran suddenly experienced foreign culture. In new academic system french language becomes the main medium of communication for pedagogy and cultural publishing works. A real effort is made in the field of translation. At first, very little difference is made between literary and non-literary materials. But foreign literary patterns cause traditional standards disintegration. Thus, canonical center of persian literary system is transformed by periphery. That process, however, was neither linear nor continuous. A transitory period focuses on three famous narrative works, very representative of conservative traditional and progressive attitudes : ketab-e ahmad, siyahat-name-ye ebrahim beyg, amir arslan. They clear

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Balaÿ, Christophe. « La genèse du roman persan moderne / ». Téhéran : Louvain : Institut français de recherche en Iran ; diff. Peeters, 1998. http://catalogue.bnf.fr/ark:/12148/cb369856755.

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Balaÿ, Christophe. « La Genèse du roman persan moderne ». Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37611547v.

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Haist, Andrea. « Der Ägyptische Roman : Rezeption und Wertung von den Anfängen bis 1945 / ». Wiesbaden : L. Reichert, 2000. http://catalogue.bnf.fr/ark:/12148/cb392230781.

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Connolly, Carole. « Manifestations du narrataire dans le roman québécois ». Thesis, University of Ottawa (Canada), 1999. http://hdl.handle.net/10393/8570.

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Deux problématiques traversent cette étude: l'appel à l'Autre, tel qu'il se manifeste dans les oeuvres romanesques et, simultanément, un aperçu des techniques narratives caractéristiques du roman québécois avant et après 1960. L'Autre du roman, c'est son narrataire extradiégétique. Le terme de «narrataire» est jeune, forgé par Roland Barthes en 1966, mais le souci du destinataire textuel remonte au moins à l'Antiquité grecque: Aristote en fait un des fondements de sa Rhétorique au Ive siècle avant Jésus-Christ. Les jalons subséquents dans l'évolution du concept de destinataire textuel ne seront posés, en réalité, qu'au XXe siècle, de concert avec le développement de la linguistique moderne (Saussure, les Formalistes, Bakhtine, Benveniste, Jakobson). Puis, en 1974, le structuraliste Gerald Prince fait valoir l'importance du narrataire proprement dit dans le discours romanesque: loin d'être un simple paradigme dépourvu de substance réelle, le narrataire se manifeste de façon concrète dans tous les romans et y assume des fonctions précises, variables selon les oeuvres. Et Prince de dresser un inventaire des indicateurs du narrataire dans les oeuvres romanesques et un aperçu des fonctions qu'il est susceptible d'assumer. La présente étude met à contribution les travaux de Prince et de ceux qui ont engagé la discussion avec lui (Genette, Todorov, Rousset, Ifri, Piwowarczyk) dans le repérage et la description des narrataires extradiégétiques dans les romans retenus: Jean Rivard , le défricheur et Jean Rivard , économiste d'Antoine Gérin-Lajoie; L'Appel de la race de Lionel Groulx, Maria Chapdelaine de Louïs Hémon, Mon cheval pour un royaume de Jacques Poulin et Parlons de moi de Gilles Archambault. Ce qui se dégage de ces situations variées est l'emploi du narrataire extradiégétique à une seule et même fin: l'interaction entre le narrateur et son narrataire, quels qu'en soient les avatars stratégiques, doit servir à convaincre le public ciblé par l'auteur du bien-fondé des propos du narrateur. Du moins jusqu'en 1960...A partir de la Révolution tranquille, les narràtaires ne seront plus les faire-valoir du narrateur, ne valideront plus comme auparavant ses propos. Dès lors, le lecteur doit choisir par lui-même d'adhérer ou non aux propos du narrateur, sans la caution du narrataire.

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Yakovenko-Lepetyuk, Irina. « Genres du discours dans le roman français moderne ». Montpellier 3, 2001. http://www.theses.fr/2001MON30014.

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Chansang, Kanika. « Roman et bourgeoisie : l'eclosion du roman thai "moderne" dans les annees 1930-1950 ». Paris 7, 1987. http://www.theses.fr/1987PA070061.

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Cette etude envisage de faire connaitre, a ses origines, la societe bourgeoise de thailande; c'est la perspective de l'expression romanesque qui revele explicitement sensibilites et tendances de l'epoque. Le choix de quatre romanciers, tous nes au debut du siecle: le prince akatdamkoeung, dokmaisot, kulab saipradit dit sri burapha et malai choopinij, se justifie par leur role en tant de precurseurs du roman moderne thai et de temoins de la societe de l'epoque. Les annees 30-40, periode politique de transition ou apparaissent une evolution de la societe et une floraison de la bourgeoisie, voient, dans les oeuvres representatives de ces auteurs, la vogue des romans a theme amoureux, expression de la lutte pour la justification des sentiments et du subjectivisme. A la suite de la victoire de la "revolution" bourgeoise de 1932, naissent des problemes causes par les nostalgies de l'aristocratie et les impatiences de la jeunesse. A partir des annees 40, les oeuvres de la maturite de ces auteurs revelent une decheance morale qui semble etre l'apanage des personnages et de la societe depeints. Dans leur ensemble, ces oeuvres romanesques presentent une image globale de l'evolution des modes de vie et de pensees des thailandais, mais, individuellement, chaque auteur, a cause de sa situation et de ses experiences sociales, voit, comprend et interprete differemment l'evolution de son epoque
The purpose of this work is to present the thai middle-class society by the novels' expressions during the period 1930-1950. Four novelists : prince akatdamkoeung, dokmaisot, sri burapha (kulab saipradit), and malai choopinij have been chosen. They are precursors of modern thai novel as well as witness of the history of their time. The thai bourgeoisie takes its rise during the 1930-1940 which can be considered as the transitional period from the absolute monarchy to democratic regime. Also, the representative works of these four writers at that time reveal a popular trend towards love theme which seems to justify the middle-class struggles for sensibilities and individualism. After the "bourgeois revolution" in 1932, have arised problems caused by the aristocratic nostalgie and the search for self-justification of the young generation. This will be reflected in the qualitative works of these authors during the next decade (1940-1950). Globally the novels under consideration present thai ways of life and thinkings in face of the growth of the bourgeois society. However, each of the authors, conditioned by the climate of social and moral experiences, seems to understand and interprete differently the social evolution of his time

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Chansang, Kanika. « Roman et bourgeoisie l'éclosion du roman thaï "moderne" dans les années 1930-1950 / ». Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37603804p.

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Edel-Roy, Agnès. « Une « démocratie magique » : politique et littérature dans les romans de Vladimir Nabokov ». Thesis, Paris Est, 2018. http://www.theses.fr/2018PESC0080/document.

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Écrite d’abord en russe puis en anglo-américain, l’œuvre romanesque de Vladimir Nabokov (1899-1977), écrivain américain d’origine russe, fascine ses lecteurs, mais leur participation à l’achèvement de cette œuvre artistique a été singulièrement restreinte par sa réception. La publication de Lolita (1955) le transforme en précurseur du postmodernisme américain. Aboutissement de la quête moderne de l’autonomie de l’art et triomphe de l’autotélisme artistique, sa création se trouve alors interprétée en poétique « tyrannique » sur laquelle règne l’auteur en « dictateur absolu ». Vladimir Nabokov, pourtant, n’a cessé d’identifier dans l’Histoire et de combattre dans son œuvre deux questions politiques du vingtième siècle : celle de la soumission de l’art à l’idéologie (quelle qu’en soit le nom) et celle de la tyrannie (actualisée par les régimes politiques nazi et soviétique). Dès l’origine, sa création de langue russe, puis anglo-américaine, est synchronisée avec les conséquences, tant en Russie qu’en Occident, de la Révolution bolchevique, l’événement historique qui change le « partage du sensible » (Jacques Rancière) vingtiémiste. La nature autotélique de sa création, dont les caractéristiques sont à redéfinir en opposition aux formes artistiques prônant l’engagement de l’art, indique en réalité que Nabokov propose une nouvelle « politique de la littérature » (Jacques Rancière) de l’émancipation qu’il a lui-même appelée du nom de « démocratie magique » et fait d’elle un « art critique » dont l’effet politique passe par sa distance esthétique, incluant « dans la forme de l’œuvre la confrontation de ce que le monde est avec ce que le monde pourrait être » (Jacques Rancière)
Vladimir Nabokov (1899-1977), American writer of Russian origin, was the author of fiction written first in Russian and then in American English. His work has been a constant source of fascination for his readers, but their interpretation has been limited by its reception. Upon the publication of Lolita (1955), Nabokov is seen as a precursor of American postmodernism. His writings are interpreted as the climax of the modernist quest for artistic autonomy and a triumph of autotelic creation, and a poetic of “tyranny” is identified in his work, with the author reigning supreme as an “absolute dictator.”However, Nabokov had never ceased to be preoccupied with two political issues in 20th century History, which he continuously denounced in his writings: the issue of the submission of art to any kind of ideology and that of tyranny illustrated by the Nazi and Soviet political regimes. From the very beginning of his career, in his Russian texts and later in his American texts, Nabokov’s work examines the consequences of the Bolshevik Revolution, seen as the historical event that changes the “distribution of the sensible” (J. Rancière) in the 20th century. The autotelic nature of his work, whose features should be defined in opposition to aesthetic forms that celebrate the commitment of art, actually indicates that Nabokov defines a new “politics of literature” (J. Rancière) based on emancipation, which Nabokov calls “a magic democracy” and considers to be a “critical art” whose aesthetic effect is predicated on its distance, thus including “in the form of the work the confrontation between what the world is and what the world may become” (J. Rancière)

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Bixler, Kelsey Nicole. « The Modern Domus : An Exploration of Roman Brick ». Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/52965.

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My thesis explores the potential manipulation of Roman brick using a Flemish bond, corner quoining, and barrel vaulting. The design uses this brick module to re-interpret the Ancient Roman domus, an urban residence embedded within the heart of the city. This classical inspiration is apparent in the tripartite plan and elevation as well as the use of the Golden Ratio, a classical proportioning system, incorporated throughout the design, revealed on both large and small scales. However, the emphasis of the project is on true brick construction, a process irrelevant to historical allusion.
Master of Architecture

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Petersen, Lauren Hackworth. « Questioning Roman "freedman art" : ancient and modern constructions / ». Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.

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Pereira, Pilar Castro. « Re-memory and Construction of the Romani Identity : a reading of The Eighth Sin, by Stefan Kanfer, and Zoli, by Colum McCann ». Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=2151.

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Através dos séculos, em locais e tempos distintos, o povo Romá (comumente conhecido como cigano) foi alvo de discriminações e de visões estereotipadas: tidos como ladrões e enganadores; ou como magos com poderes sobrenaturais de prever o futuro e de conjurar maldições; ou ainda como pessoas livres e sem destino, nômades em caravanas coloridas vivendo uma vida romântica fora da civilização. Durante a Segunda Guerra Mundial estima-se que mais de 250.000 Romás1 foram assassinados em campos de concentração - fato não muito conhecido ou divulgado. A Porrajmos (a Devoração, denominação do Holocausto em romanês) promovida pelo regime nazista marcou profundamente a história deste povo como um dos mais tristes e cruéis episódios de todo o histórico de ódio e perseguição sofridos pelos Romás. Os romances The Eighth Sin (1978) e Zoli (2006) lidam de diferentes maneiras com este momento específico da história, oferecendo uma outra imagem dos Romás, diferente daqueles estereótipos tão comumente encontrados na literatura mundial. Assim, a intenção desta pesquisa é investigar como os protagonistas das obras indicadas foram construídos e como a herança cultural do povo cigano é descrita e transmitida por Stefan Kanfer e Colum McCann, respectivamente, com base em canções, poemas, tradições, memórias e relatos de sobreviventes que atestam a perseguição e o genocídio do povo Romá durante a Segunda Guerra
Throughout the ages, in different places, the Roma people (commonly known as gypsies) have been object of stereotyped views, either seen as thieves and masters in the art of deception; as conjurers, working in magical and mysterious ways; or as untamed free souls, leading a romantic life as nomads in colorful caravans outside the so-called civilization. During the II World War it is estimated that over 250.000 Roma were murdered in concentration camps a fact that is rarely touched upon. The Porrajmos (the Devouring, denomination of the Holocaust in Romani) promoted by the Nazi has deeply marked the Roma history as one of the cruellest and saddest points in the history of hatred and persecution endured by this people. The novels The Eighth Sin and Zoli deal in different ways with this specific moment in world history, depicting a different image of the Roma. Therefore, it is our intention to investigate how the protagonists in both novels are constructed and how the Romani cultural heritage is portrayed and conveyed by Stefan Kanfer and Colum McCann, respectively, relying on songs, poems, traditions, memories and real life testimonies of the persecution the Roma people suffered during II World War

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Serra, Alessandro. « Culti e devozioni delle confraternite romane in Eta moderna ». Clermont-Ferrand 2, 2010. http://www.theses.fr/2010CLF2A017.

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Largement inspirée des méthodes de l'histoire religieuse française, la thèse se compose de 3 parties. La première, partagée en 2 chapitres, a pour objectif de donner un aperçu général de la thématique dans une perspective historiographique et historique. Tout d'abord, l'on passe en revue les principales études sur les confréries publiées pendant les cinquante dernières années. Ensuite, l'on brosse un tableau de la présence confraternelle dans la ville, en s'attachant à une présentation des fondations qui voient le jour entre le13e et 18e siècle. La seconde partie est consacrée à la mise en place d'un cadre global des choix cultuels des compagnies romaines entre le 17e et 18e siècle, fondée sur un corpus de données tirées de la "visite apostolique" d'Urbain VIII de 1624-30 et des inventaires compilés en 1726-1727 par ordre du Concile romain de 1725. Ce cadre est construit sur la base d'une série d'éléments considérés comme des indicateurs de la démarchre religieuse confraternelle : les titulatures des confréries et les dédicaces de leurs autels ; les images ; les reliques. La troisième partie est consacrée à une étude de cas : à travers les vicissitudes de l'archiconfrérie des SS. Stigmates de saint François, créée en 1594, on examine le complexe processus qui permet à une nouvelle confrérie de s'affirmer dans un tissu associatif romain et à une nouvelle dévotion de s'enraciner profondément dans les habitudes dévotes de la ville du pape. Le travail est complété par deux annexes, dont un inventaire de la production imprimée à l'usage des confréries romaines d'époque moderne

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Erkers, Beatrice. « Stoner vs. Lyhne : Döden som den moderna apokalypsen ». Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-351973.

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En komparativ analys av dödsskildringar i två moderna romaner, Niels Lyhne skriven av J.P. Jacobsen och Stoner av John Williams. Diskuterar den moderna apokalypsen, utvecklingen från tidigmoderna till senmoderna romaner och Karl Jaspers gränsögonblick.

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Forbes, Shannon. « Women's transition from Victorian to contemporary identity as portrayed in the modern novel / ». Lewiston : the E. Mellen press, 2006. http://catalogue.bnf.fr/ark:/12148/cb40213429k.

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Masse, François. « L'Esprit d'Albertine : le personnage de roman à l'ère de la vitesse moderne ». Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103665.

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The subject of this thesis is the novel character during the emergence of modern speed, that is to say between the transportation revolution, which began around the mid-nineteenth century, and the first third of the 20th century. Our hypothesis is that the transformations affecting speed during this period gave rise to new types of characters – such as the passer-by, the passenger, the individual in a hurry or lost in some transit area – whose presence in the novel is in passing. In developing this idea, we use a character which, in itself, embodies all of the issues raised by the introduction of modern speed in novels. This character is Albertine Simonet, the "budding girl" of À la recherche du temps perdu by Marcel Proust. Albertine indeed hold a highly strategic position for our subject matter. In the "inter-century" work that is À la recherche du temps perdu (as described by Antoine Compagnon), she draws to herself the modern elements revealed by Balzac and Baudelaire – the modernity of passers-by, crowds and anonymity in large cities, which were all outward signs of modern speed before the means to make it a reality even appeared –,while truly being a woman of her time, as a contemporary of significant technical inventions, to which she is continually associated in Proust's novel. Whether used as an introduction or as a means of comparison, Albertine is a guide for our analysis and preludes the traveler characters of Octave Mirbeau, Paul Morand and Valery Larbaud, whose peculiarity resides in that their adventure dissolves in its own movement.
Cette thèse de doctorat a pour objet le personnage de roman à l'heure où se met en place la vitesse moderne, soit entre la révolution des transports enclenchée vers le milieu du XIXe siècle et le premier tiers du XXe siècle. L'hypothèse posée ici est que les transformations que connaît la vitesse au cours de cette période donnent lieu à de nouveaux « types » de personnage – tels le passant, le passager, l'individu pressé ou perdu au milieu de quelque lieu de transit – qui semblent moins enclins à s'installer dans l'espace du roman qu'à simplement le traverser. Pour mener cette réflexion, nous recourrons à un personnage qui « incarne » en lui-même toutes les questions que l'introduction de la vitesse moderne dans le roman vient soulever. Ce personnage est celui d'Albertine Simonet, la « jeune fille en fleurs » de À la recherche du temps perdu de Marcel Proust. Albertine occupe en effet une place des plus stratégiques en regard de notre sujet de réflexion. Prenant place dans cette œuvre « entre deux siècles » qu'est À la recherche du temps perdu (ainsi que l'a qualifiée Antoine Compagnon), elle tire à elle toute la modernité dévoilée par Balzac et Baudelaire – celle de la passante, de la foule, de l'anonymat au sein des grandes villes, qui sont toutes des manifestations de la vitesse moderne avant même que les moyens qui la rendront concrète n'apparaissent –, tout en étant pleinement de son temps, contemporaine des inventions techniques marquantes de son époque et auxquelles elle est constamment associée dans le roman de Proust. En aval ou en parallèle, Albertine, qui agira comme guide à notre réflexion, annonce les personnages de voyageurs d'Octave Mirbeau, de Paul Morand et de Valery Larbaud, dont le propre est de voir leur aventure se dissoudre dans son propre mouvement.

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Bergheim, Brigitte. « Das gesellschaftliche Individuum : Untersuchungen zum modernen deutschen Roman / ». Tübingen : Francke, 2001. http://catalogue.bnf.fr/ark:/12148/cb39012464n.

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Shao, Baoqing. « La naissance du langage romanesque chinois moderne ». Paris, INALCO, 2001. http://www.theses.fr/2001INAL0019.

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Smyth, Edmund Joseph. « The nouveau Roman and the aesthetics of modernity and postmodernity ». Thesis, University of Glasgow, 1993. http://theses.gla.ac.uk/4834/.

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Shields, Thomas Joseph. « The gift of assurance : the presbyter in modern Roman Catholic theology ». Thesis, University of Edinburgh, 2008. http://hdl.handle.net/1842/30752.

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From a conversation between selected authors and documents from the Roman Catholic Magisterium, this thesis suggests that the Roman Catholic Church is one who is given by God to be an assurance of faith to the church. In the first part of the thesis the author reflects on the image of the ordained priest as leader of the community and considers the questions raised in the recent debate as to the identity of the ordained as acting in the person of Christ and in the person of the church. Also considered is the identity of the ordained as emerging from the teaching of the Roman Catholic Church especially in relation to the document ‘Pastores Dabo Vobis’ of John Paul II. The definition of the presbyter as distinct from that of bishop is also explored in relationship to the parish and the local bishop. In the second part of the thesis, under the title of ‘Gift and Return’, the author examines some recent theological theories which underline the sacraments as encounters between God and humanity and show how they are participations in the life of God. Recent theological work concerning the post modern challenge to an understanding of how God and the human are mutually present to one another is also undertaken. The final part draws the first two parts together, again with reference to assurance, authenticity, and authority but this time with explicit reference to the three offices of priest, prophet, and pastor. The conclusion is that the presbyter as the gift of assurance is a model that can complement and further explain other images used of the ordained priesthood in general and the presbyterate in particular, such as shepherd and steward.

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Drenas, Andrew J. G. « 'The Standard-bearer of the Roman Church' : Lorenzo da Brindisi (1559-1619) and Capuchin Missions in the Holy Roman Empire ». Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:74703f2b-5da1-4a5c-bc77-923f006781f3.

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This thesis examines the missionary work of the Italian Capuchin Lorenzo da Brindisi. Renowned in his own day as a preacher, Bible scholar, missionary, chaplain, and diplomat, as well as vicar general of his Order, Lorenzo led the first organised, papally-commissioned Capuchin mission among the non-Catholics of Bohemia in the Holy Roman Empire from 1599 to 1602, and returned there, again under papal mandate, from 1606 to 1613. This thesis examines Lorenzo’s evangelistic and polemical activities in Central Europe in order to shed light on some of the ways the Capuchins laboured in religiously divided territories to confirm Catholics in their faith and to win over heretics. The introduction explains, principally, the thesis’s purpose and the historiographical background. Chapter one provides a brief biographical sketch of Lorenzo’s life followed by details of his afterlife. Chapter two examines his leading role in establishing the Capuchins’ new Commissariate of Bohemia-Austria-Styria in 1600, and specifically its first three friaries in Prague, Vienna, and Graz. Chapter three treats his preaching against heresy. Chapter four focuses on how Lorenzo, while in Prague, involved himself directly in theological disputations with two different Lutheran preachers. The first dispute, with Polykarp Leyser, took place in July 1607, and dealt with good works and justification. The second, with a Lutheran whose name is not known for certain, and which occurred in August 1610, concerned Catholic veneration of the Virgin Mary. Chapter five analyses the Lutheranismi hypotyposis, Lorenzo’s literary refutation of Lutheranism following additional contact with Polykarp Leyser in 1607. The conclusion considers briefly the effectiveness of Lorenzo’s apostolate and closes with a review of the thesis as a whole.

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Brault, Gilles. « La construction du passé dans le roman "L'enfant de Bruges" de Gilbert Sinoué ». Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/27113.

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Le foisonnement des oeuvres historiques dans le panorama littéraire témoigne d'une véritable "vogue du roman historique". Or l'analyse des formes plus contemporaines du genre met au jour une modification des paramètres traditionnels de construction de l'Histoire. C'est ce postulat qui nous a incité à consacrer notre étude au roman L'enfant de Bruges (1999) de Gilbert Sinoué. Quelle place et quelle fonction le roman assigne-t-il aux personnages attestés et fictifs? Quelle est la nature des procédés de représentation du personnel et de la société du roman et quelles sont leurs répercussions sur la construction de l'Histoire? Quel est l'impact de l'importation des techniques propres au genre policier sur le mode de composition? Quelle est la validité d'une telle approche sur le plan historique? Notre réflexion s'attardera à dégager les composantes narratologiques et discursives qui président à la construction du passé dans le roman de Gilbert Sinoué.

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Côté-Ostiguy, Catherine. « André Gide et la quête du roman : La poursuite d’un idéal Romanesque depuis «Paludes» jusqu’aux «Faux-Monnayeurs» ». Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121272.

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In Theory of the Novel, Georg Lukács suggests that one of the defining traits of characters in novels is that they are always on a quest. We generally study the "novelistic quest" from that point of view, referring to a pursuit led by the characters inside the novel. When we look at André Gide's literary career, however, the parameters of the quest change, and the novel becomes its object instead of its framework. Throughout his career, Gide will progress towards the "perfect" novel, pursuing three distinct objects in their ideal form: the figures of the novelist, the reader, and the novel itself. This thesis aims to map Gide's journey through careful examination of his writings on the novel – journal, correspondence, essays –, a journey which will lead him to his "first novel", The Counterfeiters.
Dans sa Théorie du roman, Georg Lukács avance que l'une des caractéristiques constitutives des personnages de roman est que ces derniers sont « toujours en quête ». La notion de quête romanesque est généralement étudiée dans cette optique, comme une recherche menée par le protagoniste à l'intérieur du roman. En ce qui concerne André Gide, toutefois, cette quête subit un renversement par lequel le roman devient l'objet de la recherche plutôt que son cadre. Au fil de sa carrière, Gide s'efforcera de saisir le « roman rêvé » à travers la poursuite de trois idéaux distincts et étroitement associés : celui du romancier, du lecteur et du roman idéaux. Ce mémoire retrace, au moyen des écrits de Gide sur le roman – Journal, correspondances, essais –, son parcours vers ces idéaux, parcours qui le mènera jusqu'à la rédaction du « premier roman » qu'est Les Faux-monnayeurs.

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Gomolla, Stephanie. « Distanz und Nähe der Flaneur in der französischen Literatur zwischen Moderne und Postmoderne ». Würzburg Königshausen & ; Neumann, 2009. http://d-nb.info/994476043/04.

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Casanovas, i. Aleix Maria Mercè. « Rosa Vera : una aportació a la història del gravat modern a Catalunya ». Doctoral thesis, Universitat de Barcelona, 1990. http://hdl.handle.net/10803/2569.

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La Rosa Vera és el nom d'una editorial catalana sota el peu de la qual es varen publicar llibres i col.leccions amb gravats originals entre el 1945 i el 1984, i per on hi desfilaren més d'un centenar d'artistes plàstics i d'escriptors.

Jaume Pla, el director tècnic d'aquesta editorial, va escollir aquest nom inspirat en una frase d'un poema de Jacint Verdaguer titulat "Rosa de la Mare de Déu" que li va semblar adient per encapçalar les seves obres.

a) Contingut de la tesi

- Volum l: Exposició del tema recollida en cinc capítols, conclusions i bibliografia.

- Volum II: Apèndix amb l'anàlisi exhaustiva de cadascun dels llibres de La Rosa Vera il.lustrats amb gravats.

- Volum III: Apèndix amb l'anàlisi completa de les col.leccions de La Rosa Vera.

La tesi està enfocada des del punt de vista d'una gravadora, amb una aportació personal i d'innovació en l'estudi de cada llibre i de cada gravat.

b) Fonts utilitzades

1. La persona i les obres de Jaume Pla (Rubí, 1914), director tècnic de l'editorial.
2. Erasme d'Imbert, fill de Víctor Mª d'Imbert (Barcelona, 1903-1978), editor i promotor de "La Rosa Vera".
3. La Biblioteca de Catalunya.
4. La Secció de Gravats del Museu d'Art Modern de Barcelona.
5. El taller de Jaume Coscolla i Jordi Sànchez, on es varen estampar les últimes obres de "La Rosa Vera".
6. Artistes plàstics, escriptors i col.laboradors que varen prendre part en Ia comesa.

c) Aspectes innovadors aportats per la tesi

1. L'estudi i anàlisi dels IIibres que mai no s' havia fet i que ha esdevingut una de les parts més creatives del treball.

2. L'ampliació i aprofundiment de l'estudi de les col.leccions a través de les proves addicionals i els dibuixos preparatoris.

3. La realització de tres fitxes tècniques elaborades personalment i que són fruit de l'anàlisi minuciosa de cada obra.

4. La distribució i catalogació de la bibliografia.

5. El contacte directe amb persones que van col.laborar amb "La Rosa Vera" i el recull d'opinions i articles apareguts sobre aquesta obra pública.

d) Què és La Rosa Vera

"La Rosa Vera" fou una empresa cultural en pro del gravat original i la bibliofília dirigida tècnicament per Jaume Pla i promocionada per Víctor Mª d'Imbert. La idea va néixer a Barcelona, però després, el 1955, es va estendre a Madrid, sota el patrocini de Juana Mordó, i també a França amb la col.laboració d'artistes estrangers, però que no s'arribà a dur a terme.

"La Rosa Vera" fou una editorial de reafirmació catalana. Un conjunt de llibres esdevinguts objecte d'art per l'acurada tipografia, per la qualitat del paper, per la integració entre el text i la imatge i per convertir el gravat en única tècnica d'il.lustració.

"La Rosa Vera" fou l'obra conjunta de més de cent artistes plàstics i artístiques, aportant-hi la novetat de la incorporació d'uns textos escriptors en mútua col.laboració.

"La Rosa Vera" fou el risc a l'aventura d'enfrontar-se per primer cop a una planxa de metall. El repte de crear un text literari sobre una imatge gravada lliurement i a priori.

"La Rosa Vera" fou una col.lecció d'estampes "ll.lustrades" per uns textos literaris. La recuperació d'un públic que estima l'obra ben feta. Una innovació en el món del col.leccionisme. La popularització del gravat, oferint la mateixa qualitat que l'original a un preu assequible.

A "La Rosa Vera" l'artista plàstic feia un dibuix lliurement, Jaume Pla deia quina era la tècnica de gravat més adient i els l'ensenyava. Després aquell gravat era comentat amb paraules per un escriptor. El canvi de papers entre l'il.lustrador i l'il.lustrat fou una novetat curiosa en el camp de l'estampa i la seva difusió.

"La Rosa Vera" fou una proposta nova i creativa que, sobretot amb les col.leccions de gravats, va llançar al mercat un gran nombre d'estampes artístiques, aportant-hi la novetat de l'incorporació d'uns textos literaris que les comentaven.

Amb "La Rosa Vera" va néixer a Catalunya un dels moviments de gravat capdavanters en l'intent de popularitzar i revaloritzar aquest art, esdevenint un exemple de reivindicació i de defensa de la identitat del país en una època difícil per la nostra cultura.
"La Rosa Vera" is the name of a Catalan publishing company under whose auspices books and collections of original engravings, were pubIished from 1945 to 1984, an enterprise which involved a succession of artists and writers numbering over one hundred.

CONTENTS OF THIS THESIS

Volume I: Introduction to the subject, general conclusions and bibliography.

Volume ll: Analysis of the books published by La Rosa Vera.

Volume III: Analysis of the collections published by La Rosa Vera.

The thesis' subject matter is considered from an engraver's paint of view, bringing to the study of each book and each engraving a new outlook, at once personal and creative.

"La Rosa Vera" was a cultural initiative whose aim was to promote original engravings and a general appreciation of books; it was technically directed by Jaume Pla and promoted by Víctor Mª d'Imbert. The idea itself arose in Barcelona but later caught on in Madrid, under the patronage of Juana Mordó, and also in France.

In "La Rosa Vera" the artist would produce a drawing freestyle, after which Jaume Pla would both advise him which was the most appropriate engraving technique and give him practical tuition in it. A writer was then commissioned to provide a commentary in words to accompany the engraving. This role-reversal between illustrator and illustrated constituted a curious innovation in the field of prints and their dissemination.

"La Rosa Vera" was a new creative initiative which, particularly with its collections of engravings, launched onto the market a large number of artistic prints in an attempt to introduce this art form to a wider public; it brought the added novelty of literary texts which had been specially written as a commentary on the pictures.

With "La Rosa Vera", Catalonia saw the birth of one of the pioneer movements in the field of engraving which aim to popularise and to reassess this art form. This was an example of how the country' s identity was reasserted and defended in the midst of a difficult period for our culture.

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Parkin, Anneliese Ruth. « Poverty in the early Roman Empire : ancient and modern conceptions and constructs ». Thesis, University of Cambridge, 2001. https://www.repository.cam.ac.uk/handle/1810/251804.

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Santoyo, Orozco Ivonne. « Rome, before the State : architecture and persuasion in the early modern city ». Thesis, Open University, 2017. http://oro.open.ac.uk/52259/.

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Rome, before the State is a historical exploration of the role architecture has played in constructing affective relations of power. It is an attempt to trace the transformation of the city of Rome against the background of shifting state–church relations between the mid-fifteenth and mid-seventeenth centuries. This period is framed by two events: the struggle of the papacy to establish its seat of temporal power in Rome in the quattrocento and the convoluted context of the Thirty Years’ War in the mid-seventeenth century. This is the period in which an increasingly polycentric and rational, political world was emerging. Central to this work is Paolo Prodi’s critical exposé of papal power over this period, which he elaborated in Il Soverano Pontefice. While Prodi closely follows the legal, administrative, and organizational attempts by which papal power was transformed and centralized, here I will entangle this history with its spatial and sensorial correlates, which mark out a particular history of architecture. If Paolo Prodi argued that, during the period explored here, Rome became a political laboratory that influenced the process of state-building in Europe, my contention is that Rome’s contribution to modern statecraft was not restricted to its administrative practices, as Prodi emphasizes. Rather, I will argue that it was in the affective and spatial techniques of persuasion that were discovered throughout this period that a certain legacy of modern western European power could be observed. In other words, it is in early modern Rome that a new form of modern power emerged that was characterized not only by the rationalization of its practices and development of early governmental mechanisms but also by the embracement of a spatial and affective dimension to cultivate relations of allegiance through the city itself. This thesis is thus an examination of the correlation between the spatial, affective and administrative means by which the papacy began to fashion the pope as a sovereign, and Rome as the capital of the Papal States. I argue that it is in Rome during this period that the simultaneous transformations of the space of the city and of power became indistinguishable from one another. The papacy’s continuous intervention to the city of Rome set in motion over the course of these two centuries not only harnessed allegiance through the traditional means of legal and military force, but also through the cultivation of an affective grip on the life of the city’s citizens. Over this period, the papal court, I will argue, began to develop sensory and spatial techniques that subsequently became instrumental to the formation of modern state machinery. In this way, Rome, before the State, has two aims: on the one hand, it seeks to achieve a spatial extension of Prodi’s argument; and on the other hand, it is an attempt to construct a history of the spatial techniques of persuasion that the papacy developed as a means of transforming its power. In this way, the thesis is an effort to understand the affective dimensions of power which arguably precedes the emergence of the modern state, but nonetheless contributes to it. More specifically, the thesis follows three distinct spatial moments in the history of the papacy during the period that Prodi examines. I will question how three distinct popes – Eugenius IV, ruling from 1431 to 1447, Sixtus V, ruling from 1585 to 1590, and Urban VIII, pope from 1623 to 1644 – each enabled a series of transformations of the space of Rome whose resulting organizations and architectures had indirect, but nevertheless real consequences in the sphere of power. In investigating these three popes and the Rome they shaped, I will not restrict my reading to the works that they directly authored, but will also include those that they strategically enabled. In this way, what will be emphasized is the predominance of three conceptual categories that, under their respective papacies, became crucial frameworks through which to reconsider the coupling of each pope’s temporal power with the realm of spatial experience: magnificence, liturgy, and admiratio (wonder). In each case, I will provide a brief conceptual history of the concept, the historical context in which they acquired specificity, and a series of architectural and urban vignettes that collectively illustrate their broader spatialization. In tracing the theological and philosophical histories of these concepts, as well as the distinct manner in which a set of spatial interventions were deployed by the papal court, I will attempt to frame a certain relation between the secular and the theological from an architectural perspective. Throughout this work, Carl Schmitt’s famous words, “all significant concepts of the modern theory of the state are secularized theological concepts” resonate. This argument was not foreign to Walter Benjamin, nor to Max Weber, Ernst Kantorowicz and, more recently, Giorgio Agamben. In these scholars’ writings, the relation between the secular and the theological acquired a specificity through the understanding of liturgical acclamation, canon law or biblical exegesis, among other things. Yet here, this thesis proposes to contribute to our understanding of such convoluted relations by instead following the continuous interest the papal court maintained in transforming the space of the city in early modern Rome. In doing so, I underline certain persuasive techniques that lay at the heart of papal power, which were instrumental in imagining an early modern power that constituted itself through the affective and, we could say, sensual dimensions through which it operated. In following the spatialization of these categories, I begin to distance my reading of papal power from that of Prodi, to frame instead the historical basis on which I can contribute to an architectural understanding of the relation between secular and theological concepts. That is to say, what we will find in this study is that architecture and city space, more broadly, takes on the role of a conduit between the theological and the secular. In doing this, the transformation of city space becomes a crucial lens by which to understand the conditions of emergence of an early form of modern western power. While clearly attempting to contribute to a political understanding of the affective dimension of architecture, this thesis is nonetheless shaped by the intersection of architectural historiography, political theory and philosophy. It is only as such that in each moment we can ask what the role of space is in the assertion of the temporal power of the papacy. Or, to put it differently, how can our understanding of the papacy’s temporal power shed light on the political role of the experience of space? And, finally, it is in this way that we can advance conjectures as to how this period provides an image of the manner in which space, architecture, and artifacts have contributed to the early formation of modern subjectivity.

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Maunder, Christopher John. « Apparitions of the Virgin Mary in modern European Roman Catholicism (from 1830) ». Thesis, University of Leeds, 1991. http://etheses.whiterose.ac.uk/419/.

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Apparition phenomena, particularly those that claim Mary as their object, are still very influential in modern Roman Catholicism. The first half of this thesis is concerned with the context of these visions in their European form, and how the Catholic Church promotes some of them into the heart of its devotional life. On the whole, this first part takes a phenomenological view, simply looking at this process in its own right, although there are also some sociological insights and critical remarks. The author, as a Catholic devotee of the marian cult himself, is attempting to write a theological critique of the visions as a member of the pilgrim community, using a broader range of academic tools than is usually employed in such a task. In the second half of the thesis, therefore, a theoretical model is constructed that provides a new understanding of the phenomena. This model has four elements: firstly, the humanistic psychological, in which marian apparitions are compared with other such phenomena and considered from the view of depth psychology. The major factors which distinguish them are the intensity of the experience and the ecclesial context. Secondly, ecclesiological: the visions cannot be considered as extras or alternatives to the everyday life of the Catholic Church, but as its own 'epiphenomena'. Thirdly, mariological: the apparitions show evidence of 'high' mariology, although this is qualified because of Mary's apparent powerlessness in the face of God's judgement. In the modern era, the orthodox christocentric emphasis is more pronounced, but this does not appear to be a wholly spontaneous feature. Fourthly, and finally, biblical: the Christian revelation is rooted in history, and it is this which must be primary and not the archetypal, universal patterns of the psyche. Therefore the objective element in apparitions, if such exists, is, from a theological perspective, the Mary of history and her part in the events at the heart of the Christian understanding of salvation.

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Thèses sur le sujet « Roma moderna »

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