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1
Norris, R. Mae. « Beyond the battlefield : Venice's Condottieri families and artistic patronage : the Colleoni of Bergamo, Martinengo di Padernello of Brescia and the Savorgnan del Monte of Udine (1450-1600) ». Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708397.
Texte intégral
2
Jauch, Linda. « Women, power and political discourse in fifteenth-century northern Italy ». Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/252268.
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3
Maglaque, Erin. « Venetian humanism in the Mediterranean world : writing empire from the margins ». Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:4d671b0d-6917-4a1f-bcfb-2045128a11e0.
Texte intégralRésumé :
My dissertation examines the cultural history of the Renaissance Venetian maritime empire. In this project I bring into conversation two historiographical subfields, the intellectual history of Venetian Renaissance humanism and the colonial history of the early modern Mediterranean, which have previously developed separately. In doing so, I examine the relationship between power and knowledge as it unfolded in the early modern Mediterranean. The ways in which Venetian Renaissance intellectual culture was shaped by its imperial engagements - and, conversely, how Venetian approaches to governance were inflected by humanist practices - are the central axes of my dissertation. In the first part of the dissertation, I examine the ways in which writing and textual collecting were used by elite Venetian readers to represent the geopolitical dimensions of their empire. I consider a group of manuscripts and printed books which contain technical, navigational, and cartographic writing and images about Venetian mercantile and imperial activity in the Mediterranean. In the second part, I undertake two case-studies of Venetian patrician governors who were trained in the humanist schools of Venice, before being posted to colonial offices in Dalmatia and the Aegean, respectively. I examine how their education in Venice as humanists influenced their experience and practice of governance in the stato da mar. Their personal texts offer an alternative intellectual history of empire, one which demonstrates the formation of political thought amongst the men actually practicing and experiencing imperial governance. Overall, I aim to build a picture of the ways in which literary culture, the physical world of the stato da mar, and political thought came to be entwined in the Venetian Renaissance; and then to describe how these dense relationships worked for the Venetian administrators who experienced them in the Mediterranean.
4
Pesuit, Margaret. « Representations of the courtesan in sixteenth-century Venice : sex, class, and power ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37227.pdf.
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5
Yoshioka, Masataka. « Singing the Republic : Polychoral Culture at San Marco in Venice (1550-1615) ». Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33220/.
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During the late sixteenth and early seventeenth centuries, Venetian society and politics could be considered as a "polychoral culture." The imagination of the republic rested upon a shared set of social attitudes and beliefs. The political structure included several social groups that functioned as identifiable entities; republican ideologies construed them together as parts of a single harmonious whole. Venice furthermore employed notions of the republic to bolster political and religious independence, in particular from Rome. As is well known, music often contributes to the production and transmission of ideology, and polychoral music in Venice was no exception. Multi-choir music often accompanied religious and civic celebrations in the basilica of San Marco and elsewhere that emphasized the so-called "myth of Venice," the city's complex of religious beliefs and historical heritage. These myths were shared among Venetians and transformed through annual rituals into communal knowledge of the republic. Andrea and Giovanni Gabrieli and other Venetian composers wrote polychoral pieces that were structurally homologous with the imagination of the republic. Through its internal structures, polychoral music projected the local ideology of group harmony. Pieces used interaction among hierarchical choirs - their alternation in dialogue and repetition - as rhetorical means, first to create the impression of collaboration or competition, and then to bring them together at the end, as if resolving discord into concord. Furthermore, Giovanni Gabrieli experimented with the integration of instrumental choirs and recitative within predominantly vocal multi-choir textures, elevating music to the category of a theatrical religious spectacle. He also adopted and developed richer tonal procedures belonging to the so-called "hexachordal tonality" to underscore rhetorical text delivery. If multi-choir music remained the central religious repertory of the city, contemporary single-choir pieces favored typical polychoral procedures that involve dialogue and repetition among vocal subgroups. Both repertories adopted clear rhetorical means of emphasizing religious notions of particular political significance at the surface level. Venetian music performed in religious and civic rituals worked in conjunction with the myth of the city to project and reinforce the imagination of the republic, promoting a glorious image of greatness for La Serenissima.
6
Jones, Scott Lee. « Servants of the Republic : patrician lawyers in Quattrocento Venice ». Thesis, Swansea University, 2010. https://cronfa.swan.ac.uk/Record/cronfa42517.
Texte intégralRésumé :
Lawyers have widely been recognized as playing a role in the transition from the medieval to the modem state. Their presence in Renaissance Venetian politics, however, remains largely unexplored. Relying primarily on a prosopographical analysis, the thesis explores the various roles played by lawyers, dividing those roles into three main categories: diplomats, territorial governors, and domestic legislators. What emerges is a clear pattern of significant involvement by legally trained patricians in the Venetian political system. Noble lawyers were most often ambassadors, serving in many of the principal courts inside and outside of Italy as Venice was extending her influence on the Italian peninsula. They also served as administrators of Venetian rule throughout the Venetian terraferma (mainland) state. Lastly, their domestic political officeholding further confirms their continuing participation, as they held many of the most important domestic offices throughout the Quattrocento. The thesis ends with short biographies of each of the nearly three-dozen lawyers who make up this study, as well as chronologies of the offices they held. These chronologies include archival references for each office.
7
Sherman, Allison M. « The lost Venetian church of Santa Maria Assunta dei Crociferi : form, decoration, and patronage ». Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1021.
Texte intégralRésumé :
This dissertation reconstructs the original form and sixteenth-century decoration of the lost Venetian church of Santa Maria Assunta dei Crociferi, destroyed after the suppression of the Crociferi in 1656 to make way for the present church of the Gesuiti. The destruction of the church, the scattering of its contents, and the almost total lack of documentation of the religious order for which the space was built, has obscured our understanding of the many works of art it once contained, produced by some of the most important Venetian artists of the sixteenth century. This project seeks to correct scholarly neglect of this important church, and to restore context and meaning to these objects by reconstructing their original placement in the interest of a collective interpretation. Various types, patterns and phases of patronage at the church—monastic, private and corporate—are discussed to reveal interconnections between these groups, and to highlight to role of the Crociferi as architects of a sophisticated decorative programme that was designed to respond to the latest artistic trends, and to visually demonstrate their adherence to orthodoxy at a moment of religious upheaval and reform.
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Rushing-Raynes, Laura. « A history of the Venetian sacred solo motet (c. 1610--1720) ». Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185473.
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In 17th century Italy, the trend toward small sacred concertato forms precipitated the publication of a number of volumes devoted exclusively to sacred solo vocal music. Several of these, including the Ghirlanda sacra (Gardano, 1625) and Motetti a voce sola (Gardano, 1645) contain sacred solo motets by some of the best Italian composers of the period. Venetian composers were at the forefront of the move toward the smaller concertato forms and, to fulfill various needs of church musicians, wrote in an increasingly virtuoso style intended to highlight the solo voice. This study traces the development of the solo motet in the sacred works of Venetian composers from the time of Monteverdi to Vivaldi. It revolves around sacred solo motets composed at Saint Marks and the Venetian ospedali (orphanages). It includes works of Alessandro Grandi, Claudio Monteverdi, Francesco Cavalli, and Antonio Vivaldi. It also deals with solo motets of lesser composers whose works are available in modern critical and performing editions or in recently published facsimiles. In addition to providing a more detailed survey of the genre than has been previously available, this study provides an overview of highly performable (but largely neglected) repertoire.
9
Hammond, Joseph. « Art, devotion and patronage at Santa Maria dei Carmini, Venice : with special reference to the 16th-Century altarpieces ». Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3047.
Texte intégralRésumé :
This study is an art history of Santa Maria dei Carmini, Venice, from its foundation in c. 1286 to the present day, with a special focus on the late Renaissance period (c. 1500-1560). It explores a relatively overlooked corner of Renaissance Venice and provides an opportunity to study the Carmelite Order's relationship to art. It seeks to answer outstanding questions of attribution, dating, patronage, architectural arrangements and locations of works of art in the church. Additionally it has attempted to have a diverse approach to problems of interpretation and has examined the visual imagery's relationship to the Carmelite liturgy, religious function and later interpretations of art works. Santa Maria dei Carmini was amongst the largest basilicas in Venice when it was completed and the Carmelites were a major international order with a strong literary tradition. Their church in Venice contained a wealth of art works produced by one of the most restlessly inventive generations in the Western European tradition. Chapter 1 outlines a history of the Carmelites, their hagiography and devotions, which inform much of the discussion in later chapters. The second Chapter discusses the early history of the Carmelite church in Venice, establishing when it was founded, and examining the decorative aspects before 1500. It demonstrates how the tramezzo and choir-stalls compartmentalised the nave and how these different spaces within the church were used. Chapter 3 studies two commissions for the decoration of the tramezzo, that span the central period of this thesis, c. 1500-1560. There it is shown that subjects relevant to the Carmelite Order, and the expected public on different sides of the tramezzo were chosen and reinterpreted over time as devotions changed. Cima da Conegliano's Adoration of the Shepherds (c. 1511) is discussed in Chapter 4, where the dedication of the altar is definitively proven and the respective liturgy is expanded upon. The tradition of votive images is shown to have influenced Cima's representation of the donor. In Chapter 5 Cima's altarpiece for the Scuola di Sant'Alberto's altar is shown to have been replaced because of the increasing ambiguity over the identification of the titulus after the introduction of new Carmelite saints at the beginning of the century. Its compositional relationship to the vesperbild tradition is also examined and shown to assist the faithful in important aspects of religious faith. The sixth chapter examines the composition of Lorenzo Lotto's St Nicholas in Glory (1527-29) and how it dramatises the relationship between the devoted, the interceding saints and heaven. It further hypothesises that the inclusion of St Lucy is a corroboration of the roles performed by St Nicholas and related to the confraternity's annual celebrations in December. The authorship, date and iconography of Tintoretto's Presentation of Christ (c. 1545) is analysed in Chapter 7, which also demonstrates how the altarpiece responds to the particular liturgical circumstances on the feast of Candlemas. The final chapter discusses the church as a whole, providing the first narrative of the movement of altars and development of the decorative schemes. The Conclusion highlights the important themes that have developed from this study and provides a verdict on the role of ‘Carmelite art' in the Venice Carmini.
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Neveu, Marc J. « Architectural lessons of Carlo Lodoli (1690-1761) : indole of material and of self ». Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100663.
Texte intégralRésumé :
Original contribution. A discussion of Carlo Lodoli's bi-fold understanding of indole (inherent nature); with respect to both meaning in architecture and the education of architects.Carlo Lodoli (1690--1761) exists as a footnote in most major history books of modern architecture. He is typically noted for either his influence on the Venetian Neoclassical tradition or as an early prophet to some sort of functionalism. Though I would not argue his influence, I doubt his role in the development of a structurally determined functionalism. The issue of influence is always present as very little of his writings have survived and his built work amounts to a few windowsills. He did, however, teach architecture. I propose to explore the pedagogic potential of Lodoli's lessons of architecture.
Lodoli's teaching approach was not necessarily professional in that he did not instruct his students in the methods of drawing or construction techniques. Rather, his approach was dialogical. The topics were sweeping, often ethical, and ranged from the nature of truth to the nature of materials. Existing scholarship pertaining to Lodoli most often focuses upon his students' production of texts, projects, and projections. Andrea Memmo's Elementi dell'Architettura Lodoliana (1786, 1833) and Francesco Algarotti's Saggio sopra l'architettura (1756) are both specifically named by the respective authors as advancing Lodoli's architectural theories. Often overlooked are the apologues, or fables, used by Lodoli in lessons to his students. The main source for these fables is the Apologhi Immaginati (1787). Others were included in Memmo's Elementi. Apologues from both sources have been translated for the first time into English and can be found in Appendix I of the dissertation.
I look specifically to these stories to understand and illustrate Lodoli's approach to making, teaching and thinking. This is understood through Lodoli's characterisation of the identity of materials and of the self. Within this dissertation I intend to flesh out the textual and architectural fabric surrounding the pedagogic activities of the Venetian Friar known as the Socrates of Architecture, Carlo Lodoli.
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Fonsato, Vanna Marisa. « Giudizi letterari di Isabella Teotochi Albrizzi nel carteggio inedito della Raccolta Piancastelli ». Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61287.
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The present work examines the literary criticism expressed by Isabella Teotochi Albrizzi in several of her unpublished letters.The first part outlines the cultural and historical tradition of Venice during the Eighteenth Century. Particular attention is subsequently given to the intellectual role of women, their contribution to the literary salons of the time, and the neoclassical tradition. This first part is essential in that it supplies a valuable context to Isabella Teotochi Albrizzi's writings.
In the second part, I examine Isabella Teotochi Albrizzi's literary criticism of major European authors and works. Through these criticisms she exposes her misvision of the literary world to which she aspired, and reveals that although she was influenced by the subtle preromantic tendencies, she remained faithful to the neoclassical school.
12
Gavito, Cory Michael. « Carlo Milanuzzi's Quarto scherzo and the climate of Venetian popular music in the 1620s ». Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20012/gavito%5Fcory/index.htm.
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Rodrigues, Ubirajara Alencar 1966. « Polifilo e o sonho da tipografia ». [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252102.
Texte intégralRésumé :
Orientador: Milton Jose de AlmeidaDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2019-01-04T15:17:55Z (GMT). No. of bitstreams: 1 Rodrigues_UbirajaraAlencar_M.pdf: 90714835 bytes, checksum: 3a881fbca943a7ba06c7c2e7fcb234a1 (MD5) Previous issue date: 2008
Resumo: Esse texto é uma introdução ao livro "Hypnerotomachia Poliphili", de autoria do dominicano Francesco Colonna, publicado em 1499 pelo editor Aldo Manuzio. É também uma introdução às técnicas da impressão xilográfica utilizadas nas ilustrações desse livro, e à história da tipografia veneziana em fins do século XV. A concepção gráfica e visual desse livro famoso são modelares e persistem até hoje
Abstract: This is an introduction to the book "Hypnerotomachia Poliphili", from dominican Francesco Colonna, and published by Aldo Manuzio, in 1499. It's also na introduction to the techniques of xylography printing used to illustrate this book, and the history of venetian typography at the end of the 15th century. The graphic tradition and visual approach of this remarkable book persist as model up to now
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
14
Robb, Stuart James. « To begin, continue and complete : music in the wider context of artistic patronage by Pope Alexander VI (1492-1503) and the hymn cycle of CS 15 ». Thesis, University of Manchester, 2011. http://www.manchester.ac.uk/escholar/uk-ac-man-scw:122374.
Texte intégralRésumé :
This thesis takes as its area of exploration the papal chapel choir and its repertory, alongside the papacy and its patronage of the arts at the end of the fifteenth century. It draws on previous research concerning the singers, polyphonic manuscripts and artistic culture of the Vatican, but places Pope Alexander VI as the central figure of the thesis, showing schemes of patronage that shaped his reign. The research presents a transcription and analysis of the hymn cycle contained within the manuscript Cappella Sistina 15, alongside an assessment of the polyphonic music collection and places these against accounts of music making and evidence of music copying at the papal chapel during Alexander’s reign. The thesis also considers the environment of secular music making at Alexander’s court. In order to provide a context in which to understand this information, the life of Alexander VI is examined, tracing his artistic patronage and involvement with music both prior to his election and afterwards. Of particular note is the engagement of the artist Pintoricchio to decorate the papal apartments. Here, the artist’s representation of music as part of the seven liberal arts is analysed, providing a unique, contemporary and important insight into music practices in Alexander’s court. Three classifications of patronage are identified for Alexander’s reign, while also showing that these were strategies that he had used before he became pope. The music culture at the papal chapel is shown to be part of this strategy, through the consolidation of old music and the introduction of new music into the repertory, ending a task that had taken approximately 60 years. It shows that Alexander’s reign was an important period musically, that instituted new musical traditions and created an environment that prepared the way for the golden ages of patronage of Julius II and Leo X.
15
David, L. Kencik. « The Triumph of the Eucharist in the Paintings for the Sala dell’Albergo and the Sala Superiore in the Scuola Grande di San Rocco by Jacopo Tintoretto (ca. 1518/19-1594) ». Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1590600384514719.
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Tycz, Katherine Marie. « Material prayers : the use of text in early modern Italian domestic devotions ». Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/276240.
Texte intégralRésumé :
While scholarship often focuses on how early modern Italians used images in their devotions, particularly in the post-Tridentine era, little attention has been placed upon how laypeople engaged with devotional text during times of prayer and in their everyday lives. Studies of early modern devotional texts have explored their literary content, investigated their censorship by the Church, or concentrated upon an elite readership. This thesis, instead, investigates how ordinary devotees interacted with holy words in their material form, which I have termed ‘material prayers’. Since this thesis developed under the aegis of the interdisciplinary research project, Domestic Devotions: The Place of Piety in the Italian Renaissance Home, 1400-1600, it focuses primarily on engagement with these material prayers in domestic spaces. Using an interdisciplinary approach drawing from material culture studies, literary history, social and cultural history, and art history, it brings together objects, images and archival sources to illuminate how devotees from across the socio-economic and literacy spectrums accessed and employed devotional text in their prayers and daily life. From holy words, Biblical excerpts, and prayers to textual symbols like the Sacred Monogram of the Name of Jesus, this thesis explores how and why these material prayers were employed for spiritual, apotropaic and intercessory purposes. It analyses material prayers not only in traditional textual formats (printed books and manuscripts), but also those that were printed on single-sheets of paper, inscribed on jewellery, or etched into the structure of the home. To convey how devotees engaged with and relied upon these material prayers, it considers a variety of inscribed objects, including those sanctioned by the Church as well as those which might be questioned or deemed ‘superstitious’ by ecclesiastical authorities. Sermons, Inquisition trial records, and other archival documents have been consulted to further illuminate the material evidence. The first part of the thesis, ‘On the Body’, considers the how devotees came into personal contact with texts by wearing prayers on their bodies. It examines a range of objects including prayers with protective properties, known as brevi, that were meant to be sealed in a pouch and worn around the neck, and more luxurious items of physical adornment inscribed with devotional and apotropaic text, such as necklaces and rings. The second part of the thesis enters the home to explore how the spaces people inhabited and the objects that populated their homes were decorated with material prayers. ‘In the Home’ begins with texts inscribed over the entryways of early modern Italian homes, and then considers how devotees decorated their walls with holy words and how the objects of devotion and household life were imbued with religious significance through the addition of pious inscriptions. By analysing these personal objects and the textual domestic sphere, this thesis argues that these material prayers cut across socio-economic classes, genders, and ages to embody quotidian moments of domestic devotion as well as moments of fear, anxiety and change.
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TOFFOLO, Sandra. « Depicting the city, depicting the state : fifteenth-century representations of Venice and the Venetian terraferma ». Doctoral thesis, 2013. http://hdl.handle.net/1814/29618.
Texte intégralRésumé :
Defence date: 5 December 2013Examining Board: Professor Luca Molà, EUI (Supervisor); Professor Antonella Romano, EUI; Professor Filippo de Vivo, Birkbeck, University of London; Professor Deborah Howard, University of Cambridge
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
This thesis addresses the construction of ideas concerning the identities of geographical spaces, focusing on Venice in the period 1381-1509. It concentrates on the representations of two different roles held in this period by Venice: that of a city in a circumscribed urban setting, and that of the capital of an emerging state on the Italian mainland. Employing a corpus that consists mainly of geographical descriptions but that also includes cases of art and ceremonies, the dissertation closely analyses how fifteenth-century representations of Venice and the Venetian Terraferma were constructed, how they were transformed over time, and how these processes can be explained through the links with the various contexts in which the representations came into being. The thesis underlines, more than is currently the case in historiography, the multiplicity and transformability of simultaneously existing images of Venice. It analyses the large variety of factors to which contemporaries reacted when they created their geographical representations. Rather than merely following a centuries-old tradition of images of Venice (a tradition which in historiography has been called the ‘myth of Venice’), or rather than simply mirroring the institutionalised characteristics of the Venetian state, contemporaries took into account a multitude of contexts when constructing and transforming their representations. This is clearly shown by the very existence of different, sometimes even contradictory images of Venice and its mainland state in the fifteenth century. Taking into account the multiplicity of representations also explains that images of Venice in its role as city on the one hand, and as capital of a mainland state on the other hand, did not have to be in conflict, but that they could exist alongside each other, and that the processes by which they were created could impact upon one another.
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CRISTELLON, Cecilia. « Charitas versus eros : il matrimonio, la chiesa e i suoi giudici nella Venezia del Rinascimento (1420-1545) by Cecilia Cristellon ». Doctoral thesis, 2005. http://hdl.handle.net/1814/5791.
Texte intégralRésumé :
Defence date: 2 September 2005Examining board: Prof. Gérard Delille (Supervisor) ; Prof. Anthony Molho, European University Institute ; Prof. Edward Muir, Northwestern University ; Prof. Silvana Seidel Menchi, Università di Pisa
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
19
ROICK, Matthias. « Mercury in Naples : the moral and political thought of Giovanni Pontano ». Doctoral thesis, 2009. http://hdl.handle.net/1814/13281.
Texte intégralRésumé :
Defence date: 26 October 2009Examining Board: Prof. Martin van Gelderen (EUI) - supervisor; Prof. Anthony Molho (EUI); Prof. Riccardo Fubini (University of Florence); Prof. Thomas Kaufmann (University of Göttingen).
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
The present study returns to Giovanni Gioviano Pontano's role as a thinker and philosopher. It is based on the treatises and tracts Pontano wrote, to which scant attention has been paid until now, but also on his ad hoc political writings and his better known dialogues and poems. It moves between different fields of inquiry including history, philosophy, and literature, trying to represent Pontano's thought not only in its doctrinal aspects, but in a more comprehensive and contextualized perspective. Within this perspective, his thought will appear as mercurial as Pontano himself. It is not a set of explicit, philosophical doctrines that can be described within a coherent theoretical framework, but a cluster of different thoughts, attitudes, and practices.
20
ALLERSTON, Patricia Anne. « The market in second-hand clothes and furnishings in Venice, c1500-c1650 ». Doctoral thesis, 1996. http://hdl.handle.net/1814/5818.
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Defence date: 7 June 1996Examining board: Prof. Franco Angiolini, Università degli Studi di Pisa (supervisor) ; Prof. Laurence Fontaine, European University Institute and CNRS, Paris ; Dr. Richard Mackenney, University of Edinburgh (external supervisor) ; Prof. Paolo Malanima, Università degli Studi di Pisa ; Prof. Daniel Roche, Institut d'Histoire Moderne et Contemporaine, CNRS, Paris
First made available online on 10 September 2013.
The object of this study is to reinstate the market in second-hand clothes and furnishings within the hi story of Venice from c.1500 to c.1650. The discussion focuses on the Venetian guild of second-hand dealers, a number of 'alternative' exchanges of used goods, and a group of Jewish second-hand dealers who became established in Venice in the early sixteenth century. Particular attention is paid to the issues of guild exclusivism and the inelasticity of craft structures within the market for used goods. There are seven chapters. Chapter 1 explores the notion that the guild of second-hand dealers was traditional1y important in the market but did not have complete control, and Chapter 2 investigates various 'alternative' exchanges coexisting with the guild. In the next three chapters, these basic structures are examined in detail and their development is charted over the period as a whole. In Chapter 3, traders within the second-hand market are considered and the new group of Jewish competitors is introduced. The craft activities of the guild members and the Jewish dealers are analysed in Chapter 4. In Chapter 5, a study is made of outlets for used goods and of their distribution within the city. The last two chapters assess the impact of two types of setbacks: outbreaks of plague, and a seventeenth-century recession in the used-goods market.
21
NORDERA, Marina. « La donna in ballo : danza e genere nella prima eta moderna ». Doctoral thesis, 2001. http://hdl.handle.net/1814/5918.
Texte intégralRésumé :
Defence date: 19 April 2001Examining Board: Eugenia Casini Ropa (DAMS, Università di Bologna, Supervisore esterno) ; Mark Franko (University of California, Santa Cruz) ; Luisa Passerini (Istituto Universitario Europeo, Supervisore) ; Barbara Sparti (Roma)
First made available online on 4 May 2018
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GRENET, Mathieu. « La fabrique communautaire : les Grecs à Venise, Livourne et Marseille, v.1770-v.1830 ». Doctoral thesis, 2010. http://hdl.handle.net/1814/14698.
Texte intégralRésumé :
Defence date: 06/09/2010Examining Board: Prof. Brigitte Marin (Université Aix-Marseille I - M.M.S.H.) Prof. Anthony Molho (EUI) - supervisor Prof. Antonella Romano (EUI) Prof. Francesca Trivellato (Yale University)
The point of departure for this dissertation is a historical, epistemological and methodological discussion of the notion of “community”. Based on a comparative approach to the three cases of the Greeks in Venice, Livorno and Marseilles from the age of the “Greek Enlightenment” (c. 1770) up until the birth of an independent Neohellenic state (1830), this study aims to challenge the conventional image of early modern foreign communities as homogeneous and inclusive groups, by rendering the complex, diverse, and often contradictory trajectories of groups and individuals that formed what we know as “the Greek Diaspora”. Paying special attention to issues such as the administrative control of the migrants, the collective uses of urban space, and the sharing of socio-cultural practices, it reconstructs the multi-layered background that supported the expression of communal identities among the Greeks in Venice, Livorno and Marseilles. By recasting the three cases under scrutiny within the wider context of the many connections and relations that existed among them, the dissertation stresses the ways in which the entanglement of mercantile, migratory and family networks came to “shape” the Greek Diaspora as a space both physical and socio-symbolical. Conversely, and in a micro-historical perspective, it also analyses the role played by the “communal institutions” (namely the Greek-Orthodox churches and brotherhoods) in shaping collective identities and governing plural and heterogeneous social groups, as well as the many types of reaction and resistance to this progressive “institutionalisation” of community life. Lastly, a case-study on the ambiguous involvement of the Greeks in Venice, Livorno and Marseilles in the Greek war of independence (1821-1830), sheds light on the complex issue of the “patriotism of the expatriates”, and argues for an essential distinction between the making of communal identity, and that of national (or even “proto-national”) consciousness.
Ce travail se présente comme une enquête sur la « communauté », entendue à la fois comme construction socioculturelle et comme catégorie d’analyse. L’armature théorique et méthodologique de l’étude repose sur l’articulation dialectique entre ces deux grilles de lectures. D’une part, une analyse historique et contextualisée d’un « fait communautaire » entendu à la fois comme groupe social, comme corps juridico-politique, comme ensemble de pratiques sociales et culturelles, et comme construction politique et symbolique. D’autre part, une discussion critique des outils et méthodes de la recherche autour de la question de la communauté, qui apparaît comme indissociable d’une réflexion plus large – et transdisciplinaire – sur la nature du lien social. L’observatoire choisi est celui des colonies grecques de Venise, Livourne et Marseille, depuis les années 1770 (marquées par l’émergence d’une « bourgeoisie commerciale grecque » particulièrement active dans le contexte de la diaspora), jusqu’à l’indépendance de l’Etat néohellénique en 1830. Reprenant une périodisation classique de l’historiographie grecque moderne, ce découpage chronologique propose d’en discuter de l’intérieur la pertinence et la cohérence. Il s’agit ainsi de saisir les continuités du phénomène communautaire grec par-delà les ruptures politiques classiques de l’histoire grecque moderne (par exemple en incluant dans la période étudiée la guerre d’indépendance grecque et l’émergence consécutive d’un Etat-nation hellénique), et ce pour mieux débusquer et interroger les impensés des constructions historiographiques non seulement antérieures, mais aussi actuelles, des objets étudiés (ainsi de la diaspora grecque comme « laboratoire » de l’indépendance hellénique à venir). Le régime de la comparaison constitue ici une proposition méthodologique face à l’alternative classique entre l’étude d’une diaspora dans son ensemble, et celle d’une communauté en particulier. La multiplication des points d’observation sur le phénomène diasporique permet en effet de contourner l’obstacle d’une irréductibilité des approches macro et micro, tout en saisissant une partie des flux et des mouvements qui structurent l’espace diasporique et lie les communautés les unes aux autres. Elle permet aussi de poser au centre du questionnement le problème des frontières des groupes étudiés, en pointant la labilité des catégories comme des définitions, et donc de révoquer les modèles logiques abstraits et totalisants, pour interroger les relations et les identités sous un angle praxéologique.
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LORENZETTI, Stefano. « La vita nostra simile agli stromenti musici : educazione alla musica, mentalita e immaginario nell'Italia del Rinascimento ». Doctoral thesis, 2001. http://hdl.handle.net/1814/5885.
Texte intégralRésumé :
Defence date: 23 February 2001Examining board: Franco Angiolini, supervisor (Università di Pisa) ; Lorenzo Bianconi (Università di Bologna) ; Hans-Erich Bödeker (Max-Planck Institut, Göttingen e IUE ; Iain Fenlon (Università di Cambridge)
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
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DALLAVALLE, Lisa. « The ties that bind : marriage, family, and fortune ; a study on English and Venetian families during the seventeenth century ». Doctoral thesis, 2017. http://hdl.handle.net/1814/44976.
Texte intégralRésumé :
Defence date: 23 January 2017Examining Board: Professor Luca Mola, EUI; Professor Ann Thomson, EUI; Professor Anna Bellavitis, University of Rouen; Dr. Felicity Heal, University of Oxford
The Ties that Bind: Marriage, Family, and Fortune offers a fresh perspective on the European family through a parallel study on a group of English and Venetian families during the latter part of the seventeenth century. The families in this study were all connected to the legal profession, and shared a similar socio-professional status. However, their worlds were remarkably distinct, England and Venice were governed by different norms and laws, they represented different sides of the confessional divide, as well as the North-western European divide. These differences had an impact on their experiences of family life. This study will focus on three major themes, marriage strategies, inheritance and family affiliation, and family relationships and hierarchies. Through these three issues, this study will examine in parallel how the different geographical, cultural and legal settings of England and Venice impacted experiences of marriage and family life. Building on a wide range of sources including, testaments, court cases, citizenship reports, family archives, and correspondence, this thesis will examine the English and Venetian families through a series of case studies. In so doing it will provide a broader range of experiences within the family between two rather distinct groups.
Chapter 7 ‘The Moretti family: marital status and domestic authority' of the PhD thesis draws upon an earlier version published as an article 'The Moretti family: late marriage, bachelorhood and domestic authority in Seventeenth-Century Venice' (2015) in the journal ‘Gender & History’
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Sen, Priyanka. « The architectural history of the Peggy Guggenheim Collection of Modern Art ». Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-08-6303.
Texte intégralRésumé :
Marguerite “Peggy” Guggenheim is best known for her legacy of collecting modern art in both Europe and the United States, but scholars have overlooked her importance as a patron of modern architecture, specifically the exhibition spaces that showcased her art collection. This thesis fills the gap of literature by tracing the architectural history of the collection. Guggenheim represented a catalyst for bridging the role of art and architecture by promoting modern art through three different spatial approaches: creating collaborative and didactic gallery workspaces at Galerie Guggenheim Jeune in London (1938-1939), establishing architectural spaces that employed unique display techniques at Art of This Century in New York (1942-1948), and instituting a final home-museum at Palazzo Venier dei Leoni in Venice (1949-present). Through the use of primary sources, such as Guggenheim’s autobiography, archival sources including familial correspondences, original black and white photographs, newspaper articles, and architectural drawings, I resituate Guggenheim as not only an art patron and collector, but also a benefactor of modern architectural spaces.text
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Brunelle, Beauchemin Odile. « La définition de l'homme dans le discours féminin : l'exemple de La Donna galante ed erudita (Venise, XVIIIe siècle) ». Thèse, 2007. http://hdl.handle.net/1866/7674.
Texte intégral