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East, Vincent. "Angels, saints and heroes : candidates for ethical exemplarity". Thesis, University of Sheffield, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408345.
Pełny tekst źródłaPalavras, Armando Manuel Gomes. "Anjos de Penaguião". Master's thesis, Instituições portuguesas -- -Universidade Lusíada, 2001. http://dited.bn.pt:80/29585.
Pełny tekst źródłaRosa, Débora Souza da. "Silenced angels: an obscure Saint Theresa in George Eliots Middlemarch". Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4018.
Pełny tekst źródłaA presente dissertação objetiva a comparação proposta no Prelúdio do romance Middlemarch por sua autora George Eliot entre a protagonista da obra, Dorothea Brooke, e a figura histórica Teresa dÁvila. A partir de tal estudo, busca-se compreender de que modo a situação específica da mulher na Era Vitoriana é articulada no romance de modo a espelhar a crise ontológica e epistemológica do próprio ser humano diante das transformações consolidadas com o Iluminismo e as revoluções liberais do século XVIII que culminariam na morte de Deus. Dorothea mostra-se uma cristã tão fervorosa quanto a Teresa quinhentista, mas faltam-lhe certezas e a resolução para concretizar as reformas sociais que defende, pois ela encarna o mito de feminilidade oitocentista batizado de Anjo do Lar ideal de sujeição feminina à ordem falocêntrica cujas funções são a proteção e difusão da moralidade burguesa e a substituição de elementos cristãos no universo do sagrado a uma sociedade cada vez mais materialista e insegura de valores absolutos. As aflições de Dorothea representam as aflições da mulher vitoriana, mas o momento crítico desta mulher reflete, em Middlemarch, uma crise muito maior do Ocidente, que teve início com a Era da Razão
The present dissertations purpose is the comparison proposed by George Eliot in the Prelude of the novel Middlemarch between its protagonist, Dorothea Brooke, and the historical character Teresa of Avila. Such study endeavors to understand in which way the specific situation of the Victorian woman is articulated within the novel as to mirror the ontological and epistemological crisis of the human being itself during the transformations consolidated by the Enlightenment and the liberal revolutions of the eighteenth century which culminated in the death of God. Dorothea is as ardent a Christian as the fifteenth century Teresa, but she lacks the certainties and the resolution to concretize the social reforms she defends, because she incarnates the nineteenth century myth of womanhood known as the Angel in the House an ideal of feminine subjection to the phalocentric order whose functions are the protection and diffusion of the bourgeois morality and the replacement of Christian elements within the imaginary universe of the sacred to a society progressively more materialistic and insecure of absolute values. The afflictions of Dorothea represent the afflictions of the Victorian woman, but the critical moment of this woman reflects, in Middlemarch, a much greater crisis in the Western thought, which began with the Age of Reason
Orton, Chad M. "Saints in the Secular City: A History of the Los Angeles Stake". Diss., CLICK HERE for online access, 1989. http://patriot.lib.byu.edu/u?/MTNZ,4321.
Pełny tekst źródłaPoccia, Joseph D. "The Transformations of the Saints". VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/108.
Pełny tekst źródłaLatz, Dorothy L. "Sainte angele merici et les courants spirituels de la renaissance italienne". Université Marc Bloch (Strasbourg) (1971-2008), 1986. http://www.theses.fr/1986STR20020.
Pełny tekst źródłaThe aim of this study is to situate st. Angela merici (d. 1540, brescia, italy) in the midst of the historical, literary, cultural, religious and spiritual currents of her time in order better to understand her writings. It seems that in previous studies on angela this background has not been given in the light of recent research on the italian renaissance, nor have neoplatonic influences stemming from ficino's work been duly recognized. A literary explication of the major figures (images metaphors symbols) used by angela also has not been done before this study, but is important for determining the foundress's original, pristine meanings. From sources, it is shown that angela's writings are to be interpreted on the literal, moral, allegorical, anagogical levels of meaning. Her major images symbols (i. E. , ladder of light, interior treasure nobility, the mirror, and spiritual maternity as a result of mystical espousals) derive not only from biblical exegesis but also from scotus and bonaventure (exemplarism) with their sources (areopagite, victorines, lombard), from greek patristics, and from ficino (vestigia, formulae; "the two venuses. "). Angela saw a pre-tridentine reform in n. Italy, involving bishops such as pole, sadoleto, giberti of verona, who corresponded with erasmus and more's circle. Giberti especially advanced the publication of greek patristics, with church reform as an explicit return to sources, the gospel and the primitive church. Living in this verona diocese, province of venice, angela was close to these currents, and to "lay evangelism" in n. Italy. As her secretary cozzano's letters also show,angela knew of the practices of the primitive church, as reflected even in symbols in hymns used for profession-ceremonies of the company of st. Ursula, her foundation (1535) of consecrated laywomen in the midst of the world, continuing the tradition of the virgins of the primitive church
Latz, Dorothy L. "Saint Angela Merici and the spiritual currents of the Italian Renaissance". Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb375989819.
Pełny tekst źródłaManevy, Anne. "D'un ange, l'autre : figures de l'ange-gardien : de la dévotion catholique à l'angéologie individuelle contemporaine". Toulouse 2, 2004. http://www.theses.fr/2004TOU20053.
Pełny tekst źródłaIn Catholicism, the link between the protective angel and a collectivity or an individual recalls the relationship of patronage within the cult of the saints. Well-adapted to the clerical discourse of the Counter-Reformation, particularly to the Jesuit discourse on the "Final Judgment", the guardian angel has the advantage of orienting the piety of the faithful towards the central cults of Catholicism. On the borderline of the liturgy of the holy angels, one also finds a syncretic production which includes certain elements of the modern catholic conception of the guardian angel and the saint, but this is inspired also by theoretical speculations on the saints in the first centuries, on the kabbalic doctrines of the Renaissance, 19th century occultism, and modern zodiacal astrology. Far from a semiotic or theological reading, this anthropological exploration therefore analyses the different forms of devotion to the guardian angel, from the anonymous catholic guardian angel to the 72 angels in contemporary esotericism assigned to the whole of humanity, in considering also the idea of the death of close kin identified with the particular angel of the individual
Mattsson, Anna. ""The Saint of Los Angeles" : En retorisk analys av Nikki Sixx' imagebygge". Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-313828.
Pełny tekst źródłaKnapper, Daniel. "The Tongue of Angels: Pauline Style and Renaissance English Literature". The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1574171968581074.
Pełny tekst źródłaPotter, Dylan D. "Angelology in situ : recovering higher-order beings as emblems of transcendence, immanence and imagination". Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3032.
Pełny tekst źródłaBoulanger, Karine. "Les vitraux du choeur de la cathédrale d'Angers (XIIIème siècle)". Paris 4, 2000. http://www.theses.fr/2000PA040150.
Pełny tekst źródłaPanfalone, Anthony Vincent. "Formations of death : instrumentality, cult innovation, and the Templo Santa Muerte in Los Angeles". Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:6e4824c3-0960-4731-b44f-bd7bd50c066f.
Pełny tekst źródłaSubes, Marie-Pasquine. "Le cycle peint dans l'abside de la cathédrale d'Angers et sa place dans l'art du XIIIe siècle". Paris 4, 1996. http://www.theses.fr/1996PA040038.
Pełny tekst źródłaThe wall-painting that embrace the apse of the cathedral of angers were discovered in 1980 and have not yet been the object of a scientific publication. They are studied here for the first time from several points of view. Their iconography in a series of twenty scenes, traces the life of a local bishop-saint, Maurille, for whom we have had only single representations up until now. Their style is also original because it represents a current of gothic monumental painting for which only a few isolated and much less expensive examples have been preserved. Moreover, their mode of execution is exceptional, as these paintings are constructed with rich and varied pigments and with a binding medium containing oil and resin, both unusual in the thirteenth century. The results of our analyses of these main elements, combined with a study of the historical and religious conditions surrounding the genesis of the cycle, tend to converge, for this otherwise undated work, on the years 1255-1260
Lee, Myung-Gon. "L'essence humaine et la spiritualité réaliste d'après la philosophie de St. Thomas d'Aquin : une recherche philosophique pour établir la relation entre la vie éthique humaine et la vie spirituelle". Paris 1, 2002. http://www.theses.fr/2002PA010562.
Pełny tekst źródłaSilva, Jeane das Graças Araujo. "SANTA DICA OU REDUTO DOS ANJOS: UMA VISÃO PSICO-SOCIAL". Pontifícia Universidade Católica de Goiás, 2005. http://localhost:8080/tede/handle/tede/821.
Pełny tekst źródłaThis dissertation has as object the studying of Saint Dica`s case, occurred in Lagoa Village, nowadays Lagolândia, district of Pirenópolis, in Goiás State, in the second decade of 20th century. Analyzed by others researchers was interpreted as being a social movement of messianic kind, common, at the beginning of the Republic, as Muckers, Canudos, Contestado, Juazeiro had happened. The main objective of the refered work is try to explain this kind of movement as being created by archetype of Terra Sem Mal, present in the Brazilian imaginary, that showed up in political, economic social crises situations. The principal hypothesis was settled with: if it is possible to understand profoundly these social movements named milenaristas, as being myths that belong to the humanity imaginary. The studies of Jung are usuful as basis to the discussion about archetypes, the ones of Sergio Buarque de Holanda are based in the vision of the paradise of colonizing that stood in the imaginary of the Brazilian people. The sense of this utopia of paradise was interpreted by the symbolic study of Eliade and complemented with the Eternal Return of the same phenomenologist. To the history part of the chosen subject the author exploited the dissertation of professor Lauro Vasconcelos, the first academic informative about Saint Dica and also with the dissertation of professor Eleonora Zicari. Newspapers, magazines, movie documentaries and field researches, complemented the data collectio Hermeneuticas being the search of sense of the social actor behavior served to reveal Saint Dica movement. The most important conclusion of this dissertation is that, albeit the political, economic and social crises, and even the ones psychologics may contribute to the rising of these movements, however, there is, independent of these external conditions, in the human imaginary, an appeal to the Paradise. In the imaginary of the Brazilian people this archetype has a cultural historical support, since the arrival of the Portuguese going through the republic messianic movement, and this appeal, as Eliade says, acts in a circular way, that is, goes and comes back, it is a Myth that always returns, specially in Saint Dica case, still present, in Lagolândia, in spite of her leader had died in 1970, thirty years ago.
Esta dissertação tem como objeto de estudo o caso de Santa Dica, acontecido no povoado de Lagoa, hoje Lagolândia, distrito de Pirenópolis, no Estado de Goiás, na década de 1920. Analisado por outros estudiosos foi interpretado como sendo um movimento social de tipo messiânico, comum, no início da república, pois os Mucker, Canudos, Contestado, Juazeiro tinham acontecido. O objetivo principal do trabalho é tentar explicar este tipo de movimento como sendo gerado pelos arquétipos da Terra sem Mal, presentes no imaginário brasileiro, que em situações de crise, tanto política, quanto econômica e social se manifestam. A hipótese principal ficou sendo: se é possível compreender de modo mais profundo estes movimentos sociais ditos milenaristas, como sendo mitos que pertencem ao imaginário da humanidade. Os estudos de Jung servem para fundamentar a reflexão sobre arquétipos, os de Sérgio Buarque de Holanda fundamentam a visão de paraíso dos colonizadores que ficou implantada no imaginário brasileiro. O sentido desta utopia do paraíso foi interpretado com o estudo simbólico de Eliade e completado pela teoria do Eterno Retorno do mesmo fenomenólogo romeno. Para a parte histórica do tema escolhido a autora trabalhou com a dissertação do professor Lauro de Vasconcelos, o primeiro informe acadêmico sobre Santa Dica, e com a dissertação da professora Eleonora Zicari. Jornais, revistas, documentários de cinema e observação de campo, complementaram a coleta de dados. A hermenêutica, como sendo a busca de sentido do comportamento do ator social serviu para desvelar o movimento de Santa Dica. Ficou como conclusão mais importante da dissertação é que muito embora, as crises sociais, econômicas, políticas e até mesmo, crises psicológicas possam contribuir com o nascimento destes movimentos, contudo existe, independente destas condições externas, no imaginário do homem um apelo para o Paraíso, no imaginário do brasileiro este arquétipo tem suporte histórico cultural, desde a chegada dos portugueses passando pelos movimentos messiânicos da república, e este apelo, como diz Eliade, age de forma circular, isto é, vai e vem, é um Mito que sempre retorna, e no caso de Santa Dica, ainda presente, em Lagolândia, apesar da líder ter morrido em 1970, há 35 anos atrás.
Katsutani, Yuko. "Les peintures murales de Saint-Bonnet-le-Château : à la recherche de leur auteur (fin du XIVe-début du XVe s.)". Thesis, Strasbourg, 2019. http://www.theses.fr/2019STRAG044.
Pełny tekst źródłaThe murals paintings of the lower chapel in Saint-Bonnet-le-Château’s collegiate church present a rich iconographic program, assuming a succession of distinct sponsors at the beginning of the 15th century. The first phase was religious devotion from the wealthy bourgeoisie; the second one affected the decoration of the vault in Anne Dauphine’s initiative, and represented the Musician Angels, an elaborate iconography, inspired by the example of Le Mans, in the memory of the duchess’s late husband, Louis II duke of Bourbon. The talent of the artist, Louis Vobis, was to link the different artistic styles. The iconographic and stylistic study defines the models and the aesthetics of the master who had his training in Avignon and Paris. In Avignon he was influenced by the Italian style and in Paris studied under Duke of Berry in the miniaturist style. He had influenced by the Savoyard art too
Barrocas, Ricardo. "Expérience mystique et jouissance : Jean De La Croix et Angélus Silesius". Paris 13, 2002. http://www.theses.fr/2002PA131024.
Pełny tekst źródłaThe author treats the atypical concern of the so called hysterical man to the phallic enjoyment as distinguished from both perversion and psychosis. The problem approached regards Lacan. In Seminar "Encore", he fails to distinguish what the author separates above. Indeed, Lacan assimilated his Ecrits with mystical chant. The author approaches the Being of significance in the mystical experience of Juan de la Cruz, the Thought about the Being in Lacan's conception of "lalangue" and Angelus Silesius' incursion into mystics. It is supposed that male hysteria originates from anxiety hysteria and also that, in pathological circumstances, symptom grows to a deep blending of anxiety hysteria with conversion hysteria. These two situations are related to what Freud called religion of the father and religion of the son in "Totem and tattoo"
Dufetel, Nicolas. "Palingénésie, régénération et extase dans la musique religieuse de Franz Liszt". Thesis, Tours, 2008. http://www.theses.fr/2008TOUR2002.
Pełny tekst źródłaAmong his huge production, Franz Liszt (1811-1886) left a considerable number of writings which allow us to understand his thought. The present dissertation aims at studying in his religious music – composed essentially between 1855 and 1886 – two ideas he developed in different articles during the 1830s: palingenesis (linked to regeneration) and ecstasy. Discussing these two issues means at first asking the question of permanence and the application of theoretical and aesthetical ideas: did Liszt put into practice after 1855 what he wrote in the 1830s? On the threshold of the discussion of these two subjects, partly based on rare and new sources, a methodological and epistemological approach of Liszt’s readings and writings helps us to understand the way the composer was absorbed by the concepts which we can follow through his works. To the present, studies of Liszt’s religious music almost exclusively used the word “reform” and its direct translations. Yet, it is a word the composer seldom used, if ever, in this context. However, in 1835, in the penultimate article of De la situation des artistes, et de leur condition dans la société, he mentioned the « régénération » of religious music. He thus shows himself influenced by the concept of palingenesis, which Liszt primarily accessed through the writings by Ballanche and d’Ortigue, overran intellectual and artistic concerns. This concept, which can be traced throughout his career, played an essential role in his aesthetic views and his musical language. Thus, studying Liszt’s religious music from the “regeneration” point of view as opposed to that of “reform” widens our perspectives on his historicist profile. According to Bülow, Liszt’s Missa solennis (1855) gave birth to the forward-looking “Zukunfts-Kirchenmusik.” However, Liszt’s religious music was firmly rooted in the past – both in the Gregorian Chant repertoire and the music of the Renaissance. With Liszt’s music, it is this very palingenesis that explains why his compositional conception is not conservative but progressive and well explains his opposition to the Cecilian movement. By reinvesting in Roman traditions, Liszt imbues his religious music with a deep catholic identity. In 1839, with the thirteenth “Lettre d’un bachelier ès-musique”, Liszt wrote substantive art criticism. Notably, he fashioned an original reading of Raphael’s powerfully allegorical Saint Cecilia: here the subject represents “a symbol of music at the height of its power” and the four characters surrounding her – (left to right) Saints Paul, John, Augustine and Mary Magdalene – not only embody music’s elements, but also the various effects on human’s soul. Moreover, Liszt pointed out that St Cecilia stands in ecstasy while the angels above her sing “their eternal hosanna”. The hosanna is therefore linked with angels and with expression of contemplative rapture. It is not surprising then that Liszt composed his hosannas in a singular manner, since, as in Raphael’s depiction, they are invariably mild and ethereal. As both studies of the works’ genesis and insightful analyses show, Liszt’s hosannas and angels’ choruses express the same contemplative and mystical atmosphere as Raphael’s Saint Cecilia – an atmosphere created by a succession of kaleidoscopic, non-functional harmonies which the composer himself labelled as “Liszt’sche progression”. In 1863, Baudelaire prophetically challenged anyone to “separate” and “divide” Liszt’s artistic profile. Thus we have to be mindful of Liszt’s versatility, and we cannot consider him only as “le roi des pianistes”, but as a creator characterized, again in Baudelaire’s words, by its “méandres capricieux”
Beaumon, Jérôme. "Entre Loire et Manche : les prieurés des abbayes angevines et tourangelles en Haute-Bretagne (XIe-XIIIe siècles)". Thesis, Rennes 2, 2016. http://www.theses.fr/2016REN20005.
Pełny tekst źródłaThe eleventh century Benedictine abbeys of the Val de Loire develop important networks priories that allow them to radiate throughout the French West. In this context, Brittany is for Anjou and Touraine abbeys the main settlement area outside their territory of origin. Between 980 and 1150, they founded about sixty priories. Family, political and religious relationships long linked counties of Nantes, Rennes and Vannes to the neighbouring principalities of the Loire Valley, partly explain the success of this implementation. Supported by the bishops and by the chatelaine aristocracy, monks in the eleventh century become the main beneficiaries of churches donations, they play a major role in the assertion of baronial power, and contribute to impose the Gregorian project in feudal society by their presence and their lifestyle perceived as a religious model of perfection. In the twelfth century, competition from new religious communities, conflict with the aristocracy and the affirmation of the episcopal power leads to a redefinition of relations between the priories and their entourage, without generating a crisis of Benedictine monasticism
Vlavianos, Stéphanie. "La figure magique à Byzance de Jean Damascène à Michel Psellos (VIIIe-XIe siècle)". Paris, EHESS, 2008. http://www.theses.fr/2008EHES0113.
Pełny tekst źródłaMagic, that is practices whose aim is to disturb the natural order and the balance of the world in a good or evil purpose, refers unquestionably to the magician himself. Born into a Christian environment, the-Byzantine sources from the VIIIth till the end of the XIth century clash, on the principle, with the practitioner, seen as a diabolical being. The sources have set up what can be called a "magical figure", a representation of who practices magic. The incarnations of this figure are different, even if the general features are constantly the same. The way they are used is various from one source to another and from one context to another as weil. The Iconoclasm is particularly riddled with magical figures. The large range of activities attributed to the magician cornes from the vision of the angelical origins of magic. The magical knowledge is a gift the magician receives and passes on to others, contaminating them. The figures of that time are also those of an imperial compromised, polluted power. The saint is another particular figure putting in order aIl the magical and diabolical disorders. Converting or death are the exits for the magician, inevitably defeated
Slatter, Angela Gaye. "Sourdough & other stories : a story told in parts (a mosaic novel and exegesis)". Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/50910/1/Angela_Slatter_Thesis.pdf.
Pełny tekst źródłaWaters, Roderick-Pascal. "La "sprezzatura" : enjeux et concepts". Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0011.
Pełny tekst źródłaIn his 'Book of the Courtier' (Venice, 1528), Baldassare Castiglione (1478-1529) touches on 'a certain Recklessness ('sprezzatura'), to cover art withall, and seem whatsoever [the Courtier] does and says to do it without pain, and (as it were) not minding it', of which 'grace is much derived', 'for in rare matters and well brought to pass every man knows the hardness of them, so that a readiness therein makes great wonder' (I, XXVI, modern-spelling Hoby translation). Our study begins with a contextual analysis of 'sprezzatura''s main concepts : grace versus beauty, nature and artlessness versus labour. From a genealogical point of view, we then offer a fresh aesthetical translation of Augustine's theological (and anthropological) concept of grace, which turns out to strongly support 'sprezzatura''s conceptual frame ; we thereupon investigate Castiglione's relationship to the 'classical' value of artlessness, as found both among Ancients (Horace, Cicero, the Elder Pliny) and Moderns (Boileau, Rapin, Bouhours, Gracián). Setting back the focus on context, we then expound the inner workings of the Court, become acquainted with a number of contemporary theorists of Beauty and Grace (Ficino, Alberti, Bembo, Diacceto, Varchi, Firenzuola, Della Casa, Romei, Sardi, Accetto), and set 'sprezzatura' within the realm of 'Maniera' (especially Bronzino and Giambologna). Conclusions are eventually drawn while discussing Bourdieu's concept of 'Distinction'.We hold that 'sprezzatura' should not be reduced to the classical scheme of 'ars est celare artem', neither does it shrink grace to the mere lustre of beauty ; much to the contrary, it accounts for the very drama of imminence, thus making an aesthetical use of imagination inspired by the Christian understanding of grace. Neither should the 'mediocritas' claimed by Castiglione be reduced to its lesser self, inspired by the likes of Della Casa and Accetto : it strives for a perfect balance and a virtuoso equilibrium between the merely natural and the ridicule of 'affettazione' (which may be linked to the pursuit of the sublime). Truly, 'sprezzatura' 'reaches to the edge of generosity' (Baltasar Gracián, 'El Héroe', XIII, personal translation).Various Appendices are attached, especially : an enquiry into the roots of the concept of 'Angel' wielded by Ficino and Diacceto ; a review of various courts of the Italian Renaissance outlining their main aesthetical and cultural values
Randall, Jennifer M. "Early Medieval Rhetoric: Epideictic Underpinnings in Old English Homilies". Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_diss/61.
Pełny tekst źródłaCAVENAGO, MARCO. "ARTE SACRA IN ITALIA: LA SCUOLA BEATO ANGELICO DI MILANO (1921-1950)". Doctoral thesis, Università degli Studi di Milano, 2021. http://hdl.handle.net/2434/829725.
Pełny tekst źródłaIn October 1921, the Beato Angelico Higher School of Christian Art was born in Milan. Responsible for the initiative: Don Giuseppe Polvara, the architect Angelo Banfi, the painter Vanni Rossi, flanked by the sculptor Franco Lombardi, by the priests Adriano and Domenico Bernareggi, by the engineer Giovanni Dedè, by professor Giovanni Mamone and by the lawyer Carlo Antonio Vianello . There were nine pupils in the first school year, two of whom (the architects Don Giacomo Bettoli and Fortunato De Angeli) destined to remain in the School for many years as teachers: this also happened with the painter Ernesto Bergagna, who enrolled the following year. Starting from that event, the Italian context of sacred art was able to count on an element of indisputable novelty, destined within a few years to a rapid, widespread and stubborn affirmation in the Peninsula. The foundation of the Beato Angelico School put a stop to the age-old debate on the general decline of sacred art that had been staged for a long time in Italy as well as in major European countries. The formula conceived by Don Polvara put his personal, artistic and professional experiences into a system with the knowledge of the international context, some exemplary models and the comparison with groups and individual figures (artists, critics, men of the Church) animated by the common desire to contribute to the rebirth of sacred art. One hundred years after its birth - and seventy after the death of its founder - the Beato Angelico School (with the workshops of Architecture, Cesello, Embroidery, Painting and Restoration) still continues in the task of serving the Church through the creation of distinctive sacred furnishings and vestments. from a particular care of the artistic and liturgical aspect, object of repeated attestations of merit and acknowledgments in the ecclesiastical sphere. What is missing from the appeal so far is an organic attempt to reconstruct the historical events that marked the genesis and developments of this singular artistic and religious reality. The purpose of this thesis is therefore the return of a profile as detailed and reasoned as possible of the history of the Beato Angelico School, such as to bring this story back to the center of a historical situation and a complex cultural context, through an original work perspective conducted on thread of clarifications and rediscoveries. Given the "pioneering" nature of this research, the vastness of the materials and sources available and the consequent need to assign a recognizable chronological cut to the work, it was decided to limit the survey to the decades between 1921 and 1950, or between the foundation of Beato Angelico and the death of Giuseppe Polvara. As will be seen, the initial term is in a certain sense anticipated by the need to better outline the background and context from which the School originates (between the end of the 19th and the first decades of the 20th century). The year assumed at the end of the research, on the other hand, seemed an almost obligatory choice, coinciding with the first change in the direction of Beato Angelico as well as the desire to exclude from the discussion what started in the 1950s and 1960s, that is a new and different season in the field of sacred art (destined, among other things, to pass through the junction represented by the Second Vatican Council and by the action of St. Paul VI), which is however much investigated by historical-artistic studies. What made the drafting of this thesis possible is the fact that it relies, in large part, on unpublished archival materials or, at least, never examined before in a structured way. Access to the most historicized archive materials and their consultation (thanks to the availability shown by the direction of the Beato Angelico School) have decisively conditioned the discussion of the topics, the reconstruction of which, in some cases, is supported exclusively by documents found. The birth of the Beato Angelico School was not an isolated event in the panorama of European artistic production of the time nor an episode unrelated to what was being debated in the ecclesiastical world at the same time. The Polvara School was born in an era marked by great ecclesial ferment: think of the Ateliers d'Art Sacré founded by Maurice Denis and George Desvallières in Paris in 1919, only two years before the Milanese School, whose adherents - all lay people - they professed an intense and devoted religiosity. But, above all, the decisive and best known model by Polvara was the Beuron School (Beuroner Kunstschule), born in the homonymous German Benedictine abbey in the last quarter of the nineteenth century by father Desiderius Lenz and on whose example workshops specialized in the production of sacred art (furnishings and vestments for liturgical use) in many Benedictine communities in central Europe. Polvara's affinity with Benedictine spirituality is a key element of the School he founded: in fact, the (analogous) concept of "represented prayer" (orando labora) derived from the rule of the ora et labora. The very organization of the School, set up as in an ideal medieval workshop where teachers, apprentices and pupils collaborate and coexist, takes up the monastic lifestyle of the Benedictine monasteries. Precisely in order to preserve the character of the medieval workshop as much as possible, the number of students admitted to the School was never too high, so as to maintain an adequate and effective numerical ratio between disciples and masters. Again, from Beuron Fra Angelico drew the particular and unmistakable graphic form of the letter "e", recognizable in the numerous and long epigraphs present in many of his works. The last element in common between the Milanese and the German schools - but which can be attributed to the more general fascination for the medieval era - is the unity of purpose that must animate all the workers involved in creating a collective and anonymous work ad maiorem. Dei gloriam, where the contribution of the single author remains deliberately hidden in favor of the name of the School. What still differentiates the School from similar centers of production of sacred art is the fact that it rests its foundations on a religious congregation, the Beato Angelico Family, an idea long cultivated by Polvara and officially approved by the diocesan authority between the thirties and forties. From the common vocation to sacred artistic creation (the artist's "priestly mission") descend the practice of community life, the participation in the sacraments and the various daily moments of prayer by master priests, brothers and sisters artists, apprentices, pupils and pupils . The spiritual direction traced by the founder for his family still acts today as a guarantee of a strenuous fidelity in the continuity of a unique artistic and liturgical project, put into practice by a community of men and women linked together by the canonical vows of poverty, chastity. and obedience but above all from a common and higher intent. Precisely to ensure a prospect of survival and future development of his creature, Polvara always had a clear need to keep the training aspect (and therefore the teaching for students, adolescents and young people) united with that of production (due to the work of collaboration between teachers, apprentices and students). From an operational point of view, the artistic disciplines, practiced in the various laboratories in which the School is divided, contribute, without any exception and in the aforementioned anonymous and collective form, to create an organic and unitary artistic product, a "total work of art" which must respond to the address given by the master architect (Polvara himself), to whom devotion, respect and obedience are due. The architectural design is therefore assigned great importance and this means that the best representative works of the Beato Angelico School are those sacred buildings entirely made with the intervention of its laboratories for all or almost all the decorations, furnishings, furnishings and Milanese churches of S. Maria Beltrade, S. Vito al Giambellino, S. MM. Nabore and Felice, or the church of S. Eusebio in Agrate Brianza and the chapel of the religious institute of the daughters of S. Eusebio in Vercelli). As for the expressive languages used by the School (the so-called "style"), the preference for modern architectural rationalism is highlighted - a topic of stringent topicality, to which Polvara did not fail to give his personal theoretical and practical contribution - and that for Divisionism in painting, indebted to the ancient admiration for the work of Gaetano Previati. The interaction of these two forms gives rise to a recognizable language, modern and spiritual at the same time, verifiable in the buildings as in the individual works, the result of a profound sensitivity that combines the thoughtful recovery of some forms of the past (for example early Christian iconography reused in the decorative motifs of the vestments or in the shape of some artifacts, from the chalice to the tabernacle, to the chasuble-chasuble) with the impetus for a modern and functional style appropriate to the times but respectful of tradition.
Ntoagae, Patricia Ouma. "The main elements of the spirituality of the congregation of the companions of Saint Angela Merici in the diocese of Johannesburg". Thesis, 2003. http://hdl.handle.net/10413/7762.
Pełny tekst źródłaThesis (M.Th.)-University of Natal, Pietermaritzburg, 2003.
Tsai, Wei-Shu, i 蔡維恕. "The Research and Interpretation of Virgil Thomson’s "Five Songs from William Blake" and three arias of operas - "Once in a while" from Four Saints in Three Acts, "What what is it" from The Mother of Us All, "Angel More" from The Mother of Us All". Thesis, 2008. http://ndltd.ncl.edu.tw/handle/82133501446541426920.
Pełny tekst źródła國立臺北教育大學
音樂學系碩士班
97
This thesis is focused on the research and interpretation of Virgil Thomson’s “Five Songs from William Blake” and three arias of operas – “Once in a while” from Four Saints in Three Acts; “What is it” from The Mother of Us All; “Angel More” from The Mother of Us All. It is divided into five chapters as follows. Chapter 1: introduction, it includes the motivations, purposes, methods and songs that this research covers. Chapter 2: Thomson’s life and his music styles. Chapter 3: the research and interpretation of Virgil Thomson’s “Five Songs from William Blake”. The first part is to introduce William Blake - the poet, and the second part is the research and interpretation of the “Five Songs”. Chapter 4: the research and interpretation of three arias of operas. The first part is to introduce Gertrude Stein - the poet, and the second part is the research and interpretation of “Once in a while”, “What is it” and “Angel More”. Chapter 5: conclusion. The writer hopes via this research paper, more people will be interested in Thomson’s vocal music.
Šmejkalová, Adriana. "Zrcadlo reality v obrazech snů 19. a 20.století. Tvůrčí individualita versus chaos doby". Doctoral thesis, 2018. http://www.nusl.cz/ntk/nusl-390075.
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