Texte remanié de: Diss.--Zürich, 1998. / Bibliogr. p. 312-322. Notes bilbiogr. Index.

Texte remanié de: Diss.--Heinrich-Heine-Universität--Düsseldorf, 2000. / Bibliogr. p.383-410. Index. Table des ill.

Texte remanié de: Habil.-Schr.--Münster--Westfälischen Wilhelms-Universität, 1995. / Bibliogr. p. [359]-390. Index.

Dissertation--Frankfurt am Main--Universität, 1994.

Reproduction de : Thèse doctorat : Littérature anglaise : Metz : 2003. / Titre provenant de l'écran-titre. Notes bibliographiques.

Part of Thesis (Ph. D.)--Johns Hopkins University, 1941. / Includes bibliographical references.

Analysis of Johann Sebastian Bach's (1685-1750) keyboard works and the study of fugue are often complemented by an understanding of Baroque rhetorical theory. In the Baroque Era, the principles of oration and argument established by Greek rhetoricians were thought of as analogous to musical ideas and forms. Notable Baroque theorists Joachim Burmeister (c. 1566-1629) and Johann Mattheson (1681-1764) related the fugal process to an active and elaborate discourse. They connected the basic parts of rhetorical disposition to fugue in an attempt to define and clarify its skeletal framework. While the concept of musico-rhetorical disposition schemes seems to be an attractive design for many Baroque theorists, it is difficult to apply such an analysis to stretto and double/triple fugues. This type of analysis sectionalizes the fugue in restrictive ways, linking particular musical techniques to different areas as would divide an oration. This document suggests that specific rhetorical figures do not need to be seen as fitting pre-set standard areas (e.g., propositio, confutatio, conclusio), but can derive from the context of each particular fugue, since they serve a prevailing musical function. Bach's stretto and double/triple fugues from The Art of the Fugue, BWV 1080 are particularly difficult masterpieces to comprehend, and there is little precedence for the application of rhetorical figures to fugues of these types. This document examines Contrapuncti V-XI from The Art of the Fugue, and can serve as a model for rhetorical analyses of complex fugal processes.

The following study examines the artistic strategies of the Italian Baroque painter Mattia Preti (1613-99) in conjunction with their early reception in seventeenth- and eighteenth-century Italy. In addition to studying the first descriptions of the painter's art and his early biographers' characterization of his style, Bernardo De Dominici's comprehensive "Vita del Cavalier Fra' Mattia Preti" is analyzed in order to establish Preti's place in the history of Neapolitan Baroque painting. In so doing, descriptions of the painter's art are compared and contrasted with those of his contemporaries. Following the investigation of the early sources and biographies, the painter's strategies are studied through selected paintings executed between circa 1650 and 1680. These include such works as the Aquila 'Martyrdom of St. Bartholomew', the London 'Wedding at Cana', the Naples 'Feast of Absalom', and the Siena 'Canonization of St. Catherine'. The case studies highlight a number of practices the artist used to distinguish himself from his peers. In sum, this study argues that the early biographical accounts, while only partially conveying the breadth of the painter's art, function as a point of departure for accessing and comprehensively examining his representational strategies. Ultimately, this dissertation demonstrates that Preti was an artist who actively and continuously experimented with a range of pictorial possibilities. / Thesis (Ph.D, Art History) -- Queen's University, 2012-04-29 18:26:13.056

The Nose of Death considers the common matrix of the English scientific revolution and the modern English novel through the indicator of laughter. Whereas death is the paradigmatic object of laughter in the premodern period, animate or thinking matter is the prevailing object of laughter in modernity. The change is located in texts of the English baroque period from 1607 to 1767. Baroque discourse is defined by the language developed by writers loyal to both the Christian and the Copernican world views. Contradictory allegiances required them to institute a narratorial position based on simultaneous attachment to and detachment from a single point of view. This position is the defining feature of baroque discourse, the basis of both the perspective of modem science and the animation of multiple viewpoints in the modern novel. / The Nose of Death develops Walter Benjamin's reading of baroque "muting" and "fragmentation," processes that free matter, language, and time for alternative composition. The dissertation likewise adapts M. M. Bakhtin's account of the "grotesque method," considered as the approach to language and the human body that the modern "scientific method" posits itself against. This study treats baroque novelistic discourse in forgotten texts drawn from McGill's Redpath Tracts by Thomas Tomkis, Thomas D'Urfey, Tobias Swinden, and a selection of anonymously authored pamphlets. It considers, as well, two early medical works by Robert Boyle and Walter Charleton. Analogous fragments are similarly analyzed from three canonical works: Robert Burton, The Anatomy of Melancholy (1621), Samuel Richardson, Clarissa, or The History of a Young Lady (1747--48), and Laurence Sterne, The Life and Opinions of Tristram Shandy, Gentleman (1759--67).

This study seeks to present a philologically accurate and complete edition of Isabella Andreini’s collection of lyric poetry published in 1601. The collection comprises a total of 368 poems: 196 sonnets, 125 madrigals, 6 canzoni, 10 canzonette morali, 2 sestine, 2 epithalamia, 2 centoni, 3 capitoli, 9 scherzi, 4 versi funerali and 9 egloghe boscherecce. The investigation conducted on Andreini’s poems has led us to discover that the variety of metrical structures that make up her collection are perfectly in line with the trends of the century, as confirmed by both Chiabrera’s lyric poetry and the second part of Marino’s Rime. The present study highlights Isabella’s unique poetic personality and her innovative position in literary history. The interpretation of Isabella Andreini’s poetry in the entire thesis revolves around the statement of poetics she makes in the very first poem of the collection. In fact, in her proemial sonnet Andreini declares the non-autobiographical nature of the fervours expressed by her poems, thus declaring that her compositions are simply a poetic exercise. This is made clear further when she states that following her ability as an actress, she wrote in varying style a thousand pages, thus making reference to the variety of styles and metrical schemes she adopted in her poems. Using similar language, she warns the readers of the different narrating voices in the collection, stating that just as on stage she played different parts as woman and others as man, so she did in her poems. It is clear that the special feature of Andreini’s lyrical style is amenable to her talent as an actress, and it was in fact due to her acting skills that she could ably impersonate a man, or conceal the identity of the narrator in her poems, using this ‘invention’ as a key element in her creative process.