Containing over forty portraits, the frescoes by Domenico Ghirlandaio in the cappella maggiore of S. Maria Novella provide the opportunity to investigate the function and context of Quattrocento portraiture. Burkhart’s famous notion of Renaissance “individualism,” usually seen as a sufficient explanation for the rise of this genre, is rejected in favour of corporate, especially family, motivations and modes of address. This necessitates an examination of consorterial traditions and patterns of patronage which are registered in the Tornaquinci chapel and enabled the acquisition of patronage rights to the chapel by the entire consorteria in October 1486. A biography is also supplied of Giovanni Tornabuoni, the man who paid for the decoration of this, his family monument, and closely supervised its progress.

From a Burgher House through the Imperial Court to Loket Castle The Careers of Kaspar and Mates Schlicks in Bohemia, Empire and Saxony (1390-1487) The presented thesis is devoted to the oldest history of the Schlick family. The rise of an originally burgher-class family was based on the court and chancellery career of Kaspar Schlick († 1449); the latter bolstered his successes in the services of Sigismund of Luxembourg and Albrecht and Fridrich Habsburgs by an array of false documents that significantly contributed to the change of his social and economic status (his false promotion to the estate of a count and gaining a fortune). In the second half of the 15th century, after Kaspar's death, his brother Mates and his sons struggled for the preservation of acquired status and health. The following topics were investigated: (1) The utilization of court services and careers for burghers' getting into aristocratic circles, as exemplified by the person of Kaspar Schlick († 1449); (2) The search of strategies the Schlicks - Mates Schlick in particular († 1487) - took to limit themselves from the aristocratic environment, part of which they became. A significant role played Schlicks' relation to the town of Cheb, from which their family came, and to the Loket region, which they acquired and tried to make...

La littérature didactique spécifiquement destinée aux femmes a connu un traitement paradoxal dans les travaux universitaires : délaissée du fait de son manque supposé d’intérêt littéraire, on a pourtant tendance à lui prêter un important pouvoir normatif. Nous nous proposons donc, dans notre travail de thèse, d’aller au-delà de cet apparent paradoxe, en analysant un corpus composé d’une vingtaine de textes de genres distincts, mais qui ont en commun, au-delà des données historiques et géographiques, d’avoir cherché à éduquer, instruire ou édifier la gent féminine. Pour atteindre ces objectifs pédagogiques, leurs auteurs mettent en place des stratégies discursives qu’il est nécessaire d’étudier. Ainsi s’expriment les nuances et les contradictions d’un enseignement qui n’est nullement uniforme, chacun transmettant, en fonction de ses opinions, des circonstances de la publication de son ouvrage, etc., un message qui lui est propre. Dès lors, il ne faudrait pas considérer ces textes comme autant d’expressions d’une seule et unique idéologie qui s’imposerait aux femmes, dans la mesure où l’unité même de cette idéologie est fortement remise en question. En outre, les femmes auxquelles ils sont destinés peuvent adopter, vis-à-vis d’eux, des attitudes qui sont parfois fort différentes de celles qu’avaient imaginées leurs auteurs. Ainsi, la littérature didactique peut devenir l’instrument de jeux de pouvoir et de luttes d’influence où auteurs et destinataires poursuivent des fins parfois bien éloignées de l’enseignement. Notre travail de thèse vise donc à mieux connaître, dans toutes ses richesses et ses ambigüités, un corpus qui s’offre à de multiples lectures. / The didactic literature specifically dedicated to women has been analyzed in a very paradoxical way by scholars: neglected because it is allegedly deprived of literary interest, its normative force tends, on the contrary, to be overvalued. In this work, we mean to go further than this apparent paradox, analyzing a corpus of twenty texts of various literary genres, whose common point is, apart from historical and geographical data, to look for educating, instructing or edifying women. In order to achieve those pedagogical aims, the authors implement discursive strategies that we have to study. By doing so they reveal the nuances and contradictions of a teaching that is far from being uniform, in so far as each author transmit, depending on his opinions, the circumstances of the publication of his work, etc., a message of his own. Therefore, we don’t have to consider these texts as so many expressions of a single and unique ideology which would be imposed to women, inasmuch as the very coherence of this ideology can be questioned. Moreover, the women to which the works we are going to study are destined can adopt, towards them, some attitudes that are very different from those imagined by their authors. Thus, didactic literature can become an instrument in power games and struggles in which education is very far from being the only preoccupation of the authors or their dedicatees. Our work aims at a better knowledge of all the richness and ambiguities of this corpus, in order to show that it could be read in very different perspectives.

Orientador: Luiz Cesar Marques Filho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-04T09:46:44Z (GMT). No. of bitstreams: 1 Meneses_PatriciaDalcanale_M.pdf: 8894128 bytes, checksum: 81da8af625498974d32dee145363c4fc (MD5) Previous issue date: 2005 / Resumo: o objetivo desta pesquisa é estudar três pinturas de cenas urbanas conhecidas como painéis de Urbino, Baltimore e Berlim e, mais especificamente, o ambiente cultural que as produziu. Considerando a cidade de Urbino como o mais provável local de origem dessas obras, o estudo concentra-se na relação entre arte e política, e no papel da arquitetura e cultura humanistas no ducado dos Montefeltro / Abstract: The purpose of this research is to study the three paintings of urban scenes, known as the Urbino, Baltimore and Berlin panels, and more particularly the cultural milieu that produced them. Considering the city of Urbino the most probable place of origin of the works, this study focuses on the relationship between politics and art, and the role of architecture and humanistic culture at the Montefeltro ducal estate / Mestrado / Historia da Arte / Mestre em História

Representations and Imaginary of Intimity in the Medieval Literature Martin Šorm Abstract The thesis presents an analysis of a corpus of Old Czech literature, focusing on how intimacy was represented in the late Middle Ages (especially in the second half of the 15th century) and how the texts in question achieved intimate effects. The corpus is defined by the material preservation of the texts (the so-called Pinvička's ms., The National Museum Library, II F 8, from 1459-1463) and is extended with other units and individual texts enabling comparison (related manuscripts or close literary works, other language versions, chivalric epic, the genre of verse dispute, etc.). The thesis focuses on the techniques by which the texts sought to shape their audiences; it describes the ways in which the relationships between writing and reading, the intimate impact and the perceived connection of the individual with his or her surroundings, were articulated. Focusing on gender codes, it examines both the dominant - masculine - perspectives through which representations of the subject were determined, as well as the marginal models. It interprets the meaning and function of features typical of verse disputes in lyric heteroglossia, emphasizing the genre continuity and intertextuality that contributed to the impact of the...

The life of Joanna of Rožmitál (Rosenthal), who is mainly known as the wife of George of Poděbrady, was much more diverse and richer, than it could seem at first view. Being a noblewoman from a Catholic family, she married a "Calixtine."During her relatively short life, she managed to promote the succession of Jagiellonians to the throne, to participate in provincial diets, to resolve conflicts between Catholic and Calixtine noblemen and, after the death of her husband, to hold the highest office in the state. On the basis of extant sources and narrative literature I will try reconstructing Joanna's life, her court and heir governance along George's side and also after his death. Among other targets, the work will try to portray the life of a medieval noblewomen in a rather uneasy period.

The following thesis is basically an edition of one particular part of the Strahov convolute CZ- Pst, Ms. DA III 17 called the "song section". Majority of its repertoire are songs, yet it isn't standard monothematic section, but rather collection of various relics. The other crucial aspect of the following thesis is the table of concordances and it also contains several chapters focused on the DA III 17 manuscript itself and on three particular pieces: cantiones Pulcherrima rosa, Jesus Christus dum cernitur and trophus Alle- Domina, flos virginalis as well. Other remaining compositions are also shortly commented. The main goal of the thesis is to open up this repertoire for wider spectrum of reaserchers and musicians. And last but not least to add some new informations about this still insufficiently processed musical material.

The purpose of this thesis is to discuss the changes and developments of the accompanied solo song throughout the fifteenth and sixteenth centuries, including instrument usage and song types.

This thesis looks at the court of Anjou-Provence’s book production, under the guidance of King René d’Anjou, during the decades of the 1440’s and ‘50s. It examines four literary works of which three were authored by the prince, namely, "Le Livre des tournois," "Le Mortifiement de vaine plaisance" and "Le Livre du Cœur d’amour épris," and an anonymous translation into French of Boccaccio’s "Teseida delle Nozze d’Emilia", entitled "Le Livre de Thezeo." In this thesis, I argue that these four works, although they emerge as separate events, connect ideologically and iconographically, highlighting a set of ideas that redefines nobility for the French Early Renaissance. Applying a complex combination of approaches, my theoretical framework combines translation, emotions and worldmaking theories. My model reveals King René’s vision of gendered roles and his refined sense of true nobility that make his court’s cultural identity stand out among that of comparable French courts of the day. It also outlines René’s close working relationship with his illustrator Barthélemy d’Eyck. The structure based on the four case studies outlines aspects of the debates on love and courtly culture that developed at René’s court. Chapter One discusses the distinctiveness of the Angevin-Provençal court’s reception of Italian and antique cultures and its importance as a continuum from the Latin translations in the Parisian humanist circles in the 1400s. Chapter Two examines "La Théséïde," the only fully illustrated manuscript of the translation into French of Boccaccio’s "Teseida delle Nozze d’Emilia," analysing the central focus on Emilia as the “Dame Amaczon.” Pursuing the work’s re-envisioning of gendered roles through emotional communities, Chapter Three explores the transformation of two warriors into “nobles chevaliers” in anticipation of René’s standardisation of noble knightly values in his "Livre des tournois." In view of the prince’s age when he started his literary career, Chapter Four questions the role that religion played in his vision of masculinity and unveils the portrait of the contemplative knight in René’s "Mortifiement de vaine plaisance." The heart-centred narrative connects with the quest of the secular heart in his "Livre du Cœur d’amour épris" in Chapter Five. It reveals the knight Cuer’s re-envisioned quest through imaginary lands and its unexpected conclusion as King René’s notion of true nobility refined by spiritual love, for men and women of the Early Renaissance. In the conclusion, the cross-study of these four books highlights their symbiotic working dynamic, and the talent of Barthélemy d’Eyck, that brought together the impressive Angevin-Provençal cultural production emerging within King René’s close circles, on the eve of the French Renaissance. / Graduate

La tenture de la 'Dame à la licorne' est le plus souvent interprétée comme une allégorie des sens physiques, mais son iconographie se distingue par le registre héraldique. Chaque composition s’organise tel un emblème héraldique de sorte que les personnages principaux remplacent l’écu tant du point de vue visuel que fonctionnel. Si cette tenture est fréquemment citée comme un monument à la réussite socioprofessionnel du commanditaire, on n’a jamais cherché à comprendre comment le registre scénique contribue à la représentation du commanditaire. Autre lacune dans le corpus de littérature, l’importance de la figure féminine dans cette image est restée jusqu’alors ignorée. La présente étude propose donc d’étudier la 'Dame à la licorne' et sa fonction représentative en analysant les traditions culturelles, littéraires et iconographiques, ainsi que les réalités sociohistoriques, qui sous-tendent l’image d’excellence sociale que le commanditaire souhaite rattacher à sa personne et à sa famille. / The 'Lady and the Unicorn' tapestries are most often interpreted as an allegory of the physical senses, but their iconography is remarkable for its integration of armorial elements. Each composition is organized like a heraldic emblem, such that the main figures replace the coat-of-arms in its position and its function. Though this work is frequently identified as a monument to the patron’s socio-professional success, no effort has been made to understand how the scenes contribute to his personal representation. The lack of interest for the decidedly female character of this iconographic programme is another weakness in previous studies of these tapestries. This doctoral dissertation proposes to examine the 'Lady and the Unicorn' and its representative function by analysing the cultural, literary and iconographic traditions, as well as the socio-historic realities, that shape the image of social excellence the patron constructs in order to represent himself and his family.