There is no abstract available for this dissertation.

The thesis examines the reception and importance of Pietro Metastasio's dramatic work in Vienna and other major German centres and concentrates on the German dramatic versions of Demetrius. The first chapter discusses the eighteenth-century reception of Metastasio's Demetrius as opera and as drama in Vienna and across Germany, considers the Viennese dramatic performances of other well-known metastasian dramas and argues that Metastasio's works had their own independent literary validity before serving the music. The second chapter, which examines the publication history of both Metastasio's individual and collected works until 1800, maintains that German translations of Metastasio's texts were indeed required by Germans and Austrians during the eighteenth century. The last chapter, an intensive study of Demetrius, draws a precise comparison of a Viennese dramatic version of this work with the original Demetrio libretto, and comments on other German dramatic versions of the play. It is contended that Metastasio's texts could easily be adapted to become dramatic works. It is further argued that Metastasio was not only successful as librettist but also as dramatist in eighteenth-century German-speaking territory.

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陳曙光. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 326-360) / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Chen Shuguang.

Thomas Patch (1725-1782) is a relatively unknown English artist of the eighteenth century whose claim to fame so far has rested in his caricature work. He went to Rome around 1747, was banished from there in 1755 and joined the English circle in Florence where he remained until his death in 1782. Patch's work in Florence included his copying of what Vasari had said to be a fresco cycle by Giotto in the Church of the Carmine. This cycle had been damaged in a fire that broke out in the old church in 1771, and it had to be destroyed to make way for the new church that was completed in 1773. What led Patch to do this work? How successful was he? We see the influences of Hugford and Bottari and the lively interest of connoisseurship in the medieval and the Trecento. Patch's skill as a copyist is analyzed and found to be excellent. There are now only twelve fragments left of the original fresco and they have been given a variety of attributions. On the basis of dating, this paper agrees with those who reject the Giotto attribution and it is not prepared to accept the Spinello Aretino one without additional confirmation. The cycle does not appear to fit the style and character of Spinello in the period to which it is usually assigned. Recent evidence however still makes it worth while to leave the door open to Spinello though on the basis of style and spatial utilization, other artists of this period should also be considered. When compared with other Saint John the Baptist cycles, the iconography shows the master of the Manetti Chapel frescoes to have been an inventive and imaginative artist whom both Masaccio and Agnolo Gaddi thought worthy of emulating and copying. His inventiveness is seen in the fact that though he seems to have got ideas from the Peruzzi Chapel and from the doors of the Baptistery, he put his own stamp on them. His angel in flight, his headless body of Saint John, his shivering Christ and his many re-arrangements of crowd scenes give ample evidence of an innovati.ve-ness which is only surpassed by his skill at integrating his scenes. Patch's engravings therefore should form an important incentive to further assessment of the work of Spinello and his possible influence on the late Trecento and Quattrocento Italian art. They also form a pathway for the study of influences of this period on eighteenth century English art. Patch represents a whole era of connoisseurship and is a possible source of valuable character study of the English emigre community of late eighteenth century Florence. His work merits a great deal more consideration than it has so far received in the history of art. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

University of Macau / Faculty of Social Sciences and Humanities / Department of English

Tesi di dottorato : Facoltà di lettere : Università di Zurigo : 1991. / Bibliogr. p. 291-308. Notes bibliogr.

Diss.--Philosophische Fakultät--Freiburg, Schweiz, 1976. / Bibliogr. p. 5-27. Index.

SILVA, Rafael Ricarte da. Formação da elite colonial dos Sertões de Mombaça: terra, família e poder (Século XVII). 2010. 188f. Dissertação (Mestrado em História) - Universidade Federal do Ceará, Departamento de História, Programa de Pós-Graduação em História Social, Fortaleza-CE, 2010. / Submitted by Raul Oliveira (raulcmo@hotmail.com) on 2012-06-28T14:51:11Z No. of bitstreams: 1 2010_Dis_RRSilva.pdf: 2039189 bytes, checksum: 34a6aa5d7d8992313b5c28b9aff8f9d0 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-20T14:34:41Z (GMT) No. of bitstreams: 1 2010_Dis_RRSilva.pdf: 2039189 bytes, checksum: 34a6aa5d7d8992313b5c28b9aff8f9d0 (MD5) / Made available in DSpace on 2012-07-20T14:34:41Z (GMT). No. of bitstreams: 1 2010_Dis_RRSilva.pdf: 2039189 bytes, checksum: 34a6aa5d7d8992313b5c28b9aff8f9d0 (MD5) Previous issue date: 2010 / This research intends to analyze the colonial elite process of formation in the Hinterlands of Mombaça, situated in the Captaincy of Siará Grande, along the XVIIIth century. For this purpose, I have looked at the means that enabled the establishment of these colonial elite, such as, the grant allotments procedures, the justifications provided by its applicants, the individual or collective nature of the requests, and the social background of those who received allotments. Those aspects herein examined served to identify the patterns which were presented by the recipients to justify such endowment. Specifically about the Hinterlands of Mombaça, located on the banks of the river Banabuiú in the Hinterlands Central Ceará, the applications were mostly justified for the military services rendered in the so-called fair-wars (Guerras Justas) against the indigenous nations and also as economic justification for the inlands occupations through the opening up cattle ranches. Then, I seek to analyze the configuration and the historical development of those cattle ranches, the family agreements and the economical joints that favored the formation of these local colonial elite whose economic strength was based on the ownership of lands, cattle and slaves. / Este trabalho procura compreender a formação da elite colonial nos Sertões de Mombaça, capitania do Siará grande, no século XVIII. Para tanto, busca-se analisar quais os meios que permitiram a constituição desta elite colonial, como a forma das concessões de sesmarias, as justificativas apresentadas pelos requerentes, a natureza individual ou coletiva dos pedidos, a origem social dos sesmeiros, visando identificar quais os padrões por eles apresentados que justificavam a referida mercê. Especificamente sobre os Sertões de Mombaça, ribeira do Banabuiú, hoje Sertão Central do Ceará, os pedidos eram justificados em sua maioria pelos serviços prestados nas guerras justas contra os gentios e como justificativa econômica da ocupação nas fazendas de criar. Em seguida procuro analisar a constituição e desenvolvimento histórico das fazendas de criar e as articulações familiares e econômicas que propiciaram a formação desta elite proprietária de terras, gados e escravos.