Bibliography: leaves 353-361 / [6], 361 leaves : ill., facsim., map ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, 1990

This thesis is concerned with the editorial, printing and marketing history of four Byzantine historical narratives, published between 1556 and 1645, and soon collectively identified under the name Corpus Historiæ Byzantinæ (hereinafter, 'Byzantine Corpus'). The four Byzantine historians - Ioannes Zonaras, Niketas Choniates, Nikephoros Gregoras and Laonikos Chalkokondyles - enjoyed considerable popularity in early modern Europe, with a peak of interest in the second half of the sixteenth century. This thesis aims at highlighting how these four texts, despite being so popular in a number of early modern European countries (particularly in the German-speaking area, in Italy and in France), did not do so for the same reasons: in fact, depending on the country in which these books were printed, they were marketed, perceived and read in very different ways. This element is particularly relevant in light of the fact that the Byzantine Corpus represents the earliest predecessor of the Corpus Fontium Historiæ Byzantinæ, the modern resource for the study of Byzantine historical sources. Chapter 1 analyses the early formation of the Byzantine Corpus and, in particular, the figure of Hieronymus Wolf, first editor of the Byzantine Corpus, often considered the 'father' of Byzantine studies; his relation with his patrons, the Fuggers of Augsburg; finally, his relation with his publisher, the Basel printer Johannes Oporinus. It then provides contextualised bibliographical and paratextual descriptions of the editiones principes of the Byzantine Corpus, all printed in Basel. Chapters 2-5 reflect the same comparative approach, used to investigate how the later editions of the Byzantine Corpus were prepared and marketed in different European countries: each chapter provides a bibliographical and paratextual analysis of the subsequent German, Italian, French and Genevan editions respectively. The Conclusions draw together all the information collected in the previous chapters and investigate three pivotal aspects of the Byzantine Corpus: i) the formation of the Byzantine Corpus and the individual popularity of each of the four Byzantine historians based on the frequency and popularity of both individual and collective editions; ii) the distinctive reasons of their popularity, analysed through a comparison of the different approaches with which editors and publishers have presented these texts to their respective audiences in Germany, Italy and France; iii) the reasons for the rise and decline in popularity of the Byzantine Corpus in the early seventeenth century.

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The present study is an attempt to enlarge upon the proposition that the age of Frescobaldi was, like all others, an age of transition, in his case the transition from Renaissance to Baroque. His position within this change is central, both in time and importance. In our first two chapters, the various categories of keyboard works which he enriched will be considered, with their prehistories, his contributions, and analyses of individual pieces. In chapter I the works mainly of instrumental origin will be dealt with, and in chapter ll those of more vocal derivation. In the final chapter, the information thus gleaned will be used to demonstrate his exact position within the transition, particularly with regard to its two most important aspects, the harmonic field and the interaction of vocal and instrumental elements.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Orientador: Leandro Karnal / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-23T23:45:33Z (GMT). No. of bitstreams: 1 Rocha_CarlosGuilherme_M.pdf: 1482216 bytes, checksum: e2a20df8d5f844e53dbe24f4409df4ca (MD5) Previous issue date: 2013 / Resumo: A proposta deste trabalho consiste em analisar a relação conflituosa entre o capitão-geral e governador da província de Cartagena das Índias, Francisco de Murga, e os ministros do tribunal da Inquisição da cidade de Cartagena. Os enfrentamentos entre as partes remontam aos primeiros meses do governo de Murga, que aportou em Cartagena em outubro de 1629, e perduraram até meados do ano de 1636, quando houve uma mudança no governo provincial. O objetivo principal é analisar o âmbito jurídico do conflito, isto é, o modo como as partes envolvidas recorriam ao uso do direito, quais as argumentações e os fundamentos enunciados. Parto do princípio que a análise do direito e da estrutura jurídica é ponto basilar para a compreensão das relações institucionais no Antigo Regime. Neste sentido será analisada principalmente a natureza jurídica do Santo Ofício apresentada nos discursos e práticas originárias do conflito. Será analisada também a representação da autonomia inquisitorial frente os poderes civis, que se destaca nas práticas em questão. Nesse sentido, este trabalho enfatiza como os fundamentos jurídicos da Inquisição e do governo provincial são princípios que orientam as ações dos envolvidos no conflito em questão / Abstract: The aim of this work is to analyze the conflicting relationship between the captain general and governor of the province of Cartagena of the Indies, Francisco de Murga, and the ministers of the court of the Inquisition in Cartagena. The confrontations between the parties date back to the first months of Murga's government, who arrived in Cartagena in October 1629, and lasted until mid-1636, when there was a change in the provincial government. The main purpose of this study is to analyze the legal scope of the conflict, i. e., the manner in which interested parties used to appeal to the use of the law, the arguments and pleas they had mentioned. I assume that the analysis of law and legal structure is fundamental to understanding the institutional relations in the Ancien Régime. In this sense, th legal nature of the Holy Office, presented in the discourses and practices thata had given rise to the conflicts will be mainly analyzed. It will be also analyzed the representation of inquisitorial autonomy in relation to civil powers, which stands out in the practices concerned. In this sense, the emphasis of this study is how the legal bases of the Inquisition and the provincial government are guiding principles of the actions of those Who were involved in the conflicting relationship concerned / Mestrado / Historia Cultural / Mestre em História

This study aims to provide a critique of Baroque performance practice, with specific reference to the organ Preludes and Fugues of Johann Sebastian Bach. Drawing from the extensive body of literature pertaining to Bach’s keyboard music, a number of relevant issues are explored in so far as these may provide understanding of the manner in which the organ Preludes and Fugues should be performed today. These include: • The notion of Bach’s ‘generic’ keyboard works. Were the generic keyboard works as a whole intended to be performed on more than one keyboard instrument? The instrumental designations given by Bach in these works are a valuable source of information in answering this question. • The type of organ that was known to J.S. Bach and typical registration used in the Baroque, called the plenum. • Identification of the grey area that persists in the interpretation of Bach’s organ works with regard to registration, tempo, rhythm, articulation, phrasing, fingering and ornamentation. This study also engages with the current authenticity debate in musical performance as seen from the modernist and postmodernist points of view. The modernist ideal of authenticity is to “re-create” or “reconstruct” performances of Bach’s music with as much accuracy as the evidence of historical musicologists can provide. For the postmodernist, however, authenticity lies in embracing the human element of contingency in musical performance, along with a thorough grounding of such performance in historical evidence. In aligning itself with the postmodernist point of view, this study ultimately argues that we cannot learn everything there is to know about Baroque performance practice from books. Instead, in addition to historical evidence, we draw much of our understanding in this regard from our innate or tacit levels of knowing. In this regard the scholar of Bach’s organ works can draw valuable lessons from the levels of tacit knowledge of leading organ pedagogues and performers on the subject of Baroque performance practice.

In his evocative account of walking through Restoration London, the seventeenth-century diarist Samuel Pepys conveys a vibrant city comprised of movement, exchange, and conflict. We follow Pepys, for example, into the coffee-house on his insatiable search for news and political argument. Within urban space he is equally persistent, noting the ritual demarcation of urban boundaries at moments of tension between London and the Crown, or describing how the city's spaces were alarmingly transformed by the presence of disease. This is hardly the London imagined by scholars of the Restoration, who have characterized this historical moment of the return of Charles II and restoration of monarchical government to England as a time of concord after the violent struggles resulting in civil war at mid-century. It is telling that one of the first strategies adopted by Charles IPs government to stabilize a volatile situation in London was to assert control over print. At this moment, though, print culture served to open up urban space in new ways, becoming a mode of opportunity for individuals like Pepys. My dissertation considers precisely the interrelation between these spaces and forms of print. Like Pepys, my thesis journeys through the city, stopping at the Restoration coffee-house. These spaces of congregation, where print was displayed and purchased, appeared in significant numbers around the Royal Exchange after 1660. The coffee-house has been given mythic proportions in the twentieth century as the foundation of a modern public sphere. However, as this thesis will show, instead of producing an abstract and universal realm of public opinion, the coffee-house was an actual space formed through contestation, and through a struggle taking place between an older form of subjectivity and a newer urban culture. Another site of urban contestation shaped through print was the street processions staged by Whigs during the Exclusion Crisis, a moment of increased City and Crown tensions. Within these political struggles, the unexpected also had its part to play. The crisis brought on by bubonic plague in 1665 generated prints mediating all kinds of conflicts, but especially the social practices of flight and quarantine. The sudden destruction of the city within the walls by fire in 1666 was met by mapping and picturing the ruins that struggled to account for the void in the urban centre. My dissertation concludes with a series of unique prints which represent an ephemeral city built on the in-between space of the frozen Thames. This unexpected suspension of the everyday rhythms of London led to its festive re-imagining. In conclusion, I address the significance of the location of both print and the coffeehouse at the very centre of this urban space. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

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