The presented thesis deals with the issue of office room, offices, in the years 1580-1700. Its goal is to describe and interpret office equipment and office aids. The author used a number of preserved inventories from Bohemia and Moravia from the 16th and 17th centuries. The first chapter classifies the aristocratic residence into the resident network and deals with typology of seats. The second section discusses the usability of castle inventories and their problems. The third part describes topography and material culture of aristocratic offices. Next it focuses on the possible change of office space in a longer period of time. The last chapter compares office facilities to different categories. These include the social affiliation of the nobleman, his economic background and career as well as the type of residence. The conclusion summarizes the findings and presents opportunities for further research.

No description available.

L’étude du conte de fées de 1690 à 1789, période de la mode du genre en France, montre que la matière merveilleuse s’est constituée dès ses débuts avec des éléments de pratiques lettrées transposés du réel mais aussi et surtout transformés de manière fantaisiste. Les premiers conteurs (1690-1704) érigent en effet le genre selon une poétique complexe mariant l’oralité des temps naïfs et l’écrit, signe d’une pratique sociale et culturelle du conte. Les conteurs suivants en apportent des infléchissements plus parodiques, des imitations et des variations notamment orientalisantes. L’ensemble des auteurs est concerné mais à des degrés divers, Perrault, Choisy et Fénelon étant moins prolixes en la matière que Madame d’Aulnoy, Pétis de la Croix ou le chevalier de Mailly.Le pays merveilleux dévoile ses arcanes, son secret de fabrication métatextuelle à travers des scènes plus ou moins fugaces de lecture, d’écriture et d’évocations de bibliothèques féériques. / The study of the fairy tale over the years 1690-1789, when the genre was in fashion in France, shows that, from its inception, the subject matter grew up with elements of realistic literary practice which were largely reshaped by imagination. The first storytellers (1690-1704) set up the literary genre according to a complex poetics allying the orality of naive times with literacy, which is the mark of a social and cultural practice of the story. The contributions of the forthcoming storytellers are imitations, parodies or are tinged with Orientalism. All the writers are affected, but to varying degrees: Perrault, Choisy and Fénelon are less inventive in this respect than Madame d’Aulnoy, Pétis de la Croix or the Chevalier de Mailly. The wonderland reveals its mysteries and the secret of its metatextual layout through more or less fleeting scenes of book reading or writing conjuring up a magical library.

No description available.

Made available in DSpace on 2014-12-17T15:25:20Z (GMT). No. of bitstreams: 1 FranciscoIDO_DISSERT.pdf: 5166418 bytes, checksum: 5076fd689d41c7748dc2119fe45eff5b (MD5) Previous issue date: 2013-08-30 / The aims of this dissertation is to study formation of the Dutch view seeing the colonial scenery in screens by Frans Post, as well as, to perceive a colonial world constitution through landscape paintings by him with his natural and human representation. The artist was the first to portray South American views, after he landed in Pernambuco with retinue of Dutch governor of colony, John Maurice, Prince of Nassau-Siegen. Post, by his 24 years old, was designated to represent for Dutch people their colony. The text reflects on visual construction of natural and human aspects in landscapes by Dutchman and how that aspects were included in colonizer imaginary about the strange world of America. European (Dutch) look about their conquered possessions in the New World was charged with exoticism and imagination. In order to understand that view, it`s paramount to study imaginary pictures reared by Frans Post, on his return to the Netherlands, and notions of landscape and exotic, wild and unspoiled nature which the Dutch people had when they thought about the Dutch colony in America. Our principal (visual) sources of research are six paintings: Vista da S? de Olinda (1662), Vista das ru?nas de Olinda (undated), Engenho (undated), Engenho (1660), Vista da cidade Maur?cia e do Recife (1653), e Paisagem com rio e tamandu? (1649), all these canvases were painted when Frans Post returned to Europe. We seek to work through a methodology that focuses on investigation of primary visual and textual material, because these textual and pictorial representations reflect the 17th-century colonial view of colonial history themes of the - here called - Dutch America / O objetivo desta disserta??o ? estudar a constitui??o do olhar holand?s a partir da visualiza??o da paisagem colonial nas telas do pintor Frans Post. O tema deste trabalho ? perceber a constitui??o de um mundo colonial por meio das telas de paisagens de Frans Post, buscando entender este mundo pelos conceitos naturais e humanos representados nas pinturas do artista. Ele foi o primeiro pintor a retratar as paisagens sul-americanas quando veio embarcado, para o Pernambuco, com a comitiva do governador holand?s da col?nia, o pr?ncipe Jo?o Maur?cio de Nassau, quando tinha 24 anos, ficando respons?vel por representar as vistas da col?nia para os holandeses. O texto reflete sobre a constru??o visual dos aspectos naturais e humanos na paisagem do artista holand?s e como este passou a compor um imagin?rio do colonizador sobre o estranho mundo americano. O olhar europeu (holand?s) sobre as possess?es conquistadas no Novo Mundo era carregado de exotismo e imagina??o. Para compreender tal vis?o ? de suma import?ncia estudar as imagens imagin?rias que foram erigidas por Frans Post no seu regresso ? Holanda e as no??es de paisagens e da natureza ex?tica, selvagem e virgem que os neerlandeses tinham quando pensavam sobre a col?nia holandesa na Am?rica. Vamos utilizar primordialmente como fonte (visual) de pesquisa seis telas: Vista da S? de Olinda (1662), Vista das ru?nas de Olinda (sem data), Engenho (sem data), Engenho (1660), Vista da cidade Maur?cia e do Recife (1653), e Paisagem com rio e tamandu? (1649). Todas estas imagens foram produzidas quando Frans Post regressou ? Europa. Buscaremos trabalhar com uma metodologia que privilegie a leitura de fontes prim?rias visuais e textuais, pois estas representa??es textuais e pict?ricas refletem o olhar colonizador seiscentista dos temas da hist?ria colonial da Am?rica que vamos chamar aqui de holandesa

This paper explores the contribution of Portuguese Jesuit António Francisco Cardim’s work entitled Elogios, e ramalhete de flores borrifadocom o sangue dos religiosos da Companhia de Iesu (Roma 1646/Lisboa 1650) to laying the textual and visual foundation for the Society of Jesus’ discourse on, and representations of, martyrdom in the 16th and 17th centuries. The paper discusses first the circumstances of the preparation and circulation (in manuscript and print) of the volume for propaganda and spiritual education purposes. Additionally, in the light of the contemporaneous production on Japan, the paper explores the images used in the printed editions of the Elogios, especially their roots, their relation to the narrations, and the way in which images and text reflected a perception of martyrdom well ingrained in the Jesuit discourse. / El presente trabajo estudia la contribución ibérica a la construcción del patrimonio textual y visual sobre el cual la Compañía de Jesús, durante los siglos XVI y XVII, elaboró sus discursos y representaciones en torno al martirio. En concreto, analiza la obra del jesuita portugués António Francisco Cardim titulada Elogios, e ramalhete de flores borrifado com o sangue dos religiosos da Companhia de Iesu (Roma, 1646/Lisboa, 1650). En primer lugar, toma en consideración algunos aspectos relativos a los contextos de elaboración y circulación (manuscrita e impresa) del volumen, teniendo en cuenta sus objetivos propagandísticos y edificantes. Tras situar el escrito de Cardim en el marco de la producción contemporánea sobre Japón, se considera asimismo la naturaleza de las imágenes que se incorporaron a las ediciones impresas de los Elogios, susmúltiples raíces, su relación con las narrativas que acompañaban y el modo en el que textos y grabados reflejaban una percepción sobre el martirio bien arraigadaen el discurso jesuita.

Aux XVIIe et XVIIIe siècles, des représentations théâtrales sont régulièrement donnés dans les différents collèges parisiens de plein exercice, les dix attachés à la faculté des arts de l’université de Paris, comme celui tenu par les jésuites (le collège de Clermont devenu Louis-le-Grand), avec un faste et un retentissement variables, où la musique et la danse peuvent prendre une large place. Cette thèse est consacrée aux pratiques musicales et de danses en usage dans ce théâtre collégien. À l'issue d'une recension des représentations (établissement d’un catalogue des représentations et d’un répertoire de sources) et d'une reconstitution de plusieurs fragments musicaux, ce travail envisage l’inscription des scènes collégiennes dans l’espace artistique de la capitale, tout en les replaçant dans les usages pédagogiques de chaque établissement. Les conditions de ces représentations, leur publicité et les nombreux écrits qu’elles génèrent, enfin les acteurs et les milieux professionnels impliqués dans ces spectacles, sont successivement étudiés. La deuxième partie de la thèse est consacrée à un genre remarquable par sa continuité et son prestige, le ballet, l’élément le plus marquant et le plus polémique des spectacles de collège depuis le milieu du XVIIe siècle. Les spécificités du ballet de collège et leurs évolutions au cours de plus d’un siècle de répertoire sont analysées. La scène collégienne parisienne apparaît dès lors comme une interface, où se mêlent des acteurs et des usages chorégraphiques et musicaux de diverses origines et de diverses esthétiques. / During the 17th and 18th centuries, there were regular performances given by Parisian Colleges, the ten belonging to Paris University, and the one held by the Jesuits (College de Clermont, later College Louis-le-Grand), with variable pomp and success, in which music and dance took a significant role. This thesis studies musical practices and dances as part of these performances. A complete catalog of the performances and the preserved sources along with a reconstruction of musical fragments gives an image of the artistic life in these pedagogical institutions in particular and in the Parisian theatrical context of the period. The specific conditions for these performances, the numerous publications (programmes, commentaries, manuscripts, posters, etc.), the actors and their professional environment have been studied. The ballet, with its continuity and prestige, is the subject of the 2nd part of this work. Since the mid-17th century, it holds an important and polemic position within the theatrical performance. The particularities of the college ballet and its century-long evolution are analyzed. The Parisian College Scene appears as a place of multiple assimilations, with actors, chorographic and musical practices from various origins and styles.

Recentemente, a Linguística Histórica vem demonstrando que lidar com textos antigos pode fornecer bases seguras para analisar mudança linguística se se leva em conta que certos textos propiciam o uso de certas estruturas, palavras, expressões etc., ao passo que outros textos não. A partir dessa premissa e inserida no projeto temático História do Português Paulista II, a presente dissertação tem como objetivos apresentar a edição fac-similar e semidiplomática das Cartas de Datas de Jundiaí de 1657 e examinar como se configuram suas macroestruturas e a concordância verbal e nominal. O códice é composto de 61 cartas de datas lavradas por um mesmo escrivão e representa um dos documentos mais antigos de Jundiaí, elevada à vila em 1655. A análise das macroestruturas das Cartas de Datas de Jundiaí teve como base o modelo de Tradições Discursivas e os elementos da Diplomática segundo Spina (1994). O estudo da concordância pautou-se em Castilho et al. (2018) que propõem três tipos de concordância: plena, zero e por reanálise. Os resultados evidenciam a importância das Cartas de Datas de Jundiaí para os estudos linguísticos, tanto por se encaixarem no conjunto de textos da esfera jurídico-administrativa, mais formulaicos e elaborados, quanto por apresentar variantes de uma norma não padrão, a exemplo dos casos de concordância zero em partes específicas do texto. / New trends on Historical Linguistics have shown that dealing with old texts provide a good basis for language change if we take into account that some texts provide the emergence of specific structures, words and expressions, while others do not. Based on this assumption, this dissertation aims at presenting the facsimile and semidiplomatic edition of a colonial manuscript produced in Jundiaí (São Paulo State) in 1657, named Cartas de Datas, which is a kind of land patent. The manuscript consists of a collection of sixty-one land patents written by the village officials in order to grant a tract of land to local people requesting it. The discourse tradition of issuing such document represented a formal and legal land contract. The analysis is divided into two parts. Firstly, I compare the macrostructures of each land patent in order to identify similarities and differences among them. The second part is dedicated to the classification and description of sentences as to nominal and verbal agreement based on Castilho et al. (2018). The results reveal that such elaborate text also gives rise to lack of agreement cases, besides agreement according to standard Portuguese.

O objetivo deste trabalho é abordar a produção intelectual de um médico judeu português, Manoel Bocarro Francês/Jacob Rosales. Personagem pouco estudado, não se inclui entre as figuras centrais no pensamento judaico, nem na medicina e nem na ciência de seu tempo. Mas é um personagem que uniu em sua vida intelectual uma adesão ao judaísmo ao lado de vasta produção e atuação no movimento sebastianista, sendo o único caso conhecido de um judeu que professava sua crença na volta do Encoberto Conviveu e partilhou sua atividade intelectual com grandes figuras de seu tempo, como Galileu Galilei, o famoso médico Zacuto Lusitano e o rabino Menashe ben Israel. Seus escritos eram conhecidos pelo padre Antônio Vieira e a influência dos mesmos no sebastianismo se fizeram sentir em Portugal até o século XIX. Trazer um retrato vivo deste personagem, de suas ideias, contradições e discutir seu lugar na vida intelectual, quer do mundo judaico de sua época quer na história da medicina e do pensamento científico do século XVII, é o objetivo deste trabalho. / This study aims to discuss a Jewish-Portuguese physician, Manoel Bocarro Frances / Jacob Rosales. A figure who has not been much studied, he is not included among the central characters of the Jewish thinking and neither of the medicine or the science of his time. However, he is a figure that gathered in his intellectual life an adherence to the Judaism and a large production and participation in the Sebastian Moviment, being the only known Jewish man who professed his belief in the return of \"The Hidden One\". He shared his intelectual activity with great figures of his time, like Galileu Galilei, the famous physician Zacuto Lusitano and the rabbi Menashe Ben Israel. His writings were known by priest Antonio Vieira, and their influence was felt in Portugal until the XIX century. Bringing a live portrait of this figure, his ideias, his contradicitons, and discussing his role in the intellectual life, being that in the Jewish world of his time, or in the history of the XVII century medicine and scientific thinking, is the goal of this research.

A partir de l'élaboration du catalogue de son oeuvre (tableaux de chevalet et peintures décoratives), cette thèse étudie et ré-évalue la place de Jean-Baptiste Monnoyer dans la France du Grand Siècle. L'étude des oeuvres de ses collaborateurs et contemporains permet de préciser l'originalité de sa personnalité artistique et de définir sa place dans le développement de la peinture de nature morte en France au XVIIe siècle. Né à Lille, Monnoyer arrive tôt à Paris, où il ajoute à son expérience de la nature morte nordique l'influence des peintres français de la vie silencieuse. Il inscrit aussi son nom dans le siècle de Louis XIV comme peintre décorateur, effectuant les premiers décors des résidences de jeunesse du monarque (Saint-Germain-en-Laye, Vincennes, les Tuileries). Il y donne ses lettres de noblesse au motif de la guirlande tressant la gloire du prince.Comme collaborateur de Le Brun, il travaille dans des chantiers privés (Hôtel Lambert, château de Vaux), ou des châteaux de ministre du roi (Sceaux). Il part encore travailler en Angleterre à la fin du siècle. L’abondance des commandes royales l'oblige à s’entourer d’assistants. Les enjeux artistiques de cette production sont enfin analysés : la position du genre de la nature morte dans la doctrine officielle de l’Académie et sa reconnaissance dans les collections privées ; le statut du peintre de nature morte dans la génération des classiques, de Félibien à Perrault. Enfin, le rôle fondamental de Monnoyer dans le développement et la diffusion de ce genre est étudié. / Having compiled the entire work catalogue of Jean-Baptiste Monnoyer (easel paintings and decorations), this thesis aims to study and re-value his importance in France during the Grand Siècle.Through the study of works of his collaborators and contemporaries the uniqueness of his artistic personality is specified, as well as his position in the development of still life painting in France during the 17th century.Born in Lille, Monnoyer came early to Paris, where he joins his knowledge of Nordic still life painting to the influence of French « silent life » painters.His name is famous too during the century of Louis XIV as a painter decorator. As such, he made the first decorations for the youth residences of the monarch (Saint-Germain-en-Laye, Vincennes, the Tuileries). He there develops the importance of the pattern of the garland glorifying the prince.As a collaborator of Le Brun, he works in private worksites (Hôtel Lambert, château de Vaux), or in castles of ministers (Sceaux). He also works in England at the end of the century. Due to the great amount of royal orders, he was forced to gather assistants. The artistic issues of this production are analysed: the situation of the still life genre in the official doctrine of the Academy, and his recognition in private collections ; the position of the still life painter in the classical generation, from Felibien to Perrault. And then, the fondamental part of Monnoyer in the development and the rayonnment of this genre is studied.