Zugl.: München, Univ., Diss., 2002 u.d.T.: Szczepanek, Gudrun: Das Majolikaservice für Herzog Albrecht V. von Bayern aus der Werkstatt des Leonardo Bettisi in Faenza (1576)

Diss.--Philosophische Fakultät--Bonn--Rheinische Friedrich-Wilhelms-Universität, Wintersemester 1991/92. / Bibliogr. p. 229-259. Index.

Diss.--Philologie--Wien, 1974. / Bibliogr. p. 325-336. Index.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-03-20T22:25:46Z No. of bitstreams: 1 RafaeleSabrinaBarbosaPereira_DISSERT.pdf: 5752486 bytes, checksum: 0bf019e2a266290708f317664b44e04e (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-03-24T00:14:46Z (GMT) No. of bitstreams: 1 RafaeleSabrinaBarbosaPereira_DISSERT.pdf: 5752486 bytes, checksum: 0bf019e2a266290708f317664b44e04e (MD5) / Made available in DSpace on 2017-03-24T00:14:46Z (GMT). No. of bitstreams: 1 RafaeleSabrinaBarbosaPereira_DISSERT.pdf: 5752486 bytes, checksum: 0bf019e2a266290708f317664b44e04e (MD5) Previous issue date: 2015-09-01 / Cometas, planetas, luas e constela??es foram, ao longo de civiliza??es, representados por pintores, arquitetos e escultores por meio de imagens e mapas celestes e mapas zodiacais. Na cultura renascentista, essas imagens estiveram, por exemplo, nas ab?bodas do pal?cio de Schifanoia em Ferrara, tal como em diversas gravuras de Albrecht D?rer, como apontou Aby Warburg e, posteriormente, Erwin Panofsky. Nessa escrita, apontamos que as gravuras, a saber, O sifil?tico (1494), O astr?nomo (1500) e A mulher com zod?aco (1502), Melencolia I (1514), atribu?das a D?rer, poderiam fazer parte de temas, especialmente, da astrologia, recorrentes em outras gravuras de seu per?odo. Para isso, partiremos da rela??o entre imagem e texto presente nas imagens elencadas, de acordo com a perspectiva de W.J.T. Mitchell. Assim, visamos entender como as imagens podem, atrav?s de sua visualidade, ajudar a compor um per?odo em que o pensamento era concebido por determinadas correspond?ncias entre o homem e os astros, a partir da ideia do homem como um microcosmo. Assim sendo, para entender essa dada forma de se organizar atrav?s de um espa?o correspondente, ou atrav?s de uma vis?o de mundo, no qual os astros tinham lugar especifico, apontamos para a categoria espa?o m?tico tal qual apontada segundo a perspectiva do ge?grafo Yi-Fu Tuan. / Comets, planets, moons and constellations, were throughout civilizations, represented by painters, architects and sculptors through pictures, celestial maps and zodiacal maps. In Renaissance culture these images were, for instance, in the vaults of the Schifanoia Palace in Ferrara, as well as in several prints by Albrecht D?rer as pointed by Aby Warburg and later, Erwin Panofsky. In this writing, we point out that the pictures, namely, The Syphilitic (1494), Astronomer (1500) and The Woman with Zodiac (1502), Melencolia I (1514) attributed to D?rer could be part of subjects, especially, astrology, recurring in other prints in hisage. In order to develop this idea, we start from the relationship between picture and text present in the listed images, according to the perspective of WJT Mitchell. Thus, we aim to understand how pictures can through their visuality helped the composing of a time when the thought was conceived by certain correspondences between man and the stars, from the idea of mankind as a microcosm. Therefore, to understand this given way to organize life through a corresponding space or through a worldview in which the stars had a specific place, we point to the category mythical space as it is presented in the geographer Yi-Fu Tuan?s perspective.

By stating that »only the successful work can be called an art work«, Albrecht Wellmer constructs a very strong hypothesis. Such an integration of the idea of aesthetic success into an ontological discussion of the musical work-concept, however, cannot be successful without taking into account the historical context. Considering not only the demarcation between art and non-art but also the concept of the art work in general, this hypothesis therefore touches upon a pivotal aesthetic, philosophical, and musicological problem that becomes highly virulent once criteria of »failure« are concerned. Examining reflections by Carl Dahlhaus and Theodor W. Adorno, the present essay attempts to analyze how aesthetic success and failure as specific historical configurations can be integrated into a philosophical debate in the conceptual tension field between the musical art work, aesthetic discourse and aesthetic experience.

Au début du XVIè siècle, le territoire germanique apparaît comme le foyer de réception non seulement le plus important mais aussi le plus fécond des estampes du peintre italien Andrea Mantegna (1431-1506). De Dürer à Peter Vischer à Nuremberg, de l’atelier d’Ulrich Apt à celui de Jörg Breu l’Ancien à Augsbourg, d’Hans Baldung Grien à Matthias Grünewald dans les régions rhénanes, d’Urs Graf à Jörg Schweiger en Suisse, de l’atelier d’Altdorfer implanté à Ratisbonne à celui de Wolf Huber situé à Passau : tous les centres artistiques et humanistes du monde germanophone sont concernés. Inscrite dans la problématique des transferts culturels, cette thèse vise à montrer, par une approche résolument pluridisciplinaire, que la réception des modèles gravés italiens en Allemagne ne se borne pas aux emprunts formels et stylistiques, mais s’intègre dans une réflexion sur l’émulation, qui tient compte des spécificités à la fois historiques et culturelles du Saint Empire Romain germanique / During the early 16th century the German territory was not only the most important but also the most fruitful center for the circulation of Italian painter Andrea Mantegna's (1431 - 1506) prints. From Dürer to Peter Vischer in Nuremberg, from Ulrich Apt's workshop to Jörg Breu the Elder in Augsbourg, from Hans Baldung Grien to Matthias Grünewald in Alsace, from Urs Graf to Jörg Schweiger in Switzerland, Altdorfer's workshop, located in Regensburg to Wolf Huber's in Passau. Basically all artistic and humanist centers in the German-speaking world were concerned. This thesis takes as its primary object the problematic of cultural transfers and aims at showing, through a multidisciplinary approach, that the German reception of Italian engravings is not only limited to formal and stylistics aspects but it is integrated in a reflection regarding the emulation, which will take into account both historical and cultural particularities of the German Sacred Roman Empire

No description available.

Zugl.: Heidelberg, Univ., Diss., 2007

Thesis (doctoral)--Universität, Kassel/Universite Sorbonne Nouvelle-Paris III, 2007. / Includes bibliographical references and register.

Thesis (Ph. D.)--Universität Marburg, 1913. / Includes bibliographical references (p. [vii]-ix).