Global ETD Search

1	Mário de Andrade constrói o Padre Jesuíno do Monte Carmelo / Mario de Andrade Builds the Padre Jesuino do Monte Carmelo Barsalini, Maria Silvia Ianni 06 June 2011 (has links) Na obra de Mário de Andrade polígrafo, a vertente do ensaísta vinculada ao historiador da arte brasileira, mostra-se enquanto processo de criação em Padre Jesuíno do Monte Carmelo, estudo que o autor estava em vias de considerar concluído, ao morrer em 1945. A tese, ao contemplar, à luz da crítica genética, a elaboração do ensaio sobre esse pintor do barroco paulista, a partir da organização dos documentos no dossiê dos manuscritos, teve, como proposta, desvendar a pesquisa do historiador que, vinculada a um projeto no SPHAN, uniu a busca de fontes primárias ao diálogo com outros historiadores, em leituras pertinentes. Desta forma, ao analisar notas de trabalho, presentes na margem de livros e em fólios, assim como versões de texto, procurou seguir o caminho da criação nas partes que compõem o ensaio. Entendeu, também, que o rigor da interpretação do ensaísta mescla-se, sem qualquer prejuízo, à criação do ficcionista na invenção da psicologia de Jesuíno, artista mulato, personagem. / In the polygraph work of Mário de Andrade, the essayists versant linked to the Brazilian Art historiographer, shows while creation procces in Padre Jesuíno do Monte Carmelo study that the author was about to consider concluded, when he died in.1945. The thesis, contemplating, by the genetics criticism, the essays elaboration about this painter of paulista baroque style, since the organization of documents in the manuscripts dossier had, as proposal, to reveal the historiographers research that, linked to a project at SPHAN, joined the search of primary sources to the dialogue with others historiographers, in pertinent lectures. In this way, analyzing works notes, presents in books borders and folios, as well as text versions, this thesis attempted to follow the creation way in the parts which composes the essay. It also understood that interpretations rigour of the essayist mixtures, without any prejudice, to the fictionist creation in the Jesuinos psychology invention, mulato artist, personage. Barroco paulista Crítica genética Genetics criticism História e ficção History and fiction Mário de Andrade historiador Mário de Andrade historiographer Padre Jesuíno do Monte Carmelo Padre Jesuíno do Monte Carmelo Paulista baroque style
2	Mário de Andrade constrói o Padre Jesuíno do Monte Carmelo / Mario de Andrade Builds the Padre Jesuino do Monte Carmelo Maria Silvia Ianni Barsalini 06 June 2011 (has links) Na obra de Mário de Andrade polígrafo, a vertente do ensaísta vinculada ao historiador da arte brasileira, mostra-se enquanto processo de criação em Padre Jesuíno do Monte Carmelo, estudo que o autor estava em vias de considerar concluído, ao morrer em 1945. A tese, ao contemplar, à luz da crítica genética, a elaboração do ensaio sobre esse pintor do barroco paulista, a partir da organização dos documentos no dossiê dos manuscritos, teve, como proposta, desvendar a pesquisa do historiador que, vinculada a um projeto no SPHAN, uniu a busca de fontes primárias ao diálogo com outros historiadores, em leituras pertinentes. Desta forma, ao analisar notas de trabalho, presentes na margem de livros e em fólios, assim como versões de texto, procurou seguir o caminho da criação nas partes que compõem o ensaio. Entendeu, também, que o rigor da interpretação do ensaísta mescla-se, sem qualquer prejuízo, à criação do ficcionista na invenção da psicologia de Jesuíno, artista mulato, personagem. / In the polygraph work of Mário de Andrade, the essayists versant linked to the Brazilian Art historiographer, shows while creation procces in Padre Jesuíno do Monte Carmelo study that the author was about to consider concluded, when he died in.1945. The thesis, contemplating, by the genetics criticism, the essays elaboration about this painter of paulista baroque style, since the organization of documents in the manuscripts dossier had, as proposal, to reveal the historiographers research that, linked to a project at SPHAN, joined the search of primary sources to the dialogue with others historiographers, in pertinent lectures. In this way, analyzing works notes, presents in books borders and folios, as well as text versions, this thesis attempted to follow the creation way in the parts which composes the essay. It also understood that interpretations rigour of the essayist mixtures, without any prejudice, to the fictionist creation in the Jesuinos psychology invention, mulato artist, personage. Barroco paulista Crítica genética História e ficção Mário de Andrade historiador Padre Jesuíno do Monte Carmelo Genetics criticism History and fiction Mário de Andrade historiographer Padre Jesuíno do Monte Carmelo Paulista baroque style
3	The Baroque Guitar : Late Spanish Style as Represented by Santiago de Murcia in the Salvidar Manuscript (1732), with Three Recitals of Selected Works by Bach, Rak, Brouwer, Hummel, Gnattali and Others Yates, Stanley 12 1900 (has links) xxii, 169 leaves : ill. Spanish guitar baroque style Saldivar Manuscript Santiago de Murcia Passacalles y obras de guitarra Saldívar codex, no. 4. Guitar. Music -- Spain -- 18th century.
4	"Mixed Taste," Cosmopolitanism, and Intertextuality in Georg Philipp Telemann's Opera <i>Orpheus</i> Rue, Robert A. 20 March 2017 (has links) No description available. European History Foreign Language History Language Music Performing Arts Baroque opera opera musical nationalism Telemann Scheibe musical style mixed taste Critischer Musikus Orpheus Hamburg opera Gansemarkt Oper Oper am Gansemarkt German opera Baroque style
5	Rubens and the Stoic Baroque: Classical Stoic Ethics, Rhetoric, and Natural Philosophy in Rubens’s Style Nutting, Catherine M. 18 January 2018 (has links) Rubens is known as a painter; he should also be defined as an art theorist. Following Robert Williams’ theory that Early Modern art became philosophical, I believe that style can connote art theoretical interests and philosophical models, and that in Rubens’s case, these included the classical Stoic. While it would be possible to trace Rubens’s commitment to Stoicism in his subject matter, I investigate it in his style, taking a Baxandalian approach to inferential criticism. I focus on Rubens’s formal choices, his varied brushwork, and his ability to create a vibrant picture plane. My study is divided into chapters on Ethics, Logic, and Physics. In Chapter One I treat Stoic moral philosophy as an influence in the design of Rubens’s paintings, consider similarities between classical and Early Modern interest in viewer/reader response, and argue that Baroque artists could use style to avoid dogma while targeting viewers’ personal transformation. In Chapter Two I focus on Rhetoric, a section of the Stoic philosophy of Logic. Stoic Logic privileged truth: that is, it centred on investigating existing reality. As such, Stoic rhetorical theory and the classical literature influenced by it promoted a style that is complex and nuanced. I relate this to the Early Modern interest in copia, arguing that this includes Rubens’s painterly style which, apropos copia, should be better termed the Abundant Style. In Chapter Three I explore similarities between Stoic Natural Philosophy and the Early Modern artistic interest in the unified visual field. The Stoics defined the natural world as eternally moving and mixing; with force fields, energy, and elements in constant relationships of cause/effect. The Stoic concept of natural sympathy was a notion of material/energetic interrelatedness in which the world was seen as a living body, and the divine inhered in matter. I consider ways that these classical Stoic concepts of transformation, realism, and vivified matter might be discerned in Rubens’s style. / Graduate / 2023-12-14 Art History Peter Paul Rubens Baroque Baroque Painting Seventeenth-Century Antwerp Seventeenth-Century Art Style Baroque Style Stoicism Stoicism and Art Early Modern NeoStoicism Antwerp NeoStoicism Flemish NeoStoicism Seventeenth-Cenury Flemish Art Seventeenth-Cenury Flemish Painting Flemish Baroque Painting Stoicism and Style Stoic Ethics Stoic Ethical Philosophy Stoic Rhetoric Stoic Rhetorical Philosophy Stoic Physics Stoic Natural Philosophy Roger de Piles Seneca Seneca Naturales Questiones Tacitus Tacitus's Style Tacitus and Stoicism Stoic continuum Baroque unity Justus Lipsius Early Modern Library Macchia Sententiae Style and Meaning Quintilian Diogenes Laertius Epictetus Chrysippus Marcus Aurelius Early Modern Art Theory Rubens as a Theorist Antwerp Humanism Flemish Humanism Humanism in Flanders and Brabant The Self The Early Modern Self Style for Truth The Continuum Nature Alive Stoic Optimism Seventeenth-Century Stoic Optimism

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