Thesis (M.A.)--University of Wisconsin--Madison, 1974. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin-Madison, 1987. / Includes bibliographical references (p. 420-451).

Thesis (Ph. D.)--University of Wisconsin-Madison, 1987. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 420-451).

Giovanni Bellini's The Blood of the Redeemer has been traditionally approached in terms of its style and iconography. The two separate lines of investigation have shown the painting to be a complex image that participates in the traditions of both private and public Christ imagery. This thesis will focus on the painting with regard to both the function that it served and the Venetian context in which it was produced. The purpose of the study will be to show the work as a private devotional painting in which the public Christ type has been adapted to fulfill the needs of contemporary Venetian meditations. Chapter One will deal with the two distinct ways in which the work has been discussed and the particular problems that exist in approaching suffering Christ imagery in terms of context. Chapter Two will focus on the development and function of the full-length bleeding Christ in the private and public spheres within the context of Christ-centred piety in the fifteenth century. Chapter Three will discuss Venetian devotions to Christ with particular regard to the impact of historical events. Chapter Four will focus on the adaptation of the public Christ type in The Blood of the Redeemer. The appropriation will be discussed in terms of the liturgical resonances that are brought to the image and with regard to the use of public types in Bellini's other private Christ images. In addition, the importance of northern graphics will be examined as well as the civic associations with which the Christ type had become imbued in northern Italy. The location of the image within a particular social strata will be effected through considering the way in which it addresses contemporary intellectual issues in Venice. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Submitted by NATÁLIA DE OLIVEIRA CONTE DELBONI null (nataliausc@hotmail.com) on 2016-09-21T17:04:23Z No. of bitstreams: 1 merged.pdf: 3394772 bytes, checksum: 98d8ae7ff0a3896e33c9b992a1afd386 (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-09-26T20:35:16Z (GMT) No. of bitstreams: 1 conte_n_me_bauru.pdf: 3394772 bytes, checksum: 98d8ae7ff0a3896e33c9b992a1afd386 (MD5) / Made available in DSpace on 2016-09-26T20:35:16Z (GMT). No. of bitstreams: 1 conte_n_me_bauru.pdf: 3394772 bytes, checksum: 98d8ae7ff0a3896e33c9b992a1afd386 (MD5) Previous issue date: 2016-07-27 / A adaptação cinematográfica passou a ser, há décadas, um dos expedientes mais vantajosos e lucrativos da indústria do cinema. E tal fenômeno não é recente. Filmes “inspirados” em obras literárias acompanham toda a história do cinema. Há muito, um gênero específico - que mais tarde seria chamado de noir - despontava como uma fonte para adaptações a partir de contos e romances publicados em livros ou revistas populares. O noir cinematográfico, gênero cujo apogeu se deu no início da década de 40 até o final dos anos 50, tendo sua “origem” nas letras, hoje espraia-se em produções nos dois meios, a literatura e o cinema, mostrando-se em uma relação simbiótica, recíproca de inflexões. Tal fenômeno como o noir não aconteceu somente nos Estados Unidos, ou melhor, trata-se de algo transnacional. No Brasil, algumas obras de ficção noir também expressaram uma permanente relação entre cinema e literatura, como nas obras de Rubem Fonseca. Este trabalho tem como objetivo fazer uma análise estilística do filme Bellini e a Esfinge, adaptação literária do romance homônimo de Tony Bellotto, cotejando-o com filmes clássicos do gênero noir. Busca-se, ainda, situar o filme, dirigido por Santucci em um “caso” em que a relação com a “matriz” norte-americana absorve e se associa a outros vieses audiovisuais, o que nos convida a alargar a dimensão do olhar para a questão da adaptação. Como base teórica recorremos ao problema da intertextualidade, em autores como Mikhail Bakhtin, Júlia Kristeva e Ingedore Koch. Para a análise fílmica, recorreremos a David Bordwel e Jaques Amont, entre outros. / The film adaptation has become, for decades, one of the most advantageous and profitable expedients of the cinema industry. And this isn't a new phenomenon. "Inspired" movies in literary works to be the entire history of cinema. A specific genre - called noir - emerged as a source for adaptations from novels and short stories published in popular books or magazines. The noir genre whose heyday occurred in the early 40s to the late 50s, with its "origin" in the lyrics, now spreads into production in two different media, literature and cinema, showing up in a symbiotic relationship and mutual inflections. The noir phenomenon is not only happened in the United States of America, it is transnational phenomenon. In Brazil, for example, some noir fiction also expressed an ongoing relationship between cinema and literature, as with Rubem Fonseca literary works. This research aims to make a stylistic analysis of the film "Bellini and the Sphynx", literary adaptation of the novel by Tony Bellotto, comparing it with classic film noir genre. Is souch also situate the film, directed by Santucciem a "case" in which the relationship with the "matrix" American absorbs and is associated with other audiovisual biases, which invites us to expand to see the size issues of adaptations. As a theoretical basis appealed to the problem of intertextuality in authors such as Mikhail Bakhtin, Julia Kristeva and Ingedore Koch. For film analysis, the theoretical basis turn important to study David Bordwel and Jaques Amont and others.

Master of Music / Department of Music / Amy Rosine / This report consists of extended program notes for a master’s vocal recital for soprano, given by Mai Shibahara on April 20, 2009 at 7:30 p.m. in All Faiths Chapel Auditorium on the Kansas State University campus. Included on the recital were works by Franz Lachner, Vincenzo Bellini, Franz Liszt, Johannes Brahms, Giacomo Puccini, and Dominick Argento. The program notes include biographical information about the composers and a textual and musical analysis of their works, which were performed on this recital. / Seit ich in gesehen by Franz Lachner; Vaga luna che inargenti, Per pietà, bell̕idol mio, Ma rendi pur contento by Vincenzo Bellini; Oh!quand je dors, S'il est un charmant gazon by Franz Liszt; Die Mainacht, Wir wandelten, Wie Melodien zieht es mir by Johannes Brahms; "O soave fanciulla" from La Bohème, "Chi il bel sogno di Doretta" from La Rondine by Giacomo Puccini; Six Elizabethan songs by Dominick Argento.

Benito Mussolini constantly portrayed his regime as a protector of nationalism and the ultimate promoter in the re-discovery of Italian culture. The 1930s represent the highest involvement of the regime in cultural activities. Such events had the specific propagandistic goal of ingraining the idea of fascism as a solution to poverty and cultural disunity between north and south. An ongoing theme of propaganda was connecting fascism’s mission to the glory of the Italian past and of its most illustrious protagonists. The Duce and his followers built the idea of a new political establishment that legitimized its rule through a reassertion of the past. My study displays the regime’s involvement in Sicily as a sponsor of culture and national renovation through the reinterpretation of Italy’s most popular figures. Vincenzo Bellini’s centenary reveals the regime’s plans of achieving national unity between north and south in a culturally and economically divided Italy. With an emphasis on the history of the Risorgimento, I ultimately show the regime’s endeavor in forging cultural unification between north and south through the exaltation of a Sicilian figure. As fascists planned to invade Ethiopia in late 1935, Bellini’s centennial played a critical role in showing the regime’s commitment to modernization and the relevance of Sicily in the creation of a new Italian-Mediterranean empire.

The capricious roman goddess Fortune is known for her strong power to influence or even decide the destiny of humans. In ancient Rome she was considered to be a good goddess, who brought the gifts of destiny and who also was seen as a possible ally. During the Middle Ages this position changed. Fortune was given two sides, a good and friendly one and a cruel impenetrable side. She was seen as one of God´s ministers and became an expression of divine providence. My purpose with this essay is to analyse three artworks of Fortune by Giovanni Bellini, Albrecht Dürer and Master MZ, but also some texts by the renaissance humanist Niccolò Machiavelli. When examining this representation I will try to determine the iconography of Fortune and see how or if the interpretations of her differs. The study has shown that the different representations of Fortune differ from one another of the artworks. However, there is one major resemblance that presents itself in each and every one of the artworks as well as in Machiavelli’s texts, the fact that Fortune is considered to be capricious. This attribute is frequent. In the works of art Fortune is depicted along with some kind of circular object like a ball or a sphere, a clear indication of instability. In Machiavelli’s texts Fortune is often, metaphorically or directly expressed, as capricious and unpredictable. According to Machiavelli, humans therefore have to be prepared, hold capability or virtù, to be able to resist her rapid changes. Like the humanist Machiavelli was it is likely that he represents the ancient view of Fortuna, although some medieval element cannot be omitted. Furthermore, in all of the selected works of art together, one can see elements of both an antique view of Fortuna as well as a medieval. Although the Renaissance was strongly influenced by ancient ideas and ways of life, it becomes clear that also some medieval features survived into the mindset of the Renaissance.

This thesis proposes an anti-Orientalist reading of the portrait of the Ottoman Sultan Mehmed the Conqueror (r. 1451-1481) by Gentile Bellini. The artist's work is analysed in the context of the Venetian Renaissance and the status of the visual arts in the Ottoman Empire. Mehmed's patronage of Italian artists, who created medallic and pictorial portraits of the sovereign, is considered together with the local translation of conventions enabled by early modern cross-cultural encounters. The Western political and intellectual climate following the conquest of Constantinople by Mehmed in 1453 is examined and, in particular, the secularising crusade literature produced by humanist scholars. Covert efforts to incorporate the Turks within the boundaries of civilised society coexisted with the conventional derogatory anti-Turkish propaganda. Bellini's portrait is seen as an attempt to portray the sultan as a member of the Venetian aristocracy. The historiographical record of modern academic scholarship in the disciplines of history and art history exploring these cross-cultural exchanges is set in a framework that explores the role of Edward Said's Orientalism in light of recent developments.

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