Thesis (doctoral)--Pontificium Institutum Orientalium Studiorum, 1967. / Errata slip inserted. Includes indexes. Includes bibliographical references (p. xi-xii).

Dissertation--Universität München, 2004.

Dissertation--Universität Karlsruhe, 2000. / Bibliogr. p. 227-282.

Univ., Habil.-Schr.--Münster (Westfalen), 2004. / Literaturverz. S. [340] - 355.

Hailed in his time as the greatest living artist, Antonio Canova (1757-1822) expressed his genius not only through the masterful conception and carving of his sculptures, but also in the meticulous orchestration of their display. Enshrining his marble figures alongside plaster casts of ancient works, bathing them in candlelight, staining and waxing their surfaces, and even setting them in motion on rotating bases, Canova challenged his audiences to rethink the very nature of sculpture. My dissertation argues, for the first time, that the meanings and impact of Canova's sculpture depended in significant part on the ways in which he and his patrons exhibited them. Canova himself began staging his work in Rome in the 1780s. His patrons, following the artist's lead, subsequently mounted their own dramatic exhibitions of Canova's work. Organized as a series of case studies, the dissertation examines four key exhibitions of Canova's work in four major European centers--Rome, Naples, Venice and Paris--from 1780-1843. These exhibitions had multiple functions. On the one hand, they enabled Canova to showcase his artistic talent and allowed his patrons to advertise their wealth and good taste. More importantly, however, these exhibitions required viewers to transform their interaction with Canova's sculptures into performative moments in which they displayed their own historical, cultural and artistic knowledge. Viewers of Canova's work performed their own position as beholders, and, indeed, my dissertation is as preoccupied with the reception of Canova's sculptures as it is with his and his patrons' display strategies. Not only do viewers' accounts often reveal the particularities of the exhibitions themselves, but the intensity of beholders' responses to Canova's work also signals the way that his sculptures took on a wide-variety of meanings that he and his patrons could not always control. Equally striking is the way diverse visitors continued to find meaning, validity, and subjects for debate in Canova's work despite sixty years of political, historical, and social change. Throughout many transformations, Canova's sculptures remained a focal point for discussions of politics, cultural heritage, archaeology, connoisseurship, artistic production and the development of art history itself. I have focused largely on three Italian centers because Italy was the center of origin for many of aspects of Canova's stagings. In Rome, for instance, Canova was introduced to serious study of the antique and it was there that he began to compare his works of art with ancient masterpieces. The display of Triumphant Perseus next to a cast of the Apollo Belvedere, for instance, generated conversations regarding the nature of imitation and the importance setting and political circumstances had on the understanding of his work. In Naples, on the other hand, the exhibition of Venus and Adonis in a tempietto in the garden of Francesco Maria Berio, Marchese di Salza, launched a city-wide debate regarding modes of artistic production and the best means of communicating those artistic possibilities to an audience. In Venice, in 1817, Leopoldo Cicognara juxtaposed Canova's Polinnia with recently restored Venetian Old Master paintings, including Titian's Assumption of the Virgin, in the Accademia di Belle Arti's new public painting gallery. This exhibition reaffirmed the Veneto's artistic authority at a moment when Venice's political fortunes were at their nadir. Given the primacy French art has held in the study of the nineteenth century, I hope serious reevaluation of this period will contribute to a renewed understanding of the importance Italy had for the history of art at the turn of the century. Yet, I conclude the project by focusing on Paris. It was there, in the French capital, where the exhibition of Canova's Penitent Magdalene in the townhouse of Giambattista Sommariva launched a discussion about expression and the emotional resonance of art. Penitent Magdalene's despair encouraged beholders' self-reflection, and in so doing reinforced notions of individuality and the self, established the sculpture as a particularly "French" and modern work, and perhaps more importantly, forged a direct link between emotional resonance and aesthetic value. Throughout Europe, the staging of sculptures organized by Canova and his patrons generated discussion about the appropriate ways to look at, talk about, and write about sculpture. Reactions to Canova's works inspired wide-spread debates about the nature of artistic production, the writing of art history, the context and significance of exhibitions and personal emotional reactions to works of art. My dissertation reimagines Canova's keystone position in the larger art world of the late eighteenth and early nineteenth century by bringing the contexts of exhibition and response into our understanding of the artist and his work.

Submitted by Hellen Luz (hellencrisluz@gmail.com) on 2017-09-19T18:15:00Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_. AvaliacaoPerfilResposta.pdf: 1216290 bytes, checksum: aa6914fe760a75138524f60de03a8baa (MD5) / Rejected by Irvana Coutinho (irvana@ufpa.br), reason: Aguardar as orientações on 2017-10-10T16:49:34Z (GMT) / Submitted by Hellen Luz (hellencrisluz@gmail.com) on 2017-10-17T17:49:25Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_AvaliacaoPerfilResposta.pdf: 1216290 bytes, checksum: aa6914fe760a75138524f60de03a8baa (MD5) / Approved for entry into archive by Edisangela Bastos (edisangela@ufpa.br) on 2017-11-23T12:26:19Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_AvaliacaoPerfilResposta.pdf: 1216290 bytes, checksum: aa6914fe760a75138524f60de03a8baa (MD5) / Made available in DSpace on 2017-11-23T12:26:19Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_AvaliacaoPerfilResposta.pdf: 1216290 bytes, checksum: aa6914fe760a75138524f60de03a8baa (MD5) Previous issue date: 2011-04-19 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O Modificador da Resposta Imune Canova® (CA) é um medicamento homeopático indicado para pacientes com sistema imune deprimido, uma vez que este medicamento parece aumentar a imunidade inata e induzir uma resposta imune contra várias e severas condições patológicas, incluindo as neoplasias. Esse aumento da imunidade inata é devido a sua atuação na proliferação e na diferenciação de células hematopoéticas e na indução a diferenciação mononuclear em células da medula óssea. O composto químico N-Metil N-Nitrosuréia (MNU) é um poderoso agente carcinogênico alquilante capaz de ocasionar mutações pontuais, aberrações cromossômicas ou ainda metilação do DNA, que induzem o desequilíbrio no sistema de defesa da célula e, assim, interrompendo mecanismos relacionados a metabolismo celular. Este composto tem sido amplamente utilizado na indução de tumores de fins experimentais. Objetivo do presente trabalho é avaliar o padrão de resposta celular hematopoiética em primatas da espécie Cebus apella expostos ao carcinógeno N-Metil-N-Nitrosuréia (MNU) e submetidos ao tratamento com o Modificador da Resposta Imune Canova®, através da análise de parâmetros hematológicos, bioquímicos, imunes e do ciclo celular. Foram utilizados 13 (treze) animais adultos, da espécie Cebus apella divididos em cinco grupos principais: o controle (negativo e positivo) e o experimental (composto por três subgrupos). O primeiro grupo experimental recebeu o MNU durante trinta e cinco dias, o segundo recebeu o tratamento com o Canova durante três dias, e o terceiro recebeu o MNU durante 35 dias e ao final desse período recebeu tratamento com o Canova durante três dias. A avaliação da reposta celular imune foi através de imunufenotipagem (CD4, CD8, CD3, T, B, NK) e do hemograma completo, a função hepática e renal através análise bioquímica (ALT, AST, GGT, ureia e creatinina) e a avaliação da cinética do ciclo celular por citometria de fluxo. Na análise dos parâmetros hematológicos os valores de hematócrito, hemácias e hemoglobina dos grupos controle positivo apresentaram-se significativamente menores, quando comparados aos grupos controle negativo, demonstrando um quadro de anemia, já o aumento de células da linhagem branca nesses grupos provavelmente é devido à resposta inflamatória do animal frente ao provável processo neoplásico. O aumento dos leucócitos também foi observado nos grupos experimentais tratados com o CA, fato este explicado pela ação do medicamento, que atua como um modificador da resposta imune. Apesar de já ter sido relatado que CA pode atuar aumentando o número de neutrófilos, no presente estudo não observamos esta ação do medicamento, provavelmente pelo curto período de tempo do tratamento. Os monócitos apresentaram-se diminuído no grupo tratado com o MNU e aumentado nos grupos que receberam CA provavelmente pelo medicamento atuar na ativação de macrófagos via estimulação da de monócitos. Na análise bioquímica, a uréia e a creatinina apresentaram-se alteradas nos grupos que receberam o MNU de forma aguda, estas alterações, bem como as encontradas na análise de enzimas hepáticas, podem ser associadas com os sintomas típicos da intoxicação por drogas carcinogênicas. Na análise da cinética do ciclo celular os animais tratados com CA, houve um aumento significativo de células nas fases G0-G1 bem como a porcentagem de células em estágio de proliferação celular (fases G2-M). Concluímos que CA minimizou a toxicidade do MNU em certos parâmetros hematológicos e bioquímicos, podemos observar a sua habilidade parcialmente modificadora da resposta imune, por aumentar a contagem de leucócitos, porém sem alterar o padrão de marcadores imunológicos. Desta forma CA então é capaz de restaurar alguns componentes do sistema hematopoiético, e pode atuar como adjuvante em tratamentos de quimioterapia. / The Immune response modifier Canova® (CA) is a homeopathic drug indicated for patients with a depressed immune system, once this medicine appears to increase the innate immunity and induce an immune response against multiple and severe pathological conditions, including Neoplasms. This increase of innate immunity is due to its involvement in the proliferation and differentiation of hematopoietic cells and mononuclear differentiation induction in bone marrow cells. The chemical compound N-Methyl-N-Nitrosourea (MNU) is a alkylating agent powerful carcinogenic able to cause mutations, chromosomal aberrations and DNA methylation, that induce the imbalance in the defense system of the cell and thus stop mechanisms related to cellular metabolism. This compound has been widely used in the induction of experimental tumors. The goal of this work is to assess the pattern of hematopoietic cell response in Cebus apella primate species exposed to carcinogenic N-Methyl-N-Nitrosourea (MNU) and subjected to the treatment with the Immune response modifier Canova®, through the analysis of biochemical, haematological, immune and cell cycle. We had used 13 (thirteen) adult animals of the species Cebus apella divided into five main groups: the control (negative and positive) and experimental (composed of three subgroups). The first experimental group received the MNU during thirty-five days, the second received treatment with Canova during three days, and the third received the MNU during 35 days and the end of this period received treatment with Canova during three days. Evaluation of cellular immune response was through immunophenotyping (CD3, CD4, CD8, T, B, NK) and complete blood count, liver and kidney function through biochemical analysis (ALT, AST, GGT, urea and creatinine) and kinetic evaluation of cell cycle by flow cytometry. Analysis of haematological values of hemoglobin, hematocrit and red blood cells of positive control groups performed significantly lower when compared to the negative control groups, demonstrating an anemia, while the increased white lineage cells in these groups is probably due to the animal's inflammatory response to neoplastic process. The increase of leukocytes has also been observed in experimental groups treated with the CA, a fact explained by the action of this drug, which acts as a modifier of immune response. Although it has been reported that CA can act by increasing the number of neutrophils, in this study we did not observe this action of the medicinal product, probably by the short time of treatment. Monocytes were decreased in the group treated with MNU and risen in groups that received CA probably by drug act in the activation of macrophages via stimulation of monocytes. In biochemical analysis, urea and creatinine were changed in the groups that received the MNU acutely, these changes, as well as those found in the analysis of liver enzymes, can be associated with typical symptoms of poisoning by carcinogenic drugs. Analysis of cell cycle kinetics of animals treated with CA, there had been a significant increase in cell G0-G1 as well as the percentage of cells in cellular proliferation stage (stageG2-M). We found that CA had minimized the toxicity of the MNU in certain haematological and biochemical, we had observed their partially skill to modify immune response, as improve white blood cell count, but without changing the pattern of immunological markers. Then CA is able to restore some hematopoietic system components and can act as an adjuvant in chemotherapy treatments.

This thesis examines the city of Rome as a primary context of British sociability and portrait identity during the period from 1740 to 1830. Part I considers the work of the portrait painter Pompeo Batoni. It examines the pictorial record of grand tourist sociability at Rome in the 1750s, questioning the complex articulation of nationality among British visitors, and the introduction of overt references to antiquity in the portraiture of Pompeo Batoni. It subsequently interrogates Batoni's use of the partially nude Vatican Ariadne sculpture in five portraits of male grand tourists, dating from Charles John Crowle in 1762, to Thomas William Coke in 1774. Part II of this thesis considers the realities of viewing the sculpted body at Rome, recreating the studios of sculptors Christopher Hewetson and Antonio Canova. It postis the studio space as a locus of sociability for British visitors to Rome, drawing on the feminine gaze in the form of the early nineteenth-century writings of Charlotte Eaton and Lady Murray. The final chapter moves from the focus on British sitters to examine sculpture by Antonio Canova, framing it within a wider discourse of masculinity and propriety. Thte reception of Canova's nude portrait sculpture of Napoleon Bonaparte and Pauline Borghese is considered as indicative of cultural anxieties stemming from new conceptions of gender.

Le présent travail de thèse portant sur la vie et l’œuvre de Carl Ludwig Fernow a pour principal objectif de présenter sous un jour nouveau la genèse de ses idées sur la théorie de l’art, aussi à l’égard des aspects socioculturels et anthropologiques de son temps. Pour ce qui est des principaux axes de recherche, on tentera, dans un premier temps, de reconstruire les sources philosophiques ayant nourri sa pensée esthétique et surtout les écrits de Kant, de Schiller et de Winckelmann, tout en opérant une sélection des textes les plus importants. Puis, nous nous demanderons, dans un deuxième temps, dans quelle mesure les monographies d’artistes de Fernow comportent des élans sociocritiques, se dirigeant non seulement contre la politique de formation des académies, mais également contre l’hétéronomie de la production artistique de son temps. Cet aspect sera envisagé sous la forme d’une comparaison de la monographie d’Arioste à celles d’Antonio Canova et d’Asmus Jakob Carstens. La troisième partie sera consacrée à une présentation synthétique des idées esthétiques de Fernow, afin d’évaluer, de façon cohérente et sous un nouveau jour, de l’originalité de sa conception de l’art autonome. / AThe main target of the present study is to reconstruct the genesis of the esthetical ideas of the German art theoretician and writer Carl Ludwig Fernow (1763-1808), whose work and intellectual importance has been recently rediscovered and revalued by several researches. Carl Ludwig Fernow’s name is particularly related to the art discussion of the so called “Weimarian art friends”, the circle of amateurs of beauty who assembled very famous members and personalities such as Goethe, Schiller and Meyer. However, Fernow has always acted in the shadow of these main actors, trying to make him known as an author. Thus, quite a number of his publications and articles in German appeared in German well known revues such as “The Propylees”, “The new Mercury” or “The journal of fashion and luxury” have never been touched a large public, but still would merit a closer look, based on a reexamination of the role he played for the formation of the movement of art’s autonomy, in order to show his art theory, resuming his main ideas and concepts concerning the character, the ideal of beauty and the enthusiasm of the artiste, which he personally considered as the principal components of genuine art expression representing the key to real artistic creation.

Submitted by Irvana Coutinho (irvana@ufpa.br) on 2013-01-24T12:43:45Z No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Dissertacao_AvaliacaoEfeitoAntigenotoxicol.pdf: 986207 bytes, checksum: 5cb788fa976fca7b6c6ca781a3c1f029 (MD5) / Approved for entry into archive by Ana Rosa Silva(arosa@ufpa.br) on 2013-01-24T14:58:46Z (GMT) No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Dissertacao_AvaliacaoEfeitoAntigenotoxicol.pdf: 986207 bytes, checksum: 5cb788fa976fca7b6c6ca781a3c1f029 (MD5) / Made available in DSpace on 2013-01-24T14:58:46Z (GMT). No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Dissertacao_AvaliacaoEfeitoAntigenotoxicol.pdf: 986207 bytes, checksum: 5cb788fa976fca7b6c6ca781a3c1f029 (MD5) Previous issue date: 2012 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O Método CANOVA® (CA) é um imunomodulador brasileiro de formulação homeopática. CA é indicado em condições clínicas nas quais o sistema imune se encontre comprometido. O N-Metil-N-Nitrosoureia (NMU) é um agente N-nitroso alquilante e carcinogênico utilizado como modelo experimental em roedores e macacos. O NMU também apresenta efeitos genotóxicos/mutagênicos analisáveis por testes clássicos de detecção de danos ao DNA e aberrações cromossômicas. Apesar de vários estudos terem demonstrado resultados promissores na utilização do medicamento CA, não existem trabalhos relatando possíveis efeitos antigenotóxicos deste medicamento, a despeito de seu potencial anticarcinogênico. Assim, o presente trabalho avaliou in vitro os efeitos antigenotóxicos e anticitotóxicos do medicamento CA em linfócitos humanos expostos ao NMU. Foram utilizadas amostras de linfócitos humanos que foram submetidos a diferentes concentrações de uma mistura contendo CA e NMU. A viabilidade das células expostas ao NMU foi avaliada pelo ensaio MTT, a genotoxicidade/antigenotoxicidade do CA foi avaliada pelo teste do cometa e a anticitotoxicidade do CA foi verificada pela quantificação de apoptose e necrose utilizando corantes fluorescentes (laranja de acridina/brometo de etídeo). No teste MTT verificamos que o NMU conseguiu diminuir a viabilidade dos linfócitos de forma significativa. No teste do cometa foi observado que CA diminui significativamente os danos ao DNA induzidos pelo NMU, caracterizando um claro efeito antigenotóxico do composto homeopático. CA também diminuiu de forma significativa a frequência de apoptose induzida pelo NMU em leitura realizada após 24 horas de tratamento. Concluímos que o CA apresentou um efeito antigenotóxico e anticitotóxico nas condições avaliadas no presente estudo, demonstrando, assim, um claro potencial citoprotetor. / The CANOVA® (CA) method is a Brazilian homeopathic immunomodulator. CA is indicated in clinical conditions where the immune system is impaired. N-Methyl-Nnitrosourea (NMU) is an N-nitroso carcinogenic alkylating agent used as an experimental model in rodents and monkeys. NMU also shows genotoxic/mutagenic effects that can be assessed by classical tests such as detection of DNA damage and chromosomal aberrations. Although several studies have shown promising results in the use of CA, there are no studies reporting possible antigenotoxic effects of this medicine, despite its anticancer potential. Therefore, the present study evaluated the in vitro antigenotoxic and anticytotoxic effects of CA in human lymphocytes exposed to NMU. Samples of human lymphocytes that were subjected to different concentrations of a mixture containing CA and NMU were used in the present study. The viability of cells exposed to NMU was evaluated by MTT assay, CA genotoxicity/antigenotoxicity was evaluated by the comet assay and CA anticytotoxicity was assessed by quantification of apoptosis and necrosis using fluorescent dyes (acridine orange/ethidium bromide). The MTT assay showed that NMU was able to decrease lymphocyte viability significantly. By using the comet assay it was observed that CA significantly reduces DNA damage induced by NMU, which sets a clear antigenotoxic effect of the homeopathic compound. CA also reduced significantly the frequency of NMU-induced apoptosis after 24 hours of treatment. We conclude that CA had an antigenotoxic and anticytotoxic effect in the conditions evaluated in this study, thereby demonstrating a clear cytoprotective potential.

This study demonstrates how royal portraiture functioned during the Revolutionary and Napoleonic wars as a vehicle for visualizing and processing the contemporary political upheavals. It does so by considering a notion of the 'sovereignty of the portrait', that is, the semiotic integrity (or precisely the lack thereof) and the material territory of royal portraiture at this historical juncture. Working from an assumption that the precariousness of sovereignty which delineated the Revolutionary and Napoleonic wars goes hand in hand with the precariousness of representation during the same period, it reframes prevailing readings of royal portraiture in the aftermath of the French Revolution by approaching the genre less as one defined by the oneway propagation of a message, and more as a highly unstable intermedial network of representation. This theoretical undertaking is refracted through the figure of Maria Carolina, Queen of Naples (1752-1814), close sister and foil to Queen Marie- Antoinette of France, and who, as de facto ruler of the Kingdom of Naples, physically survived revolution but was twice dethroned and thrice exiled. A diverse ecology of royal portraiture revolving around Maria Carolina is presented across five case studies. Close attention to the materiality of a hyperrealistic wax bust of Maria Carolina reveals how portraiture absorbed the trauma of the French Revolution; Maria Carolina’s correspondence in invisible ink is used as a tool to read a highly distinctive visual language of 'hidden' silhouettes of sovereigns and to explore the in/visibility of exile; a novel reading of Antonio Canova's work for the Neapolitan Bourbons through the lens of contemporary caricature problematizes the binary between ancien régime and parvenue monarchy; and a unique miniature of Maria Carolina offers itself as a material metaphor for post-revolutionary sovereignty. Finally, Maria Carolina’s death mask testifies to how Maria Carolina herself became a relic of the ancien régime.