München, Phil. Diss. v. 26. Mai 1933.

Inaug. _ Diss.: Philosophische Fakultät: Köln: s.d. _ Bibliogr. p. 212-230. Index.

Inaug. - Diss.--Philosophische Fakultät--Kiel, 1962.

In the late 1640s, Giovanni Benedetto Castiglione produced two series of etchings, which historians have named his Oriental Heads, depicting a variety of figures in exotic headgear. The persistence of Oriental headdresses throughout the series suggests a pervasive interest in costume on the part of both Castiglione and his society. In the seventeenth-century Western European imagination, the turbaned figure represented the epitome of alterity: the Ottoman Turk. Signed “CASTIGLIONE, GENOVESE,” the etchings reveal the artist’s important Genoese origins as a part of his artistic identity. Castiglione’s eccentric tendencies, especially in his own personal mode of dress, coupled with the prevalence of exotic costume in the Oriental Heads speaks to the artist’s self-fashioned image as a fashionable, yet controversial eccentric persona. These etchings were tools to attract potential patrons, encourage buyers to purchase the etchings, and above all, to fashion his artistic identity in the international art center of Rome.

abstract: My thesis argues that an unrecognized genre existed in classical Chinese painting, one which I call “ethnic" or "minority painting.” The genre of ethnic painting consistently displays certain styles and cultural values and is meant to represent unique ethnic identities. These ideas have not been substantially covered by previous research on Qing dynasty painting. My research raises three main questions: was there a distinct genre in traditional Chinese painting that could be called “ethnic art” (or "minority art")? How did ethnic art distinguish itself within Chinese painting? What were the ethnic identities presented by minority artists from ethnic groups within and outside of China? The materials used for this research include a close visual study of six paintings by Lang Shining (Giuseppe Castiglione) from the Cleveland Museum of Art, the Munich Residenz in Germany and the Musée Guimet in France. / Dissertation/Thesis / Masters Thesis Art History 2019

In Italy in 1528 the famous author Baldassare Castiglione published the book Il Cortegiano. In words Castiglione portraits the ideal courtiers and provides a lot of advice on how to achieve the ultimate courtier manner. For example he introduces and explains the words sprezzatura and grazia. His advice spread from Italy and influenced the courts around Europe.  My purpose with this study has been two folded. Firstly, I have analysed Castigliones Il Cortegiano in order to examine his vision of virtues and ideals. Castiglione’s advice on the perfect courtier is several and the book is quite extensive. In order to make his advice clear I have arranged these under five headings: noble birth, ideals of a gentleman, beautiful character, warlike virtues and book learning. Furthermore, I have analysed four portraits of Swedish rulers. The portraits are as follows: Johan Baptista van Uther’s portrait of Johan III produced in 1582, Matthaeus Merian’s picture of Gustav II Adolf from 1632, David Beck’s portrait of queen Kristina produced in 1650 and finally David Klöcker Ehrenstrahl’s portrait of the riding Karl XI from 1682. Finally, I have applied Castiglione’s advice on the portraits in order to study how well they conform.   The study has shown that many of the ideal and virtues emphasized by Castiglione are similar to many of those highlighted in the portraits. The idea of a beautiful soul in a controlled body seems to run like a thread through the selected portraits as well as in Castiglione’s advice on how to be an ideal courtier. In conclusion, many of the ideals stressed by Castiglione in sixteenth century Italy also inspired Swedish sovereigns. His advice also seems to have survived in the seventeenth century, if nonetheless in other forms.

Köln, Univ., Diss., 2009

Diss. - Philosophische Fakultät der Schlesischen Friedrich-Wilhelms-Universität zu Breslau. / "Lebenslauf": p. [175]. "Literaturverzeichnis": p. [162]-170.

Ce travail porte sur la relation entre la philosophie de Descartes et la thématique humaniste de la civilité et de l’honnêteté. Une première étape de la thèse consiste en une réévaluation philosophique du concept de civilité à partir de son histoire antique et humaniste. Cette réévaluation repose sur deux axes principaux : mettre au jour les fondations métaphysiques de cette notion et le mouvement d’une intériorisation des normes civiles dans la conception de l’âme vertueuse. Il s’agit ensuite de comprendre la présence dans la pensée cartésienne de valeurs qui ne coïcident pas avec la conception habituelle de la justification rationnelle, comme la douceur, le naturel, la grâce et la convenance, et qui renvoient à la thématique de la civilité. La civilité est une perfection qui évite deux extrêmes, la barbarie et la sauvagerie, c’est-à-dire la violence excessive de la norme, et la violence d’une nature brute laissée à elle-même. Ce travail montre que la conception cartésienne de la rationalité et de la vertu morale tend également à éviter ces deux excès. D’autre part, en rattachant la philosophie de Descartes à la question de la civilité, il s’agit aussi de contester la conception solipsiste du sujet cartésien et de réhabiliter la dimension de l’extériorité dans l’appréhension de la subjectivité. La figure cartésienne du sujet moderne prend dès lors une dimension humaine et sociale au lieu de renvoyer à une dangereuse hybris de l’ego, tandis que la raison cartésienne est pensée comme civile et ouverte, non pas autoritaire ou répressive. Pour étayer cette thèse, ce travail aborde certaines tonalités éthiques du discours cartésien qui ne correspondent pas nécessairement à l’expression d’une thèse explicite mais qui éclairent la richesse et la complexité du texte. / This work focuses on the relation between Descartes’ philosophy and the humanist themes of civility and honesty. A first step in this thesis is to philosophically reevaluate the concept of civility by focusing on its history within antiquity and humanism. Such a reevaluation bears on two main approaches: one is to demonstrate the metaphysical foundations of this notion, the other is to show the movement towards the internalization of civil norms in the conception of the virtuous soul. Our aim is then to show the presence, in Cartesian thought, of such values as gentleness, “naturel”, grace or “convenance”, which do not coincide with the common conception of rational justification, and which all trace back to the thematic field of civility. Civility is a perfection that avoids two extremes, barbarism and savagery, i. e. both the excessive violence of the norm and the violence stemming from a brute nature left to itself. On the other land, by linking Descartes’ philosophy to the question of civility, our aim is also to oppose the solipsistic conception of the Cartesian subject and to rehabilitate the dimension of exteriority within the comprehension of subjectivity. Thus, the Cartesian figure of the modern subject takes on a human and social dimension instead of referring to the ego’s hybris, while Cartesian reason gets redefined as civil and opened, not at all as authoritarian or repressive. In order to support this thesis, this work broaches certain ethical tonalities within Descartes’ discourse that do not necessarily correspond with the expression of an explicit standpoint, but which shed light upon the text’s richness and complexity.

Följande uppsats behandlar fyra hovporträtt av konstnären Bronzino föreställande fursteparet Cosimo I de’ Medici och Eleonora di Toledo speglade mot de litterära källorna Machiavellis Fursten och Castigliones Boken om hovmannen. Uppsatsen empiriska material kommer således att bestå av ovanstående material placeras framför varandra för att belysa dess beröringspunkter, både i fråga om likheter och olikheter. Analysens teoriangrepp kommer med avstamp i Roland Barthes semiotiska bildanalys att närma sig porträttens denotativa men främst konnotativa uttryck. Vidare har Shearer Wests bok Portraiture använts för förståelsen kring porträttet som genre i dess historiska kontext. Undersökningens disposition består av två huvudrubriker varav den första behandlar den historiska kontexten och den sista delen själva bildanalyserna. Resultatet visar på att samtliga porträtt av Cosimo och Eleonora finner flera beröringspunkter i Machiavellis furstespegel som Castigliones hovmannaideal, men skiljer sig delvis beroende på porträtt. Vidare har undersökningen visat på att Cosimo i sina två utvalda statsporträtt – valde att i det senare gestalta sig själv i en måttfullare stil – inte helt olik den måttfullhet som skildras i såväl Castigliones litterära verk som visuella porträtt. Cosimos tidigare porträtt svarar dock bättre mot Machiavellis idé om imitering. De två porträtten av Eleonora finner även dom olika samband med textmaterial och där Eleonoras senare statsporträtt tycks besitta flera av hertiginnans drag – något som inte med samma tydlighet framträder i det tidigare porträttet. Gemensamt för alla porträtt är deras avsaknad av sprezzatura som den allra viktigaste egenskapen för en person vid hovet.