No description available.

No description available.

In early-sixteenth-century Tuscany, the small countryside convent of San Vivaldo was transformed into a new Jerusalem. A large number of chapels, decorated with sculptures, frescoes and reliefs, were erected under the supervision of the Franciscan order and in accordance with the Holy City’s topography. This thesis primarily examines the visual means by which the illusion of Jerusalem was constructed and what version of the Holy City that was offered to the San Vivaldo pilgrims. This is done through an analysis of the Chapel of the Holy Sepulchre and the Chapel of Calvary. In addition, possible connections between Franciscan meditation texts and the chapel complex’s art and architecture are explored. The scientific perspectives used are theories on visual culture as a vehicle for creating inner images; substitution; the interplay between memory, meditation and space; and pilgrimage as a liminoid experience. The results show that the San Vivaldo Franciscans strived to place the beholders in the depicted biblical stories by multimedial, affect-stimulating and interactive means. This strategy can be linked to the order’s meditation techniques, which also sought to bring the Christocentric narratives to life. In addition, the idiosyncratic shapes of the Jerusalem tomb and other significant architectural elements were recreated, which may have relocated the visitors mentally to the Holy City and, by extension, the proximity of Jesus. The Jerusalem that was built in San Vivaldo was neither one-sidedly biblical nor early modern. Instead, the site’s visual culture created several temporal and spatial layers that acted simultaneously and side by side.

Mira de Amescua (1867), drama escrito en tres actos y en verso, original de José de Velilla y Rodríguez, tiene por protagonista al distinguido poeta homónimo: un soltero maduro y marcado por el amor hacia una condesa, de la que fue paje durante su juventud, y por la que, debido a su inferior condición social, había sido menospreciado. Así, el drama de Velilla demuestra la penumbra en la que permaneció, durante más de dos siglos, la figura de uno de los principales ingenios del siglo XVII. Celebrado en vida por las principales figuras de su tiempo –como lo fueron Lope, Cervantes y Calderón– Antonio Mira de Amescua llegó al siglo XX convertido en un poeta menor y relegado (adscrito, a veces, como satélite del prolífico Lope; otras, como del fulgurante Calderón) para conseguir, a finales de dicho siglo, la rehabilitación que tanto urgía a su figura y obra, gracias a los esfuerzos de estudiosos de distintas partes del mundo. Quizá el mismo don Antonio hubiese entendido la arbitrariedad de estos reveses, pues la fortuna voltaria fue uno de los temas recurrentes de sus comedias. Asimismo, si la conjetura sobre el retrato (un clérigo de unos treinta años, amante de los libros y preocupado por el paso del tiempo), guardado en la Hispanic Society of America en Nueva York, se llegase a comprobar, contaríamos ya con una viva imagen de este genio. A pesar de esto, nuestro conocimiento de su obra no se acerca al nivel del que gozan, actualmente, varios de sus contemporáneos, incluso dejando de lado a los más relevantes de ellos (Lope, Tirso y Calderón).

No description available.

No description available.

In this thesis an attempt will be made to trace briefly the development of the domestic tragedy of blood on the English stage to the end of the first decade of the seventeenth century.

La presencia del gracioso es muy acostumbrada en las comedias hagiográficas del Siglo de Oro. No obstante, si bien esta figura pertenece a una tradición dramática, constituiría un grave error generalizar sus características y roles. El propósito de esta investigación es estudiar a Bodigo, el gracioso de Santa Rosa del Perú (1671), mostrar sus límites y explicar por qué fracasa en el camino espiritual. El método de nuestra investigación es de tipo descriptivo. Por una parte, hemos buscado examinar y contrastar el comportamiento de Bodigo con el de la santa; y, por otra, pretendemos demostrar que si nuestro personaje no alcanza la santidad es por su falta de vida cristocéntrica y por sus rasgos mundanos. Para nuestro estudio, hemos recurrido a la edición comentada de Miguel Zugasti, que ofrece amplia información de la obra desde una perspectiva filológica, y a otras fuentes históricas, teológicas y literarias. Los resultados muestran que la participación de Bodigo en la comedia es significativa, pues mediante él se le advierte al espectador de la importancia de cultivar su fe con rigurosidad.

This study looks at the roles and functions of heraldry in two parish churches in medieval Sweden. The study does this by hermeneutically relating the extant heraldic inventories of the churches to their historical contexts, specifically the view of the church as a multidimensional space and the understanding of the church as part of a constructed social landscape. Furthermore, the study aims to determine the relationship between heraldic art in churches and the legal relationship between that church and the armiger. These legal relationships include that of a bishop to his canon collegiate, the king to the church, and the patronus to his church. Lastly the study also attempts to determine the extent of the liturgical role of heraldry in these two churches by relating the extant heraldic inventories of the churches to the local liturgy of the early 16th century. The results show that heraldry has been used to legitimise power and give a sense of continuity in the transfer of power over the churches. The heraldry has also been found to express piety by allowing the armiger to be heraldically present within the chancel and in liturgical connection to the Eucharist. The study makes no explicit link between any form of heraldry in the church and any particular legal relationship to said church, but maintains that the award of patronage over a church and of having heraldic presence in a church both stem from donations to the church and its works. The study links the liturgical role of heraldry in the burial rite of a knight with St. Briget of Sweden’s view of the knights shield as a symbol for their vow to protect the church and her ideals. The subsequent tradition of mounting a deceased knight’s shield in the church is then interpreted as a continual sign of that vow and of the knight’s continued heraldic presence withing the parish. The presence of arma Christi within the extant heraldic inventories can be interpreted as a manifestation of the ideals of the church, while other coats of arms are subservient to that of the Christ. Arma Christi furthermore serve to legitimise heraldic presence as mystical presence in a way similar to liturgical icons.

Der medizinische Fortschritt führte zu einer bis heute nicht abgeschlossenen Spezialisierung und Differenzierung medizinischer Fächer und hat zur Folge, daß der Arzt bei der Behandlung auf interärztliche Kooperation angewiesen ist. Der Patient kehrt jedoch häufig nach erfolgter fachärztlicher Behandlung nicht zum Hausarzt zurück, oder das Resultat wird nicht zurückgemeldet. Die Studie hatte die Aufgabe, diese Defizite in der ärztlichen Kooperation aufzudecken und die Effektivität interärztlicher Kooperationsbeziehungen zu untersuchen. Ziele waren die Beschreibung von Art und Umfang der außerhausärztlichen Behandlungen, die Untersuchung der Vollständigkeit von Überweisungsprozessen und die Analyse von Determinanten auf das Rückmeldeverhalten. In einer hausärztlich tätigen internistischen Praxis wurden die schriftlichen Mitteilungen und die Einträge über externe Behandlungen in der Befunddatei des Praxiscomputers aus einem Jahr erhoben. Zusätzlich standen aus einer Patientendatenbank retrospektiv die Daten aller Konsultationen in den letzten 3 Jahren für die Analyse zur Verfügung. Für über die Hälfte der Ein- und Überweisungen konnte keine Rückmeldung gefunden werden. Auf der anderen Seite hatten zwei Drittel der Mitteilungen keine Überweisung als Grundlage. Ein Fünftel der Informationen über externe Behandlungen, die den Hausarzt erreichten, resultierten aus Patienteninformationen während der Anamnese. Den größten Einfluß auf das Überweisungsgeschehen hatte die Häufigkeit des Hausarztbesuchs. Patienten mit häufigen Besuchen hatten öfter Überweisungen und Rückmeldungen und einen höheren Anteil vollständiger Überweisungsprozesse. / The medical progress led to an ongoing specialization and differentiation of medical specialities. As a result the physician depends on co-operation with colleagues. But the patient often doesn't return to the general practitioner after consultation of the consultant or the results are not reported back. The task of the study was to reveal deficits of physicians' co-operation and to examine the effectiveness of physicians' relationships. Aims were description of type and extent of consultants treatment, completeness of referrals and analysis of determinants for the feedback behaviour. Written reports and entries in the electronic patient-file about treatments of other physicians as the general practitioner were examined in a general practice during one year. In addition the data of a database, which contains all consultations in the last three years, were available for the analysis. More than half of the referrals didn't have a feedback. On the other hand two third of the feedback information don't base on a general practitioner's referral. One fifth of the information, which reaches the general practitioner, were information by patients during the anamnesis. The frequency of general practitioners consultations had highest influence on the referral process. Patients with frequent consultations had more often referrals, feedback information and a higher proportion of complete referral processes.