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1	Lovecký řád sv. Huberta v českých zemích / Hunting Order of St. Hubert in Bohemian Lands Rutnerová, Eliška January 2016 (has links) The author's aim is to describe Bohemian Hunting Order of the Saint Hubert and the personality of it's founder František Antonín Count Sporck. Further attention will be paid to the charakter of Saint Hubert, with emphasis on Saint Hubert legend and the representation of this saint in visual art. Master's thesis will be closed ty the historical story of Order regulation and connected emblematic.
2	Miscellanea Testudinis, studie ke znázorňování a významu želvy v evropském umění / Miscellanea Testudinis, The Study of Depiction and Symbolism of Tortoise in European Fine Art Lovászová, Nella January 2018 (has links) This master's thesis deals with a symbolism of tortoise in fine art. The text is limited to the European art only, to keep the range of the thesis sustainable. The thesis is devided into three parts. The first chapter focuses on literature, as a source of meanings for fine art. There are in detail described beginnings of literature about turtles and development of the dominant lines of their symbolism until 17th century. It is about "Tortoise-Lady", "Tortoise-Beast & Heretic" and "Slow Tortoise". Within the second part there are briefly mentioned the shades of turtle meanings that were not specified in the previous chapter due to the time period limitation. The third section includes a case study of the painting "Bathers with a Turtle" by Henry Matisse. It contains also occurrence of "Tortoise-Lady" within the history of art.
3	Paradoxia epidemica in the art of Pieter Bruegel the Elder : an investigation into sixteenth-century parody Cornew, Clive 01 1900 (has links) Pieter Bruegel the Eider's paintings De verkeerde wereld, Het gevecht tussen Karnava/ en Vasten, Luilekker/and, Dulle Grief and Landschap, met Icarus' val are interpreted as sixteenth-century parodies using the paradoxia epidemica as a tropic means for interpreting the artist's wit, irony, parody and picaresque stance towards his source material and his milieu. Where applicable, other works relating to a particular argument are also discussed. As a result of this investigation, an original contribution has been made in the literature on both Bruegel and parody as a form of visual communication. / Art History, Visual Arts & Musicology / M.A. (History of Art) Adynaton Bruegel, Pieter the Elder Carnival and Lent Dulle Griet Emblematics Encyclopedism Folly Irony Mannerism Paradoxia epidemica Parodia sacra Parody Perception Picaresque tradition Play Reformation Rhetoric Satire Saturnalia Saws Seven deadly sins Seven virtues Sixteenth century The fall of Icarus The fool The world upside-down Trope structures Utopia Wit Rederijkers Humanism 759.9492 Bruegel, Pieter, approximately 1525-1569 Humanism Parody in art Lent Bookplates Satire in art
4	Paradoxia epidemica in the art of Pieter Bruegel the Elder : an investigation into sixteenth-century parody Cornew, Clive 01 1900 (has links) Pieter Bruegel the Eider's paintings De verkeerde wereld, Het gevecht tussen Karnava/ en Vasten, Luilekker/and, Dulle Grief and Landschap, met Icarus' val are interpreted as sixteenth-century parodies using the paradoxia epidemica as a tropic means for interpreting the artist's wit, irony, parody and picaresque stance towards his source material and his milieu. Where applicable, other works relating to a particular argument are also discussed. As a result of this investigation, an original contribution has been made in the literature on both Bruegel and parody as a form of visual communication. / Art History, Visual Arts and Musicology / M.A. (History of Art) Adynaton Bruegel, Pieter the Elder Carnival and Lent Dulle Griet Emblematics Encyclopedism Folly Irony Mannerism Paradoxia epidemica Parodia sacra Parody Perception Picaresque tradition Play Reformation Rhetoric Satire Saturnalia Saws Seven deadly sins Seven virtues Sixteenth century The fall of Icarus The fool The world upside-down Trope structures Utopia Wit Rederijkers Humanism 759.9492 Bruegel, Pieter, approximately 1525-1569 Humanism Parody in art Lent Bookplates Satire in art
5	The battle of changing times : picaresque parodies from Bruegel to Grosz Cornew, Clive 11 1900 (has links) This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on the one hand, on visual rhetoric, visual parody, and the poetics of epideictic rhetoric; and, on the other, on the interaction between epideictic rhetoric's salient features and the Bruegelian themes of camivalisation, the satirising of human folly, and the ontic order of the World Upside Down topos as organising principles. The relationships between the above themes are chronologically traced in various disguises in pictures by representative picaresque artists from the sixteenth to the twentieth centuries: i.e., in Bruegel, Steen, Hogarth, Daumier, and Grosz. Each of these picaresque artists battled with their own times, parodying the paradigmatic targets of the high mode, in both social and genre hierarchy, and in doing so revealed the complexities of the above themes at work within an ever changing context-bound rhetoricity. / Art History, Visual Arts & Musicology / Thesis (D.Litt. et Phil.) Ancient and modem debate Bruegel (Pieter the Elder) Camivalisation Daumier (Honore) Didactic pedagogics (moral instruction) Eighteenth century Emblematics Epideictic rhetoric Folly Genre hierarchy Grosz (George) Grotesque Heteroglossia Hogarth (William) Interpretation of pictures Irony Laughter Litotes Meiosis Modes (low mode and high mode) New Rhetoric Nineteenth century Paradox Parody (visual parody) Parodic trope structure Perchronics Picaresque world view Picaresque battle Perception Play Rhetoricity Satire Satura Scatology Seventeenth century Sixteenth century Social hierarchy Steen (Jan) Twentieth century Visual rhetoric World Upside Down topos 759.9493 Satire Rhetoric Grosz, George, 1893-1959 Hogarth, William, 1697-1764 Steen, Jan, 1626-1679 Parody in art Caricature
6	The battle of changing times : picaresque parodies from Bruegel to Grosz Cornew, Clive 11 1900 (has links) This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on the one hand, on visual rhetoric, visual parody, and the poetics of epideictic rhetoric; and, on the other, on the interaction between epideictic rhetoric's salient features and the Bruegelian themes of camivalisation, the satirising of human folly, and the ontic order of the World Upside Down topos as organising principles. The relationships between the above themes are chronologically traced in various disguises in pictures by representative picaresque artists from the sixteenth to the twentieth centuries: i.e., in Bruegel, Steen, Hogarth, Daumier, and Grosz. Each of these picaresque artists battled with their own times, parodying the paradigmatic targets of the high mode, in both social and genre hierarchy, and in doing so revealed the complexities of the above themes at work within an ever changing context-bound rhetoricity. / Art History, Visual Arts and Musicology / Thesis (D.Litt. et Phil.) Ancient and modem debate Bruegel (Pieter the Elder) Camivalisation Daumier (Honore) Didactic pedagogics (moral instruction) Eighteenth century Emblematics Epideictic rhetoric Folly Genre hierarchy Grosz (George) Grotesque Heteroglossia Hogarth (William) Interpretation of pictures Irony Laughter Litotes Meiosis Modes (low mode and high mode) New Rhetoric Nineteenth century Paradox Parody (visual parody) Parodic trope structure Perchronics Picaresque world view Picaresque battle Perception Play Rhetoricity Satire Satura Scatology Seventeenth century Sixteenth century Social hierarchy Steen (Jan) Twentieth century Visual rhetoric World Upside Down topos 759.9493 Satire Rhetoric Grosz, George, 1893-1959 Hogarth, William, 1697-1764 Steen, Jan, 1626-1679 Parody in art Caricature

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