A study has been undertaken of the biblical prefaces of Mikael Agricola. All the prefaces are based on those of Luther and/or translations of the same in the Swedish Bible of 1541 (GVB). The New Testament prefaces, like GVB, keep closely to the originals. There are however visual differences — in punctuation, capital letter usage and paragraphing. The literal translation makes the material very suitable for a study of Agricola's use of capital letters and punctuation in comparison with the Lutheran Bible and GVB. The material is too limited for any conclusions to be drawn about the principles underlying paragraphing. Agricola, like Luther (from 1539 onwards) and GVB, sometimes uses capital initial letters in the substantive designations of God and Christ the Holy Spirit the Bible and its books the Church and its sections occupations nationalities Adjectives relating to the above groups may also have capital initials. Personal pronouns relating to God or important persons may also be written with capital initials. Unlike the originals, Agricola's texts may also give prominence to other pronouns than the personal, to verbs, adverbs, numerals and intensifies. The punctuation corresponds partly with present usage: complete clauses are usually separated by punctuation marks. One basic difference is that in Agricola, Luther and GVB breathing pauses for reading aloud are indicated with commas or full stops. As Agricola stressed his utterances differently from his models, it follows that his punctuation differs from theirs. Agricola's prefaces to Old Testament writings are also based on Luther's, but only two of them are direct translations. Agricola's exclusions and additions have been studied. The former include many of the brief descriptions of contents in Luther's prefaces. The additions are interesting; sometimes Agricola does not accept Luther's brief biographical summaries about the authors of various biblical books, and uses instead Hieronymus' prefaces in Vulgata. He also refers to the old Jewish work on the human condition, Seder Olam. Agricola's longest preface, to the Psalms, is very much his own. A few pages are devoted to Agricola's summary of commentaries on the Psalms made by two Fathers of the Church — Augustinus Aurelius and Basilius the Great. Here Agricola makes generous use of the popular stylistic device of the time — amplification, an accumulation of more or less synonymous expressions for the same idea. Even in sentences directly translated from Luther and GVB, Agricola often extends the amplifications. Agricola's four rhyming prefaces are not based on any model at all. They were written in the Germanic doggerel metre, and have much in common with late mediaeval rhyming chronicles. Agricola's often drastic way of expressing himself makes delightful reading. / digitalisering@umu

The discourse of pictorial surrealistic expressions in art historic course literature – a historiographic study about generalization of style. Through a historiographic perspective and discourse analysis the aim of this study is to uncover the ways art historic course literature make its stylistic categorization. This is done by making a semiotic categorization where three artworks are stipulated into a category called surrealistic pictorial expressions. The result of the semiotic picture analysis show both the semiotic grouping of pictures together and the work of the course literature as somewhat arbitrary, which lead to the questioning of why artworks are considered discursive objects while the course literature is not as well as how the narrative of pictures differs from the narrative of textbooks. The study shows a fundamental difference regarding the structuring of time which lead to a discussion on what might be the consequences for students of the field. / Undersökningen består huvudsakligen i två delar. Den första stärker genom bildanalys en samhörighet mellan tre konstverk, en samhörighet som trots allt visar sig vara problematisk. Den andra delen behandlar tre böcker som i stor utsträckning utgör fundamentet för den litteratur som studeras inom konstvetenskap på grundnivå. Med hjälp av slutsatsen från bildanalysen, att ett samband mellan bilder är relativt godtyckligt, kan texterna analyseras och betydande skillnader visar sig i hur konstverken kontra kurslitteraturen kommunicerar. Framförallt skiljer de sig åt i hur de strukturerar berättande tidsligt och likt bilderna som böckerna behandlar är de själva föremål för de strömningar som rör sig i samhället. Slutsatsen blir att studerande av konstvetenskap redan från början leds in i föreställningen om att konsthistorien är något som faktiskt existerar på ett objektivt plan medan det egentligen är något som aktivt skapas av de praktiserande inom fältet

This thesis sets on important music printer of late sixteenth century and beginning of seventeenth century, Jiří Nigrin z Nigropontu, especially on his production of music prints. First chapter analyzes present science findings about Nigrin's prints, music printing technique from its beginning to sixteenth century and production of music prints in Prague in second half of sixteenth century beyond Nigrin's printing house. Particularly, sets of initial letters, which appear in Nigrin's music prints, are analyzed. Catalog of music printing sets is also brought forward. It shows most significant attributes along with chronological arrangement. These findings are then applied for establishing which so far unknown music prints comes from Nigrin's printing office. It is possible to mark out the undated musical prints' date of creation according to time arrangement of sets of music characters. Nigrin's material for music printing is compared with abroad printing houses afterwards. It outlines probable origin of his printing equipment.

Made available in DSpace on 2016-04-25T19:21:02Z (GMT). No. of bitstreams: 1 Lilian Wurzba Ioshimoto.pdf: 23831056 bytes, checksum: 6472c63b8fcf38f92ba1b90cfc696173 (MD5) Previous issue date: 2009-10-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research deals with religious melancholy and its symbolical expressions in the Hieronymus Bosch s pictorial work. Starting from Robert Burton s definition, it investigates the appropriateness of the concept of religious melancholy as a description of the paradox of human condition. Going all the way from the first definitions of the phenomenon, in the Hippocratic corpus or in philosophy, through its presence in medieval theology, until reaching as far as modern psychiatry, it claims, based on the categories of Carl Gustav Jung analytical psychology, that it can be best understood as a symbol expressing the soul s most typical process, a psychic state representative of the duality of human existence, rather than as mere pathology. Severed from its original ontological state of identify to become something a being in time and space, the soul must recognize itself as fragment of what is real rather than as an unreal whole; it must accept that it is a creature, not the creator. This process, going as it were beyond rational grasp (since it is representative of the relation of the I with the depths of the psyche), can only translate into images, from the sublime and incomprehensible to the perverse and grotesque. Fantastic images like the ones found in the figurative universe of Bosch s work, which, apart from its open satirical and pedagogical purpose, displays not the fear of death or man s lack of foundation, but the on-going tension between the I, the world and God the angst of living. The present work is, thus, a symbolic analysis of Hieronymus Bosch based on the many commentators of his ground-breaking body of work, on the theoretical views on melancholy developed throughought history and Jungian concepts, with the purpose of identifying religious melancholy in Bosch s labyrinthic landscapes as an essential feature of the human condition / Esta pesquisa aborda a melancolia religiosa e suas expressões simbólicas na obra pictórica de Hieronymus Bosch. A partir da definição de Robert Burton, investiga a pertinência do conceito de melancolia religiosa como descrição da paradoxal condição humana. Percorrendo desde suas primeiras definições, na medicina hipocrática ou na filosofia, passando pela teologia medieval, até a psiquiatria moderna, e apoiada nos aportes da psicologia analítica de Carl Gustav Jung, verifica que, para além de uma patologia, pode-se entendê-la como um símbolo que expressa o processo típico da alma, um estado psíquico que marca a dualidade da existência humana: separada de sua identidade ontológica, para se tornar realidade no tempo e no espaço, deve-se reconhecer como um fragmento real e não um todo irreal, deve aceitar que é criatura e não Criador. Tal processo, ultrapassando a compreensão racional, pois significa a relação do eu com as profundezas abissais da psique, só pode ser traduzido em imagens que vão desde o sublime e incompreensível até o perverso e grotesco. Imagens fantásticas como as encontradas na trama figurativa da obra bosquiana que, ademais de uma sátira ou predicação, revela não o medo da morte ou a falta de fundamento do homem, mas a permanente tensão eu-mundo-Deus, a angústia de viver. Este trabalho, assim, configura-se como uma análise simbólica das pinturas de Hieronymus Bosch, apoiado em seus comentadores, nas teorias sobre melancolia desenvolvidas ao longo da história e no referencial junguiano, com o objetivo de identificar, nas paisagens labirínticas bosquianas, a melancolia religiosa, característica essencial do humano

My project examines the pictorial and theoretical dimensions of the concept of melancholy as they were understood, expressed, and, most importantly, figured by Renaissance artists. By focusing on the figural pose traditionally associated with the melancholic state and humor, it presents a hitherto unexplored connection between Northern and Southern Europe, considering the different ways in which artists self-identified as melancholics and expressed this understanding in their art. In both Italy and the North, the basic figural structure is appropriated for somewhat different ends. The relationship of the isolated figure to its cultural context varies, either declaring a special creative status, responsive to a higher inspiration, or setting the figure apart as an outsider with special insight into the follies of this lower world. Chapter One serves as an introduction to the pose of melancholy, its historical weight and the visual meaning carried by the isolated, brooding figure, generally wth lowered head supported by a hand and often with legs crossed. This is the figure epitomized in Dürer's Melancolia I. Chapter Two considers Michelangelo as the exemplar of a melancholic and addresses the cultural and personal identification of him as such. The relevance of the melancholy pose to the identification of the artist in sixteenth-century Italy is demonstrated by Raphael's depiction of the melancholy Heraclitus in The School of Athens, which I accept as portrait of Michelangelo; articulated in his poetry, the artist's self-identification as melancholic is visually declared in his Last Judgment. Chapter Three addresses the works of Hieronymus Bosch, in whose art the figure of melancholy runs as something of a leitmotif, although it has remained generally unobserved; the figure serves as a running comment on the thematic concerns of the paintings--such as The Garden of Earthly Delights and Death and the Miser--at once participant and outsider. Chapter Four explores the role of melancholics in specific paintings by Bruegel, especially The Triumph of Death, and the relationship between melancholics and fools in the artist's oeuvre. Chapter Five has at its focus Titian's Flaying of Marsyas and the artist's self-inclusion in the guise of the melancholy Midas. As a conclusion, this chapter reflects on the personal significance of melancholy for Renaissance artists.

At the end of the fifteenth century, Hieronymus Bosch provided the foremost expression of the strict religious piety embodied by the Devotio Moderna and the impending embrace of secular humanism. As a result, Bosch's seemingly complex images provided viewers with positive messages concerning the journey of life through the use of binary symbolism. He utilized the pilgrimage motif as a guide throughout his paintings and in relation to the liminal spaces surrounding his works. This article will examine his important triptych, The Haywain, (c.1495-1516) as an example of spiritual paths taken simultaneously by both religious and contemporary figures, along with the viewers themselves. The underlying theme of Christ's Ascension in The Haywain plays out in an interwoven assortment of journeys, identified by characteristic northern and medieval Christian iconography. Christ's final journey acts as the ultimate goal and the paradigm for both the pilgrim within the triptych and the viewer. Evidence of processional celebrations mimicking pilgrimages reveals that the motifs in Bosch's works were located throughout his visual culture. Finally, an investigation of Bosch's 1505 triptych The Temptation of St. Anthony reveals that Bosch remains consistent in his use of the pilgrimage theme. Bosch worked within the context of the visual and textual culture of the Netherlandish city of ‘s-Hertogenbosch, and despite his creative style, was understood among his contemporaries as a messenger of positive piety.

La thèse interroge la place de la peinture religieuse dans le nouveau genre métapictural du «Cabinet d'amateurs», inventé à Anvers au début du XVIIème siècle par Frans Francken II. Les «Cabinets d'amateurs» anversois ont été considérés jusqu'à présent comme le reflet du collectionnisme et donc du goût de l'époque; on y a vu en même temps l'expression des idées de la Contre-Réforme et, dans une moindre mesure, de la culture humaniste dans les Pays-Bas méridionaux. Cette approche socio-culturelle globale ne saisit pas la diversité des Cabinets et leur spécificité ; la visée de ces tableaux est finalement autre. Sous l'aspect d'une représentation de collection, cette réunion de tableaux et d'objets divers aboutit à l'élaboration d'un discours consacré à un thème d'ordre éthique ou épistémologique. De multiples liens s'instaurent au sein des «Cabinets d'amateurs» entre les tableaux restitués et même entre les tableaux et les objets, liens qui font naître une grande cohérence interne, cachée sous l'apparent désordre. Des rapports fondés sur l'analogie ou l'antithèse sont établis entre les œuvres que le spectateur est appelé à déceler. Les nouvelles identifications d'œuvres que nous avons pu apporter confirment la présence d'un thème qui coordonne l'ensemble d'un Cabinet d'amateurs. L'étude porte sur les «Cabinets d'amateurs» de Frans Francken II et de son frère Hieronymus, puis sur ceux de Cornelis De Baellieur. Tous ces Cabinets sont constitués de tableaux authentiques et suivent le principe d'ordonnancement autour d'un thème. Nous avons posé cette même question de la cohérence interne concernant les célèbres compositions de Willem Van Haecht et tenté d'y apporter une première réponse. / The thesis questions the place of religious pictures in the new metapictural genre of gallery paintings invented by Frans Francken II in Antwerp at the beginning of the seventeenth century. Antwerp gallery paintings have been considered so far as reflecting collecting practices and the taste at that time. They have also been understood as the expression of the ideas of the Counter­Reformation and, to a lesser extent, the humanistic culture in the Low Countries. This global socio­cultural approach does not grasp the diversity and specificity of gallery paintings, the aim of these paintings is definitely another one. Looking like an image of a collection this combination of paintings and diverse objects leads to the construction of a discourse dedicated to an ethical or epistemological theme. Various links can be observed in gallery paintings between the reproduced pictures and even between the pictures and the objects, links which bring forth a strong internal coherence, hidden under apparent disorder. Relationships based on analogy or antithesis are established between the works of art which the beholder is invited to find out. Newly identified works confirm the presence of a theme which coordinates a gallery painting as a whole. My study is devoted to the gallery paintings by Frans Francken II and his brother Hieronymus, further those by Cornelis De Baellieur. All these gallery paintings contain existent paintings and follow the principle of organization according to a theme. My study also puts the question of internal coherence concerning the famous compositions by Willem van Haecht and tries to give a first answer to it.

Univ., Diss.--Göttingen, 2001.

No description available.

This diploma thesis is focused on presenting selected artwork with the theme of Hell, which were made in 15. and 16. century. The focus will be on placing this artworks into whole artworks of selected painters. Also to compare it between each other and try to prove how was the tradition of this theme affected by political situation, customer and how was it affected by literature.