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Orientador: Profa. Dra. Márcia Helena Alvim / Dissertação (mestrado) - Universidade Federal do ABC, Programa De Pós-Graduação em Ensino, História, Filosofia das Ciências e Matemática, 2015. / Esta pesquisa busca compreender um episodio que fez parte do processo de consolidação da linguagem geométrica nas descrições dos fenômenos físicos, este, se refere à postura de Galileu sobre a geometrização do comportamento dos corpos físicos em sistemas mecânicos como as polias e a alavanca. Desde esta perspectiva, Galileu apresenta a linguagem geométrica como válida para a explicação dos fenômenos físicos baseada na análise dos diferentes comportamentos dos corpos graves em sistemas mecânicos. Porém, consideramos que esse processo não se restringiu a questões e discussões exclusivas do âmbito da filosofia natural, enquanto à validade de sua relação com a geometria, mas, teve a influência de agentes e dinâmicas sociais, dentre os quais encontramos um Galileu politico, intervindo em espaços como as Côrtes Italianas, em particular a dos Médici, e o Collegio Romano, na procura da concessão de um status social à matemática que vinha sendo promulgada no percorrer dos séculos XV- XVII por outros intelectuais. Estas relações entre as dinâmicas sociais contemporâneas a Galileu, e seus conhecimentos desenvolvidos em mecânica, além de oferecer uma imagem da física desde uma perspectiva cultural, desenha um panorama significativo sobre os processos de formalização das teorias físicas, apresentando a intervenção das matemáticas não como a ferramenta da física ou, como um conjunto de técnicas, mas sim, como formas de pensamento ligadas às formas de ver e interpretar o mundo, e, portanto, que se fazem significativas e podem surgir neste caminho de fazê-lo. A partir disto, consideramos que a proposta de analise aqui apresentada, do Galileu politico e intelectual é um aporte as dificuldades que se têm no ensino da física, em especial enquanto à relação física - matemática, pois apresenta possibilidades e reflexões para a abordagem de assuntos como as proporções, o significado peso, magnitudes vectoriais, entre outras. / This research seeks to understand an episode that was involved in the consolidation process of geometric language in the descriptions of physical phenomena; this refers to Galileo¿s perspective about the geometrization of physical bodies behaviors in mechanics systems like the pulleys and the lever. From this point of view, Galileo presents to geometrical language as available to explain the physical phenomena, drew on analyze of different behaviors of heavy bodies in mechanical systems. However, we consider that this process was not restricted to questions and discussions over the certainty of its relation with the geometry, but, it had the influence of agents and social dynamics, and here we found a politic Galileo, intervening in spaces like Italian¿s courts, in particular, Medici¿s Court, and the Collegio Romano, looking for a social status to mathematics that came being promulgated across the centuries XV ¿ XVII for another intellectuals. That relations between contemporary social dynamics to Galileo, and his knowledge developed in mechanics, moreover to give a significant image of physic from a cultural perspective, draws a significant panorama about the formalization process of the physical theories, presenting the intervention of mathematics not like a tool of physics or, like a set of techniques, but, as ways of thinking related to the ways of seeing and interpreting the world, and therefore, they do significant and can emerge in this process. From here, we consider that this research of the politic and intellectual Galileo, is a contribution to the difficulties that has teaching of physics, especially about the physical-mathematics relation, because we are exposing possibilities and reflections for approach topics like proportions, the meaning of weight, vector magnitudes, and another.

This dissertation is a study of the comic intermezzo’s literary origins and musical practice in the years before Pergolesi’s La serva padrona (1733). It begins with a chronological examination of Italian comic plays and operas written between 1660 and 1723. During these years comic playwrights adopted a style of writing speech from the improvised theatre which makes use of what Richard Andrews (1993) refers to as “elastic gags.” This style of comedy flourished under Medici patronage in Florence in the last decades of the seventeenth century and then spread to Venice, Rome and Naples during the first years of the intermezzo’s development. It is a style of comedy shared with the plays of Molière, and other contemporaneous French authors. This dissertation examines several scenes based on French works which have previously not been identified as having earlier sources. The decision to adapt these earlier sources for the intermezzo did not occur in a vacuum. The practice of comedy in the intermezzo was conditioned by the artistic, social and political climate of Italy. This study investigates the relationship between intermezzos and the milieus which produced them. The success of some intermezzos, like Il marito giocatore (1719), resulted from a combination of their artistic merit and their broad social appeal, while others, like Albino e Plautilla (1723), were musically adept but remained obscure because their humour was specific to the world they satirized. Both intermezzos are indebted to earlier French sources. Many others which are metatheatrical in nature draw on contemporary debates about opera. A final section examines selected arias from the intermezzo repertory using incongruity theory. Comic theory makes clear that the intermezzo’s musical language was not a new development. Just as librettists drew on earlier written traditions to form the literary text of the intermezzo, composers drew on existing musical practices to create humour. The intermezzo was therefore not naively comic—a portrait of the genre which is all too common—but rather a repertory which was thoroughly enmeshed within contemporary artistic practice and a wider social and cultural world.

This dissertation is a study of the comic intermezzo’s literary origins and musical practice in the years before Pergolesi’s La serva padrona (1733). It begins with a chronological examination of Italian comic plays and operas written between 1660 and 1723. During these years comic playwrights adopted a style of writing speech from the improvised theatre which makes use of what Richard Andrews (1993) refers to as “elastic gags.” This style of comedy flourished under Medici patronage in Florence in the last decades of the seventeenth century and then spread to Venice, Rome and Naples during the first years of the intermezzo’s development. It is a style of comedy shared with the plays of Molière, and other contemporaneous French authors. This dissertation examines several scenes based on French works which have previously not been identified as having earlier sources. The decision to adapt these earlier sources for the intermezzo did not occur in a vacuum. The practice of comedy in the intermezzo was conditioned by the artistic, social and political climate of Italy. This study investigates the relationship between intermezzos and the milieus which produced them. The success of some intermezzos, like Il marito giocatore (1719), resulted from a combination of their artistic merit and their broad social appeal, while others, like Albino e Plautilla (1723), were musically adept but remained obscure because their humour was specific to the world they satirized. Both intermezzos are indebted to earlier French sources. Many others which are metatheatrical in nature draw on contemporary debates about opera. A final section examines selected arias from the intermezzo repertory using incongruity theory. Comic theory makes clear that the intermezzo’s musical language was not a new development. Just as librettists drew on earlier written traditions to form the literary text of the intermezzo, composers drew on existing musical practices to create humour. The intermezzo was therefore not naively comic—a portrait of the genre which is all too common—but rather a repertory which was thoroughly enmeshed within contemporary artistic practice and a wider social and cultural world.

Made available in DSpace on 2014-12-17T15:04:59Z (GMT). No. of bitstreams: 1 FrancescoAL_DISSERT.pdf: 2289143 bytes, checksum: a7a5002558cdadfa2741570887e41ee2 (MD5) Previous issue date: 2012-08-14 / Universidade Federal do Rio Grande do Norte / El trabajo pr?ctico experimental en la educaci?n en Ciencias y en el contexto de la ense?anza de la Biolog?a es un objetivo clave. Teniendo en cuenta la influencia de los libros de texto en la actividad profesional de docentes, interesado en este estudio para caracterizar la orientaci?n de este tipo de materiales, para el trabajo pr?ctico experimental y el uso de la medici?n en esta actividad. Para ello analizaron las ocho colecciones de libros de Biolog?a aprobado en PNLD en 2012. La investigaci?n es de naturaleza descriptiva e interpretativa y de recogida de datos ha sido elegida por el m?todo de an?lisis de contenido (BARDIN, 2002). El an?lisis de los trabajos pr?ctico experimentales busc? caracterizar su naturaleza epistemol?gica, concepci?n de la ciencia impl?cita, conceptual, tipolog?a, contenido conceptual de Biolog?a utilizado, cu?ntos implican medidas, y c?mo se utiliza en este contexto seg?n el procedimiento general para medir propuesto por N??ez y Silva (2008). Los trabajo pr?ctico experimental ha sugerido una epistemolog?a de la ense?anza conceptual, car?cter racionalista en su mayor?a y dominada por las actividades del tipo de ejercicio pr?ctico, a necesidad de medir est? presente en una minor?a de estos y se se utiliza el procedimiento general de medici?n de forma parcial e impl?cito en la mayor?a de los trabajos pr?tico experimentales. Por lo tanto, proponemos en este actividades de estudio a desarrollar una gu?a de an?lisis de los trabajo pr?ctico experimentales propuesto en los libros de texto de Biolog?a / O trabalho pr?tico-experimental na educa??o cient?fica, e no contexto do ensino de Biologia se constitui num objetivo chave. Considerando a influ?ncia dos livros did?ticos na atividade profissional dos professores, nos interessou neste estudo conhecer e caracterizar a orienta??o desse tipo de material did?tico para o trabalho pr?ticoexperimental e a utiliza??o da medi??o nesta atividade. Para esse prop?sito foram analisadas as oito cole??es de livros de Biologia aprovada as no PNLD 2012. A pesquisa tem natureza descritiva e interpretativa e para a coleta dos dados optou-se pelo m?todo da An?lise de Conte?do (BARDIN, 2002). Na an?lise dos trabalhos pr?ticoexperimentais buscou-se caracterizar sua natureza epistemol?gica, a concep??o de ci?ncia impl?cita, tipologia, conte?do conceitual de Biologia presente, quantas envolvem medi??es, e de que maneira ? usado neste contexto de acordo com o procedimento geral de medir proposto por N??ez e Silva (2008). Os trabalhos pr?tico-experimentais sugeridos tem uma epistemologia conceitual do ensino, car?ter racionalista na sua maioria, e predominam atividades do tipo exerc?cio pr?tico, a necessidade de medir est? presente na minoria destes, e se utiliza o procedimento geral de medir de maneira parcial e impl?cita na maioria dos trabalhos pr?tico-experimentais. Dessa forma prop?em-se nesse estudo atividades para elaborar um guia de an?lise dos trabalhos pr?tico-experimentais propostos nos livros did?ticos de Biologia

Le règne d’Henri IV est incontestablement l’un des plus importants de l’histoire de France, et les ouvrages qui ont été consacrés à ce monarque sont innombrables. De plus, la musique a également retenu un grand intérêt parmi les chercheurs, et des études précédentes ont apporté des éléments édifiants concernant plusieurs aspects de la vie musicale durant ce règne, notamment sur les compositeurs en contact avec sa cour (comme Pierre Guédron et Eustache Du Caurroy) et sur les genres les plus populaires à cette époque (les chansons, les airs de cours, et les ballets). Or, une étude historique de la musique à la cour d’Henri IV, comparable à celles qui ont été faites par Christelle Cazaux et Isabelle Handy pour les autres cours françaises du XVIe siècle, restait à faire. L’objet de cette thèse est donc de préciser la place de la musique lors de la célébration des événements politiques et l’identité des musiciens qui travaillaient à la cour d’Henri IV. Elle est présentée en trois parties principales. La première partie est consacrée à l’étude des aspects qui ont contribué au développement de la musique pendant ce règne, dont la place de cet art dans la formation aristocratique et les goûts musicaux personnels de la famille royale. La deuxième partie se concentre sur le fonctionnement des différents corps musicaux de la cour (la Chapelle, la Chambre et l’Écurie). Enfin, une dernière partie évalue le rôle tenu par la musique dans les événements de cour sous Henri IV, comme les mariages, les obsèques et les entrées royales, et elle intègre également un examen de la place de la musique dans les fêtes politiques et dans les entrées des grands personnages en France à cette époque. / The reign of Henry IV is undoubtedly one of the most important in the history of France, and countless works have been devoted to the study of this monarch. In addition, music from this period has also attracted the interest of scholars, and previous studies have shed light on several aspects of musical life during this reign, notably on the composers connected to Henry’s court (like Pierre Guédron and Eustache Du Caurroy) as well as on the most popular genres from this time (chansons, airs de cour and ballets). Nevertheless, a historical study of music at Henry IV’s court, comparable to those already completed by Christelle Cazaux and Isabelle Handy on the courts of other French monarchs during the sixteenth century, remained to be undertaken.The aim of this doctorate is thus to clarify both the place of music during the celebration of political events and the identity of musicians who worked at Henry IV’s court. It is divided into three main sections. The first focuses on aspects which contributed to the development of music during this reign, including the place of music within noble training and the personal musical inclinations of the royal family. The second concentrates on the function of the different musical groups at court (the Chapel, the Chamber and the Stables). Finally, the last section examines the role of music in court events under Henry IV, such as marriages, funeral ceremonies and royal entries, and this section also encompasses a discussion of music’s place in political events and in the entries of important dignitaries in France at this time.

This article opens up an important but overlooked chapter in the political and diplomatic history of Florence, as well as that of fifteenth-century Franco-Italian relations more broadly. In late 1461, the city of Florence elected ambassadors to go to France to congratulate King Louis XI on his accession to the throne. Intended as a purely ceremonial mission, the Florentine diplomat Piero de' Pazzi ignored his commission and pursued policies that explicitly promoted French interests in Italy. By doing so, Piero sought to improve the standing of his own family, both domestically and abroad, at the expense of the Medici regime in Florence and the anti-French Italian League that the Medici supported. This article offers for the first time a full investigation of a surprisingly early example of tensions between the Medici and the Pazzi, tensions that famously erupted in the Pazzi Conspiracy of 1478.

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Die vorliegende Arbeit stellt für die Bildwissenschaften eine methodische Grundlage dar, Kleidung im Bild als Konstruktion zu begreifen und zu interpretieren. Anhand der eindrucksvollen Patronageprojekte der Familie Tornabuoni – einer gerade emporgestiegenen Kaufmannsfamilie im Umkreis der Medici – werden die Möglichkeiten und Grenzen von symbolischer Kommunikation in der Florentiner Frühneuzeit untersucht. Unter anderem über Symbole wurde die Position im Gesellschaftsgefüge des unsicheren frühneuzeitlichen Regierungsklimas immer wieder neu hergestellt und von Neuem ausgehandelt. Die gewählte Bildgarderobe ist dafür ein hervorstechendes Beispiel. / The thesis presents an art historical methodology that assesses clothing and its pictorial representations in order to interpret how material culture relates to social construction. Using as an example an impressive patronage project of the Tornabuoni family – a newly rich family of merchants in the circle of the Medici – reveals the possibilities as well as the limitations of symbolic communication through dress in early modern Florence. In addition to outward style, these subtle symbols helped to establish and renegotiate their bearer’s position in the shifting hierarchy of an uncertain political climate. By closely examining Tornabuoni commissions, the thesis demonstrates how clothing is a critical means of understanding social motivations and aspirations.

Cette thèse, qui présente les sculpteurs actifs à Florence à l’époque des deux derniers grands-ducs de la dynastie des Médicis, Cosme III (1670-1723) et Jean-Gaston (1723-1737), est une étude de synthèse permettant de situer les sculpteurs dans un contexte social et historique. Elle considère le métier de sculpteur sous tous ses aspects : la formation, les conditions de vie et de travail, le statut social, l’organisation des ateliers, la répartition du travail entre les différents collaborateurs, le processus de création des sculptures et des décors sculptés, ainsi que le rôle essentiel du dessin dans l’élaboration et l’exécution de ces sculptures. En arrivant au pouvoir, Cosme III voulut donner un nouvel essor à la sculpture florentine et prit de nombreuses initiatives dans cette direction : il transforma l’enseignement, développa la production d’objets de luxe au sein de la Galleria dei Lavori et facilita le travail des sculpteurs de nombreuses manières, offrant à la plupart d’entre eux des pensions, des charges officielles et des ateliers. Les sculpteurs étaient certes nombreux, mais la vie artistique s’articulait en réalité autour de quelques figures majeures. Le plus important était Giovanni Battista Foggini, installé dans le célèbre atelier des sculpteurs de cour situé Borgo Pinti. Il cumula les fonctions de Premier sculpteur et d’architecte de la Galleria dei Lavori, dirigeant ainsi une très vaste équipe d’assistants et de collaborateurs. Notre recherche est fondée sur un ample dépouillement d’archives et sur l’étude de dessins préparatoires. Un volume d’annexe comprend un répertoire des sculpteurs ainsi que la transcription de nombreux documents inédits. / This thesis, presenting sculptors active in Florence at the time of the last two grand dukes of the Medici dynasty, Cosimo III (1670-1723) and Gian Gastone (1723-1737), is a synthetic study which situates these sculptors in their historical and societal contexts. The work takes into account all the aspects of the profession: the training, in Rome and in Florence, the living and working conditions, the social status, the organisation of the workshops, the creative process, the division of work among the specialists, as well as the important role of drawing in designing and executing the works. When Cosimo III came into power, he decided to bring about a revival in Florentine sculpture and rapidly took many initiatives in this direction: he reformed artistic education, developed the production of luxury artefacts within the Galleria dei Lavori and facilitated the work of sculptors in many ways, offering many of them monthly pensions, official functions and locations for workshops. Even though the period saw a significant number of sculptors working in Florence, artistic life actually centred around a limited number of major figures. Giovanni Battista Foggini, the most important, was settled in the famous sculpture workshop located in Borgo Pinti. At the height of his long career, Foggini was First sculptor as well as Architect of the Galleria dei Lavori, hence managing a vast team of collaborators, assistants and craftsmen. The research is based on a thorough analysis of the archives related to the period as well as an extensive study of the preparatory drawings. A volume of appendices contains a repertory of the sculptors and also the transcription of many unpublished documents.