Thesis (M.C.S.)--Regent College, Vancouver, B.C., 1993. / Includes abstract and vita. Includes bibliographical references (leaves 104-112).

Thesis (M.Phil.)--University of Hong Kong, 2003. / Also available in print.

Thesis (M.C.S.)--Regent College, Vancouver, B.C., 1993. / Includes abstract and vita. Includes bibliographical references (leaves 104-112).

Orientador: Luiz Cesar Marques Filho / Acompanha volume das figuras / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-05T18:23:39Z (GMT). No. of bitstreams: 1 Gomes_Waldemar_M.pdf: 99392439 bytes, checksum: bbd9e4a60a5bca216b0c5680fecf9ea2 (MD5) Previous issue date: 2006 / Resumo: A construção do Sepulcro do Papa Júlio II ocupou 40 anos da vida produtiva madura de Michelangelo, entre 1505 e 1545. Idealizada como um grande mausoléo composto de cerca de 40 esculturas e ornamentos em bronze para ser construída na Basílica de São Pedro, o monumento passou a sofrer reduções gradativas a cada novo projeto que foi assinado entre Michelangelo e os herdeiros e executores da vontade do papa. O monumento edificado não mais na Basílica de São Pedro, mas na Igreja de San Pietro in Vincoli, conta com apenas 7 esculturas, algumas delas de discípulos do mestre florentino. Ao afirmar que o resultado final foi o resultado possível a que o artista conseguiu chegar para ver-se finalmente livre daquela encomenda, a crítica tem considerado que essa obra ficou muito aquém dos sonhos grandiosos tanto do papa quanto do próprio artista. A partir dos recentes trabalhos de restauro, Antonio Forcellino, Adriano Prosperi e Christoph L. Frommel avançaram novas hipóteses sobre as condicionantes sociais, políticas e religiosas que nortearam a conclusão do monumento e que teriam motivado Michelangelo a fazer a escolha de certas esculturas em detrimento de outras influenciado que teria sido pelo conteúdo do opúsculo Il Beneficio di Cristo. Com isto, eles criaram uma das mais novas e revolucionárias teorias sobre o programa iconográfico do resultado final dessa obra e avançaram novas luzes para sua compreensão, contribuindo para que possamos entendê-lo melhor / Abstract: Michelangelo spent 40 years both in his mature and productive life to build The Tomb of Pope Julius II between 1505 and 1545. Planned at the very beginning as a big mausoleum adorned with around 40 sculptures and pieces of bronze to be construct at Saint Peter Church, the sepulchral monument was reduced at each new project that was signed between Michelangelo and the executors and heirs of Pope Julius' wiIl. The monument was finally constructed not more in Saint Peter Church, but in Saint Peter in Chains, with only 7 sculptures, some of them by the hand of Michelangelo's disciples. Saying that the final result was a possible arrangement that the artist could arrive for to be free forever the scholars have appointed that this work became much distant from the dreams of the pope and the proper artist. Based on the recent works on restoration conducted by Antonio ForceIlino and supported by the studies made by Adriano Prosperi on religious field side by side the inquiries made by Christoph L. Frommel on the sculpture of Moses they advanced new hipothesis on the social, political and religious context that marked the conclusion of the monument and that motivated Michelangelo to choose some sculptures and not others under the influence of the little book II Beneficio di Cristo. FoIlowing this way they created one of the newest and the most revolutionary theories on the iconographic program of the last project of this work putting new lights on its comprehension and help us understand it better / Mestrado / Historia da Arte / Mestre em História

Orientador : Luciano Migliaccio / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-01T02:51:45Z (GMT). No. of bitstreams: 1 Sousa_DalilaDoring_M.pdf: 28828752 bytes, checksum: 330c8eec895eb1d20d21617f7da6b153 (MD5) Previous issue date: 2002 / Resumo: Esta dissertação compreende um estudo sobre o significado artístico da representação dos pobres nas pinturas religiosas caravaggescas napolitanas a partir da "Adoração dos pastores" no MASP, atribuída a Bartolomeo Passante levando em consideração a sociedade, a religião e as teorias artísticas pautadas pelas prescrições iconográficas da Contra-Reforma. Caravaggio foi um pintor revolucionário na proposição de uma "epopéia plebéia" através de suas obras consideradas paradigmáticas no ambiente artístico napolitano, fato que deu origem a um círculo de pintores oriundos do atelier de Ribera e voltados para esta poética mediante a interpretação que o pintor espanhol fez do caravaggismo resultando em repertórios de obras indicativas da representação de tipologias da pobreza enquanto um fenômeno estético / Abstract: This dissertation is concemed to the study on the artistic meaning of the poor people representation in neapolitans caravaggesche religious paintings from the "Adoration of the shepherds" in the MASP museum, atributed to Bartolomeo Passante considering the society, the religion and the Counter Reformation artistic theories due to the iconograpbic prescriptions. Caravaggio was a revolutionary painter on the proposition of a "plebean epopee" througb bis works considered paradigmatic on the neapolitan artistic surrounding, what engendred a painters circle origined on the workshop of Ribera and turned to this poetic through the interpretation that the spanish painter made of the caravaggism resulting on repertories of works indicating the representation of the poverty tipologies as a aestetic phenomena / Mestrado / Mestre em História

This dissertation considers how the artistic output of Michelangelo Buonarroti (1475-1564) was related to his poetic development and associations with different communities in Florence and Rome. The author of more than 300 poems, Michelangelo was arguably the most prolific artist-poet of the Renaissance. Still, no study has scrutinized the dynamic relationship between his work across media in relation to contemporary shifts in Italian literary culture. Centered on the decades surrounding Michelangelo's permanent move to the Eternal City in 1534, this dissertation shows how he used his creative production to achieve stability in an era buffeted by war and political upheaval. The fortunes of Florence and Rome were inextricably bound, and this dissertation uses surviving visual and written evidence to reconstruct Michelangelo's links to dense intellectual and homosocial networks in these cities. Michelangelo wrote poems to build social ties at a time when the status of artists was in great flux, and this dissertation demonstrates why his poetry, drawing, painting, sculpture, and architecture cannot be and would not have been understood apart from one another.

Über Šostakovičs Suite nach Worten von Michelangelo zu schreiben heißt: sich der Möglichkeit aussetzen, eines jener inzwischen gern zitierten, wohlbekannten kritischen Verdikte Šostakovičs gegen Musikwissenschaft und Musikwissenschaftler ungewollt zu bestätigen. Denn es heißt: sich auf ein Werk einzulassen, das wie kaum ein anderes Spielraum für Interpretationen läßt, weil die Askese der musikalischen Umsetzung nicht ein Weniger, sondern ein Mehr in der Dichte der Wechselbeziehungen von Musik und Text nach sich zieht. Es heißt: über ein Werk zu sprechen, dessen Texte zwar ob ihrer Übertragbarkeit und ihrer abstrakten Qualität jene Zeitlosigkeit besitzen, welche sie für Šostakovič modern machen konnte und sie auch heute modem erscheinen läßt, die aber gerade aufgrund dieser abstrakten Qualität Antworten ohne Fragezeichen kaum zulassen. Wenden wir uns zunächst diesen Texten und ihrem Autor zu.

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