Submitted by PAULO CÉSAR VERISSIMO ROMÃO (paulinhoverissimo@hotmail.com) on 2017-11-08T17:23:18Z No. of bitstreams: 1 TESE Paulo César Veríssimo Romão.pdf: 2989029 bytes, checksum: 02b87fe7ba51948a3630690e296f018a (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-11-16T18:40:08Z (GMT) No. of bitstreams: 1 romao_pcv_dr_ia.pdf: 2989029 bytes, checksum: 02b87fe7ba51948a3630690e296f018a (MD5) / Made available in DSpace on 2017-11-16T18:40:08Z (GMT). No. of bitstreams: 1 romao_pcv_dr_ia.pdf: 2989029 bytes, checksum: 02b87fe7ba51948a3630690e296f018a (MD5) Previous issue date: 2017-05-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente trabalho descreveu o percurso histórico do violão, utilizado como instrumento executor do repertório erudito. Procuramos compreender como se deu o fenômeno de inserção do violão nos ambientes de concerto e nas instituições formais de ensino. Para tanto, realizamos uma pesquisa documental, seguida de uma pesquisa de reminiscências. A primeira parte da tese trata dos aspectos socioculturais do modernismo no Brasil. No momento posterior, avaliei as possíveis aproximações entre as teorias modernistas e a produção de obras para violão erudito. Ao final, procurei elencar algumas personagens significativas para a história do violão erudito, sobretudo professores. Pude concluir que o processo a utilização do violão como instrumento erudito ocorreu gradativamente, e teve resistência por parte da população e dos órgãos de imprensa. Essa resistência diminuiu por alguns fatores: a realização de transcrições para violão de obras canônicas do repertório europeu; a presença de violonistas estrangeiros, que trouxeram ao país a cultura do violão erudito; o adensamento das atividades de concertistas brasileiros no exterior; a formalização do ensino de violão erudito nas escolas, conservatórios e universidades. / The present work describes the historical course of the guitar, used as an instrument for the classical repertoire. Our attempt was to understand how the insertion of the guitar occurred in concert environments and in formal educational institutions. To do so, we performed a research based on documents, followed by a research of reminiscences. The first part of the thesis presents the socio-cultural aspects of modernism in Brazil. Afterwards, I evaluated the possible approximations between the modernist theories and the production of works for erudite guitar. Finally, I tried to list some significant characters for the history of the erudite guitar, especially teachers. I could conclude that the process the use of the guitar as an erudite instrument occurred gradually, and there were resistances by the population and the press. This resistance was reduced by some factors: the transcriptions for guitar of canonical works of the European repertoire; The presence of foreign guitarists, who brought to the country the culture of the erudite guitar; The thickening of Brazilian guitarists’ activities abroad; The formalization of the teaching of learned guitar in schools, conservatories and universities.

The archaeobotanical analysis of the waste infill contributed to understanding its origin and composition based of two types of sample extraction. Large amount of desiccated botanical marco-remains was determinated. Beside of the common taxa rare imported species were also captured. Some of them are the first determinations in Central Europe; one case is the first evidence in Europe at all. The richness and uniqueness of the archaeobotanical collection declare the high society status, economical and cultural centre of the Prague castle in the early modern period.

(in English): This master thesis follows the history of Prague guilds from the very beginning of their system to the end in 1860. Research was focused on cities which created former Prague - Old Town, New Town, Lesser Town and Hradčany. At first, used sources and their evaluation for the above mentioned research are described. There are reflections of the most important moments in the history of guilds in the Czech Lands, especially in Prague towns at that time, in the next chapters. Main goal of this thesis is to reconstruct a picture of all historical guilds and brotherhoods in the cities of Prague. My own research reflects knowledge of previous researchers. These were thereafter compared to some new sources and revised. Unknown parts of the history of Prague guilds were elaborated, such as history of this system in modern period. Based on some particular knowledge of history of singular guilds new hypotheses of general evolution of guilds in Prague were formed. Attached are glossaries of names of professions (Latin, German and Old Czech), that were in Prague towns in the past.

The reflection of childhood in Baroque miracles This Master's thesis aims to capture the reflection of childhood in miraculously answered prayers of the Baroque era. It works with a representative sample of cases, which was collected from several diverse Czech and Moravian pilgrimage sites (Karlov in Prague, Church of Our Lady Victorious with the statue of Infant Jesus of Prague, Hájek, Sázava, Chlum sv. Máří, Chrudim, Dobruška, Svatý Kopeček u Olomouce, and Křtiny). The sample thus comprises children coming from various environments and social strata. The records referring to miraculous answers to prayer are taken from manuscripts as well as from printed books of the period related to religious pilgrimages. The individual chapters outline the main aspects of Baroque-era children's lives found therein. The thesis first analyses issues associated with the birth of new life - the infertility of married couples, miscarriages, or complications during pregnancy, giving birth and childbed. A significant part of the thesis is given over to childhood illnesses - an extremely serious issue of the early modern era. Attention is also paid to diverse accidents and injuries of children. In addition, matters concerning adolescent and adult offspring are presented (the world of work duties, various wrongdoings, problems...

(in English): Archeological exclavations on plots no. 72.74 in Nymburk present basis for wider study of functional disposition of urban plot and town as a whole. Then, there is a question of material culture of high medieval and early modern household in Nymburk. Shifts and changes in disposition and constructions on the urban plot and waste and water management. Written sources are considered as well as analogies from already researched contexts. History, appearance and development of town of Nymburk is studied and described and earlier field and academic research is summarized. Keywords (anglicky): archeology; town; urban plot; material culture; Middle Ages; Early Modern Period, 1250-1650

The presented M.A. thesis pursues leisure activities in the Jewish Community in Třebíč in the early modern period. The research is based on Pinkas ha-kahal Trebitsch (1674-1803), communal book preserved in the Central Archives for the History of the Jewish People in Jerusalem. This manuscript wasn't sufficiently studied up to this day. The author analyzed the regulations of selected aspects of leisure and put them in context of early modern European regulations, both Jewish and Christian.

Univerzita Karlova v Praze Přírodovědecká fakulta Studijní program: Filosofie a dějiny přírodních věd MUDr. Jan Hrudka Nádory v dějinném a kulturním kontextu v novověku Tumours in historical and social context in the modern period Disertační práce Školitel / Supervisor: Prof. RNDr. Stanislav Komárek, Dr. Praha, 2017 SUMMARY: The PhD thesis called Tumours in historical and social context in the modern period is an attempt to describe a change of medical thinking in modern period; science and medicine turns from antique humoral pathology, explaining all diseases as an imbalance of the four body humours, to pathological anatomy and experimental physiology. In the point of view of pathological anatomy, the viscera of diseased person are no more "screen" or "mirror" of the disease, but it becomes directly the "stage" or "theatre" of the acting disease. This shift in the thought may be labelled as movement from humoralism to localism or ontologism; the disease isn't just abnormal amount of some natural juice any more, but becomes new original entity. This change undergoes the understanding of tumours and cancerous disease as well. Instead of antique understanding tumours as precipitates of black bile, the cell theory occurs in the 19th century. This theory explains tumours as a mass of cells undergoing excessive...

The thesis deals with the transformation of perception of vampire in Western culture from early modern period to present. The vampire in modern Western culture is very popular and has an unwavering place. Vampires are now attractive and basically not dangerous. The subject of this work is question whether it was so in previous centuries. Work present the change in appearance and character, both fictional character and "real vampires." Based on the analysis of selected fictional works (literary and visual) from the late 18th century, when the vampire came to Western fiction, work shows how gradually transforms the image that this supernatural beings attributes in West. An essential part of how culture perceives certain phenomenon is a belief in it. Therefore I am interested in how the West over time explaining this phenomenon. Work also introduces the Norbert Elias's civilization theory. Analysis of transformation in the perception of a vampire in Western culture follows it's tracks and the results are compared with it with the goal to give answer on question whether this phenomenon is turning into the terms of this theory.

A partir de la fin de l’Antiquité, les grands bronzessont peu à peu délaissés puis abandonnés. Il faudra attendre laseconde moitié du XVIème siècle pour voir réapparaître dans lepaysage artistique français, sous François Ier, de grandsensembles statuaires en bronze. Au coeur de ce phénomène, latechnique tient un rôle majeur et suscite plusieursinterrogations. D’abord, se pose pour cette période la questionde l’existence ou non d’une identité technique des bronzesfrançais. L’exécution d’une statue en bronze implique denombreuses étapes qui conduisent du modèle à saretranscription dans le métal. Peut-on reconnaître dans cesétapes et dans les manières de les aborder une certaine unitétechnique qui marquerait la seconde moitié du XVIème siècle,voire le début du XVIIème en France ? Inversement, remarqueton dès cette période de réintroduction différentes écolesregroupant certains sculpteurs, fondeurs, ateliers, voire liées àcertains chantiers particuliers ? Par ailleurs, la réapparition dessavoir-faire associés à la statuaire en bronze pose la questiondes origines. D’où viennent ces techniques soi-disant oubliées :d’autres centres européens, de pratiques de fonderie concernantd’autres types de production ?Dans ce travail de thèse, nous nous sommes attachés à apporterdes éléments de réponse à ces différentes interrogations. Pource faire, des études technologiques ont été menées sur troisgrands ensembles marquant cette période de renouveau dansl’art du bronze : les copies en bronze de marbres antiques parPrimatice, les Vertus du monument funéraire d’Henri II et deCatherine de Médicis, les Allégories du monument de coeurd’Anne de Montmorency.Pour compléter ce corpus, des éléments isolés ont été étudiés :la Diane chasseresse de Barthélémy Prieur, l’Apollon duBelvédère, le Gladiateur Borghèse et la Vénus Médicisattribués à Hubert le Sueur. L’objectif a été de tenter de révélerprocédés, matériaux et savoir-faire engagés, complétant ainsiles données fournies par les documents d’archives quiaccompagnent ces commandes prestigieuses. La stratégied’étude employée a bénéficié de l’expérience des travauxentrepris ces trente dernières années. Des développementsméthodologiques ont néanmoins été nécessaires pour compléterles possibilités offertes par l’étude technologique de la statuaireen bronze. Ces développements ont en particulier concerné lesnoyaux de fonderie, ces matériaux employés pour réaliser desstatues creuses. Les résultats obtenus montrent que lespremières décennies de réappropriation de la grande statuaireen bronze sont marquées par l’emploi d’un même procédé àl’épargné qui trouve racine dans les procédés employés auMoyen-âge pour la fonte de cloches ou de canons par exemple.Mais dés le XVIIème siècle, le monopole de ce procédé sembleêtre mis à mal, preuve sans doute d’une émancipation desfondeurs et d’une innovation constante. Parallèlement à cesphénomènes dont les conséquences marquent la fonte statuaireen général, les sculpteurs, les fondeurs, développent dans leursateliers des savoir-faire personnels et innovent au cas par cas,selon la nature des commandes qu’ils reçoivent. / At the end of Antiquity, the manufacture of largebronzes is progressively abandoned. It reappears during the16th century in France, under the reign of Francis I, after morethan a millennium of quasi absence. At the heart of thisphenomenon, casting techniques play a major role and raisesseveral questions. First, the technical identity of large bronzescasted during this period must be investigated. Indeed, castinga statue involves numerous steps, from the model to the finalform in bronze: are those technical steps identifiable throughthe bronze statues characteristics? Are those featurescharacteristic of the craftsmanship of 16th century? Second,can we identify particular ways of bronze crafting associatedwith different schools, composed by sculptors and, or, foundrymen? The origins of technical skills are also to be questioned,especially the provenance of forgotten techniques: Europeanneighborhood or influence of metallurgical techniquesassociated to other kind of objects?In order to answer those questions, technical studies have beencarried out. A representative body of statues has beeninvestigated: the bronze copies of antique marble statues byPrimaticcio at the Fontainebleau palace, the Virtues and theroyal praying statues from the funerary monument of Henry IIand Catherine de’ Medici and the three Personifications thatdecorate the hearth monument of Constable Anne deMontmorency. Several isolated statues have also been studiedin order to complete the body of statues: Diana the huntress byBarthélémy Prieur, Borghese Gladiator and Apollo Belvedereattributed to Hubert le Sueur.This work aims at revealing the processes, materials andknowhow involved for each steps of bronze statuesmanufacture, in order to complete the data extracted fromarchive documents associated to those prestigious royalcommissions. The employed methodology is based on theexperience on this field of research acquired since threedecades by researchers all over the world. New developmentshave also been made to improve technological studies, such asan innovative approach for the characterization of castingcores. . Data obtained from the investigated body of statuesreveal that during the first decades of the 16th century, aspecific casting technique has been used: a spare process. Thisprocess has been strongly influenced by techniques steamingfrom the late Middle-age and the early modern period. Indeed,it exhibits technical similarities with bell and canon casting.However, the uniqueness of this process is challenged by theemergence, during the 17th century, of a second technique,namely the slush process. Emancipation of foundry-men fromthe main stream technique, and will of innovation mightexplain this change of process. Simultaneously to thosetechnical evolutions, sculptors and foundry-men developspecific skills and knowhow that influence the characteristicsof their bronze statues. Moreover, case to case adaptation alsoappears to influence the bronze statues characteristicsaccording to the kind of commission charged by the craftsmen

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