SILVA, Márcio Inácio da. Nas telas da cidade: salas de cinema e vida urbana na Fortaleza dos anos de 1920. 2007. 161 f. Dissertação (Mestrado em História) - Universidade Federal do Ceará, Departamento de História, Programa de Pós-Graduação em História Social, Fortaleza-CE, 2007. / Submitted by Raul Oliveira (raulcmo@hotmail.com) on 2012-06-27T16:18:49Z No. of bitstreams: 1 2007_Dis_MISilva.pdf: 969542 bytes, checksum: c85a54e506b4ae1fe4472a9d4331f2d5 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-06T16:06:00Z (GMT) No. of bitstreams: 1 2007_Dis_MISilva.pdf: 969542 bytes, checksum: c85a54e506b4ae1fe4472a9d4331f2d5 (MD5) / Made available in DSpace on 2012-07-06T16:06:00Z (GMT). No. of bitstreams: 1 2007_Dis_MISilva.pdf: 969542 bytes, checksum: c85a54e506b4ae1fe4472a9d4331f2d5 (MD5) Previous issue date: 2007 / Na presente dissertação refletimos sobre os significados das salas de exibição cinematográfica existentes na capital cearense nos anos de 1920. Buscamos perceber a relevância destes espaços em um período em que o cinema no âmbito mundial passava por significativas mudanças com a valorização de um novo público abonado financeiramente. Em Fortaleza, a elite, sobretudo a comercial, que freqüentava locais como o Passeio Público e os clubes, passou a adotar o cinema como mais um espaço de lazer. Ao analisarmos a atuação dos diversos atores sociais envolvidos nesta trama, destacamos a presença de Luiz Severiano Ribeiro que torna-se o mais importante exibidor local vindo a monopolizar a distribuição dos filmes e expandir sua atuação comercial para outras cidades do Brasil antes do término desta década. O comportamento do público na sala de cinema, os usos que eram feitos deste espaço e as novas práticas de exibição cinematográfica que passaram a ser adotadas neste período são questões analisadas ao longo deste trabalho.

Tanto o Pavilhão Brasileiro da Exposição de Saint Louis, ocorrido em 1904, de autoria do engenheiro Francisco Marcelino de Souza Aguiar, como o da Feira de Nova York, de 1939, dos arquitetos Lucio Costa e Oscar Niemeyer, carregavam a missão arquitetônica de representar a identidade do país. Manifestaram-se distintos em suas arquiteturas pela formação de seus autores e pelo lugar e época em que foram construídos. Esses edifícios revelam dimensões da vida nacional em ressonância com as relações políticas, comerciais e culturais tecidas para a sua realização. O conjunto de circunstâncias sobre as quais essas arquiteturas se fundamentam contraria suas aparentes oposições e lhes confere sentidos complementares. Uma construção diplomática que transpôs percalços políticos, conciliando-os para um projeto de modernização e superação do país frente aos passados recentes de cada um dos períodos. Esse trabalho diplomático estreitou relações da jovem República do Brasil com os EUA, paradigma de nação nova que reunia as condições materiais e tecnológicas para a construção dos dois pavilhões. Tomar esses dois casos como exemplares permite compreender os aspectos de diálogo entre tradições europeias e suas emulações americanas. Caminhos complementares da arquitetura e da diplomacia revelam as vontades correntes de modernização e da busca do estabelecimento de maioridade do país, assim como a intenção de sua inclusão como agente no \"Jogo de Nações\" que se abriu no século 20. / Both the Brazilian Pavilion at the 1904 Saint Louis Word\'s Fair, authored by engineer Francisco Marcelino de Souza Aguiar, and the one at the New York Fair in 1939, by the architects Lucio Costa and Oscar Niemeyer, laded the architectural mission of representing the country\'s identity. They were distinct in their architectures due to the training of their authors and the place and time they were built. These buildings show the dimensions of national life to be in resonance with the political, commercial and cultural relations woven for their implementation. The set of circumstances these architectures are based on contradicts the apparent oppositions and gives them complementary directions. A diplomatic construction that has transposed political mishaps by conciliating them around a project to modernize the country as to the recent pasts of each of the periods. This diplomatic performance straitened the relations of the young Republic of Brazil with the United States, paradigm of a new nation that matched both the material conditions and the technology for the construction of the two pavilions. Taking these two cases as exemplary allows us to understand the aspects of the dialogue between the European traditions and their American emulations. The complementary paths of both architecture and diplomacy reveal the wish for modernisation and the search for the establishment of the country\'s majority, as well as the intention of its inclusion as a player in the \"Game of Nations\" which opened up in the 20 century

common articles of daily use, the goldsmith's works had additional meanings and functions, and - - monarch's court. Its aim is to distinguish two types of the goldsmith's works associated with Charles IV: those based can be proved by signs or inscriptions found directly on the works, or by other written sources. If there's a lack of written altar at the time of Charles IV as a specific kind of goldsmith's work, whose use interconnects the and Vienna, the catalog includes a number of solitary goldsmith's works spread across European church treasuries a liquary Bust of St. Sigismund in Plock. Two women's crowns are also included, the the Środa Treasure. From the total of thirty here described goldsmith's works placed abroad,

This is a study on crowns, wreaths and diadems as role symbols in Peter Paul Rubens’s 24 paintings for Marie de’Medici in Paris, 1622 – 1625. In these paintings, historic facts are shown with the addition of mythological gods and their symbols giving allegorical scenes, where sometimes also Christian symbols or subjects can be traced. A reader of these painted motifs therefore can choose to see the symbols as regal, Christian or mythological. The crown and the wreaths rarely present a challenge in modern interpretations, but the magnificent diadem does. Rubens chooses this diadem for higher goddesses, and for the queen a couple of times too. For some reason, this symbol is mostly misread in analyses. At this point in history, the crowns and the wreaths have been collected from divine spheres and turned into physical objects on earth used by the high and mighty. The large diadem has not; it is still only a symbol on a goddess. If and when put on a human in a portrait, the symbol gives the lady the abilities and characters of a goddess. Rubens uses his own design when turning this symbol into a physical picture;it is a high, pointed diadem with pearls and coloured gems set in gold. He has used it on goddesses both before and after the Medici commission. Today, we have seen numerous spectacular headpieces like this from late 18th century an onwards, wherefore it is an easy mistake to believe that Rubens copied what he saw instead of, as he actually did, foreboding a coming fashion. In addition to confirming this, I also suggest that it is the highest goddess Juno queen Marie is personifying. Juno is mostly known today as a goddess for women and childbirth. But she had far more masculine tasks in earlier days: she was seen as the saviour of the country and a special counsellor of the state. These two important roles are exactly what Marie de’ Medici took on when acting as regent for her young son, Louis XIII,after the murder of her husband, the late Henry IV. By putting Juno’s diadem on Marie’s head, when sitting on a throne, the divine abilities are manifested according to how a historic period could be transferred to the allegorical language in a painting at the time.

This dissertation focuses on the constructing and architectonic development of Premonstratensian monastery and the church of St. Giles of Milevsko in the Middle Ages. The work is based on the older art historical literature and it evaluates the archaeological researches' findings in the locality as well as construction and historic researches of particular buildings, which were carried on with connection to the restitution of the site to the Premonstratensian order in the 1990s. The work demonstrates the Milevsko grounds picture and its construction as well as architectonic development from the establishment of the pre- monastery era in the eighth century until the Hussite's wars. The dissertation provides study of court with a church with apsis, stone Romanesque house and the basilica. It characterises the George of Milevsko personality as well as the significance of the abbot Jarloch. It analyses in detail the Roman architecture of St. Giles Church and attempts to interpret the procedure of its construction. Furthermore, it deals with the shape of the monastery's basilica and the description of Romanesque monastic buildings while comparing the premises to other monastic sites in this country. This dissertation also describes the architectonic boom of abbeys in the era of early Gothics as well as...

The assignment of the work was the elaboration of two planned blocks of the new Brno southern center. In cooperation with the Office of the Architect of the City of Brno, we adjusted them to the final form, from which twelve plots were created, for twelve graduates of the Nový-Palasčák studio. The land solved by me is located at the meeting of Opuštěná Street and the Svratka River. It thus forms an important urban corner, marking the newly emerging district. Due to its character, significance, size and multifunctional arrangement, I called this corner building „Opuštěná Palace“.

Cette thèse propose une analyse de la « cour royale » égyptienne sous la XXVIème dynastie saïte (664-525 av. J.-C.) à partir des sources majoritairement textuelles (privées et royales) et historiques. Le volume de synthèse se développe autour de trois axes principaux traitant la « cour » dans son acception sociale, telle qu’on l’entend dans la sociologie historique. La première partie est ainsi consacrée à l’étude de la cour comme la Maison du souverain afin d’éclairer l’ensemble des activités qui caractérisent la « vie de cour » et son organisation domestique et qui rendent l’espace curial « privé » ou « officiel ». La deuxième partie examine la cour dans son agencement social et en tant qu’outil de représentation et de communication : ce sont alors le protocole du palais royal et son rôle-clef dans le maintien de l’équilibre social entre les souverains saïtes et leurs sujets (système des faveurs–ḥswt) qui sont analysés. La troisième partie se concentre sur les acteurs sociaux de la Résidence du roi (les courtisans et l’entourage royal) et tente de démontrer les différentes catégories auxquelles appartiennent ces élites et de déceler les modalités de leurs accès au palais et au rang de « courtisan modèle » dans la hiérarchie de la cour. Enfin, l’enquête diachronique suivie tout au long de la synthèse permet de mieux connaître l’impact des emprunts archaïsants dans le système palatin saïte, et par conséquent, d’évaluer la continuité et/ou le changement de ce système par rapport aux modèles traditionnels de la cour pharaonique. Le volume du corpus regroupe un ensemble de données prosopographiques appartenant à plus de 130 officiers royaux. Un troisième volume est consacré à la bibliographie générale, aux annexes et index. / This thesis offers an analysis of the Egyptian "royal court" under the XXVIth Saite Dynasty (664-525 BC) based on textual (private and official records) and historical sources. The synthesis develops around three main axes and deals with the "Court" in its social meaning as defined by the historical sociology. The first part, then, concentrates on the study of the court as the House of the sovereign and attempts to identify the activities which characterize the "court life", its domestic organization and which make the curial space "private" or "official". The second part examines the court as a symbol of social order and the outil of representation and communication of the monarchic authority: the protocol of the Royal palace and its key role to maintain the social balance between the Saite kings and their subjects (system of the favours ḥswt) are analyzed here. The third part focuses on the social actors of the Residence (courtiers and royal entourage) and tends to demonstrate the various categories of these elites and to reveal the modalities of their accesses to the palace and to the position of "model courtier" within the hierarchical order of the court. Finally, the diachronic study followed throughout the synthesis allows to better comprehend the impact of the Archaism on the Saite palace institution and consequently to estimate the continuity and/or the changes of this system compared to the traditional models of the Pharaonic court. The corpus includes a group of prosopographical data belonging to more than 130 royal high officials. The third volume is composed of three sections general bibliography, appendices and indexes.

The Quitteiner family sculpture workshop operated in Prague from the turn of the 18th century to the year 1765. The span of its existence is delimited on one side by the arrival of its founder, Andreas Philipp Quitteiner (1679-1729), from Frýdlant in northern Bohemia, and on the other side by the death of the upholder of the family tradition, Johann Anton Quitteiner (1709-1765). During the lifetime of Quitteiner Senior the workshop built its reputation as the leading Prague- based sculpture studio. A. F. Quitteiner strengthened his position while working in the Württemberg region in 1709-1712, and then in 1713 and 1714, when he participated together with other Prague artists in decorating the palace residence at Ludwigsburg. After his return to Prague the elder Quitteiner won recognition alongside the most prominent figures of Czech Baroque sculpture F. M. Brokoff and M. B. Braun, and created his best works, including four statues on the side altars of the Holy Family and Saint John of Nepomuk in Saint Thomas's church in Prague's Lesser Quarter. Quitteiner's son Johann Anton learnt his craft in the family workshop which he took over after his father's death. The starting point for his work was the realistic style of his father. He built on this foundation, however, adding to it elements of...

Latem 2022 roku minęło 290 lat od największego w dziejach Rzeczypospolitej pokazu artystyczno-militarnego. Wielki Kampament Augusta Mocnego, który rozegrał się w 1732 roku u podnóża Skarpy Warszawskiej, był szeroko zakrojonym przedsięwzięciem logistycznym, inżynieryjno-budowlanym oraz wizerunkowym. Obok militarnej rewii prezentującej sprawność i stan uzbrojenia wojsk polskich, litewskich i saskich pod koroną Wettynów, bezprecedensowym zjawiskiem było stworzenie tymczasowej rezydencji dla monarchy. Na szczycie cy- pla Skarpy Warszawskiej nazwanego Króliczą Górą, w miejscu hodowli łownych królików, stworzone zostało tymczasowe założenie pałacowo-ogrodowe projektu Carla Friedricha Pöppelmanna. Niewielki, dwukondygnacyjny pawilon mieścił w swoim wnętrzu zarówno prywatne apartamenty królewskie, jak i rozległą salę biesiadną z otwartą galerią. Widok z galerii pawilonu posadowionego na wysokości 107 m n.p.m. obejmował nie tylko dwa place manewrowe sięgające brzegu Wisły, ale także cały około-warszawski odcinek jej doliny. Pawilon poprzedzony został ozdobnym ogrodem, którego główną dekoracją, oprócz parterów gazonowych, były drzewka pomarańczowe. Dzięki wykonanym przez Autora badaniom możliwe jest poznanie wartości funkcjonalnych i artystycznych królewskie- go obozowiska na Króliczej Górze. Założenie pałacowo-ogrodowe było jednym z ważniejszych węzłów kompozycyjnych rozległego zespołu krajobrazowego królewskich posiadłości Augusta Mocnego w Warszawie. Jednak ta bezprecedensowa w historii sztuki ogrodowej i architektury Rzeczypospolitej miniatura królewskiej rezydencji przestała istnieć już w 1736 roku.:PL 1) Wprowadzenie 2) Determinanty dziejowe i krajobrazowe w procesie powstawania rezydencji polowej na Króliczej Górze 3) Problem autorstwa projektu rezydencji polowej na Króliczej Górze 4) Królewski ogród polowy i jego kompozycja 5) Adaptacja rezydencji polowej do lokalnej topografii Skarpy Warszawskiej 6) Podsumowanie 7) Bibliografia EN 1) Foreword 2) Historical and landscape determinants in the process of establishing the field residence on Rabbit Hill 3) The issue of the authorship of the design of the field residence on the Rabbit Hill 4) The royal field garden and its composition 5) Adaptation of the field residence to the local topography of the Warsaw Escarpment 6) Conclusions 7) Bibliography