Thesis (Ph. D.)--University of Iowa, 1932. / Without thesis note. First published 1933; reprinted 1969. Bibliography: p. 51-52.

The following work deals with the idea of Beauty as seen in the work of Winckelmann and its influence on Walter Pater, the English critic. The concept of Beauty is to be analyzed chronologically. First of all, the concept of Beauty in Winckelmann’s work will be analysed and its particularities will be described. Further, the concept of Beauty will be analyzed in so far as it changes throughout time and influences the further development of aesthetic theory. Hegel takes up Winckelmann’s idea of Beauty and uses this idea in his own aesthetic theory. Walter Pater takes up and develops the idea of Beauty not only from Winckelmann, but also from Hegel. The influence of both art critics, Winckelmann and Hegel, on Walter Pater will be shown in this thesis. The latter, as this thesis shows, was to develop his own aesthetic theory, which is supported by the concept of Beauty in Winckelmann and Hegel.

Thesis (M.A.)--University of Adelaide, Department of English, 1976.

Thesis (Ph. D.)--University of Pennsylvania, 1931. / Bibliography: p. 155-158.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1964. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliography.

Inaug.-Diss.--Bonn. / Lebenslauf. "Kommt hier nur ein Teil der Eingerichten Arbeit zum Abdruck. Die ganze Arbeit Wird unter dem Titel: 'Walter Pater's Einfluss auf Oscar Wilde' in den 'Bonner Studien zur englischen Philologie' erscheinen." Cf. Clark, W.A. Wilde and Wildeiana. 1922-31. v. 5, p. 45-56. "Verzeichnis der Benutzten Literatur": p. [29].

Thesis (Ph. D.)--University of Wisconsin--Madison, 1981. / Typescript. Vita. Description based on print version record. Includes bibliographical references (leaves 165-169).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Typescript. Includes abstract and vita. Description based on print version record. Includes bibliographical references (leaves 227-235).

This thesis concerns a shift in the historiography of the Venetian painter Giorgione (c1477- 1510). In important ways, this change was caused by Joseph Archer Crowe (1825-1896) and Giovanni Battista Cavalcaselle (1819-1897) in their A History of Painting in North Italy (1871). This text met seminal reactions from Walter Pater (1839-1894) in his essay “The School of Giorgione” (1877) and from Giovanni Morelli (1816-1891) in his Die Werke italienischer Meister in den Galerien von München, Dresden und Berlin (1880). Following a method of close reading, the analysis will concentrate on the intertextual relationship between these three works. This thesis contends that Crowe and Cavalcaselle comprehensively problematised scholarship on the artist, creating a “new” Giorgione; that Pater responded dialectally to scientific connoisseurship with aesthetic criticism, intellectually justifying and morally absolving his interpretation; that Morelli responded by offering a noticeably different catalogue of paintings, and by making Giorgione function within his anti-authoritarian rhetoric as a validation for his method; however, in so doing, Morelli was conducting an ironic problematisation of connoisseurship in general. The thesis begins with an introduction to the “old” Giorgione, before discussing the concepts of aestheticism and connoisseurship. It is then divided into three studies and a conclusion. The first part considers how the artist was understood in the nineteenth century prior to Crowe and Cavalcaselle’s research, before discussing the nature of the two connoisseurs’ enquiry. The second part focuses on Pater and his relationship with Giorgione, placing his essay in the context of The Renaissance (1873); after this the study follows Pater as he defines his theory of aesthetic criticism and responds to what he understands as scientific history, before analysing his interpretation of Giorgione. The third and final part of this thesis will seek to understand Morelli’s ambiguous text and the function of the artist within it; examining his method, rhetoric, and polemic with Crowe and Cavalcaselle, it will conclude by arguing that irony was an active concept in Morelli’s thinking. By attending to a specific artist’s historiography at a particular time, this thesis indirectly reveals the way art history on Italian painting operated in this period, when the discipline was undergoing the processes of professionalisation and institutionalisation.

Thèse (Ph.D.)--Université de Montréal, 1998. / Mode d'accès : Web Genre de fichier informatique: Monographie électronique en format HTML. Titre de l'écran-titre (visionné le 6 nov. 2002) Disponible à partir du catalogue en ligne des thèses soutenues à l'Université de Montréal. CaQTU CaQTU