Orientador: Emerson Luiz de Biaggi / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T04:39:34Z (GMT). No. of bitstreams: 1 Nunes_JorgeArmando_D.pdf: 40510055 bytes, checksum: 15340895ad61419f735225c78e66fc9a (MD5) Previous issue date: 2014 / Resumo: Em 1865, quando estava com 24 anos de idade, Dvorák escreveu um Concerto para Violoncelo com acompanhamento de piano que, apesar de ter recebido duas versões orquestrais posteriores à sua morte, permanece até hoje em situação de obscuridade. Escrito em uma época na qual o compositor dava seus passos iniciais na trilha que o conduziria à notoriedade internacional, se mantém até hoje à sombra do Concerto op. 104 em si menor, considerada pelos violoncelistas como a obra magna do gênero, dentro de um restrito repertório solístico existente para este instrumento. Este trabalho, através de múltiplas abordagens enfocando aspectos editoriais, históricos, analíticos e interpretativos, tem o objetivo de trazer ao conhecimento dos intérpretes e do público uma obra que, na versão de Günther Raphael, recebeu a formatação necessária para que passasse a apresentar uma organização formal digna do período de maturidade deste compositor / Abstract: In 1865, when was 24 years old, Dvorák composed a Cello Concerto with piano accompaniment that, in spite of two orchestral versions after the composer¿s death, still remains in a situation of obscurity. Written at a time wherein the composer was taking their first steps in the trail that would lead him to international notoriety, until today remains in the shadow of the Concerto in B minor, op.104, considered by the cellists such as the magnum opus of the genre for this instrument. This work, through multiples approaches focusing editorials, historical, analytical and interpretative aspects, has the purpose of bring to the attention of the interpreters and public a work that, in Raphael¿s version, received the necessary formatting to presents a formal organization worthy of the maturity period of the composer / Doutorado / Praticas Interpretativas / Doutor em Música

Paintings of Raphael and Titian were chosen for study (1) to ascertain the extent to which they used geometry, and (2) to determine, if possible, the differences and likenesses in their underlying schemas, and (3) to determine how geometrical divisions, if used, affected the character of their paintings.

Dans ce travail de doctorat, je m’interroge sur l’élaboration de véritables poétiques communes aux poètes et aux artistes dans la Rome de Léon X. La recherche que je mène n’a pas pour but de repérer des programmes iconographiques : il s’agit d’identifier des recherches formelles et des conceptions esthétiques partagées, ce que j’essaierai de faire en procédant à l’inventaire des topiques, en décrivant plus largement l’insertion de ces œuvres dans la culture de l’époque et en analysant les effets concrets, dans les deux domaines, de ces choix esthétiques généraux. Je commencerai, dans un premier chapitre, par donner un très bref aperçu historique de la Rome de Léon X et des cercles de sociabilité humanistes et artistiques. Dans un second temps, j’étudierai plus précisément le discours des humanistes sur les œuvres d’art à cette époque. J’essaierai de dégager à partir de ces textes des problématiques communes qu’artistes et humanistes pouvaient rencontrer dans leur pratique comme celle de l’imitation. J’examinerai ensuite la question de l’épopée en poésie et dans les arts plastiques. J’essaierai de montrer que l’Incendie du Borgo de Raphaël, traditionnellement interprété comme une tragédie en peinture doit se lire davantage comme une peinture épique. Le dernier chapitre sera consacré à une étude de la poésie latine de Pietro Bembo, Baldassare Castiglione et Andrea Navagero, les trois poètes qui semblent avoir été les plus proches de Raphaël. J’essaierai de montrer en quoi la poésie et la peinture ont pu se rapprocher en comparant la poésie d’inspiration bucolique et pastorale ces auteurs aux cycles décoratifs réalisés par Raphaël d’abord à la villa Farnésine d’Agostino Chigi, puis au Vatican dans les appartements du cardinal Bibbiena et dans les Loges. Selon moi ces décors doivent se lire comme des lieux de mémoire de cette poésie néo-latine. / This PhD thesis aims at examining the development of genuine poetics common to artists and painters in the Rome of Leo X. The purpose of this work is not to detect iconographic programs: it aims at identifying formal researches and shared aesthetics, which I will try to achieve by performing an inventory of topics, by describing the broader role of these pieces in the culture of their time and by analysing the practical consequences, in both fields, of these general aesthetic choices. I will begin by providing a brief overview of the Rome of Leo X and its humanistic and artistic sociability circles in chapter 1. In a second chapter, I will more precisely study the humanists’ discourse on the works of art at that time. In these texts, I will try to highlight common issues that artists and humanists could encounter in their practice such as imitation. I will then consider the question of the epic in poetry and the visual arts in chapter 3. I will try to show that Raphael’s Fire in the Borgo, traditionally interpreted as a tragedy in painting, should rather be understood as an epic painting. The final chapter will involve a study of the latin poetry of Pietro Bembo, Baldassare Castiglione and Andrea Navagero, the three poets who seem to have been closest to Raphael. I will try to show the convergence between poetry and painting by comparing these authors’ poetry of bucolic and pastoral inspiration with the decorative cycles carried out by Raphael, first at the Villa Farnesina of Agostino Chigi, and later at the Vatican in the apartments of cardinal Bibbiena and in the Loggie. I suggest that these decors should be read as places of memory of this neo-latin poetry.

The aim of this essay is to examine and compare how virtue was depicted in the visual arts in medieval and renaissance Italy: why it was depicted this way; how the depiction of virtues may have differed between the two periods and, if so, what caused it to change. The essay first examines and analyses the history of virtue, beginning in classical antiquity, and the evolution of virtue through the Middle Ages and the virtues’ role in society and art. It follows with a close examination of Giotto di Bondone and his grisaille frescoes of the virtues and vices in the Scrovegni Chapel in Padua. The essay then examines the role of virtue in renaissance society and art, followed by a close examination of Raphael and his frescoes of the heavenly virtues in the Stanza della Segnatura in The Vatican Palace in Rome. The essay concludes with a discussion of how the two periods differed in their depiction of virtue and why.

Esta dissertação de mestrado se propõe a apresentar um estudo sobre o texto conhecido como Carta de Rafael -Castiglione a Leão X e suas implicações. Durante três anos tivemos a oportunidade e o prazer de recolher, junto ao Professor Dr. Luciano Migliaccio, uma série preciosa de textos que tinham por objeto de estudo a chamada Carta a Leão X. Segundo Christof Thoenes, a Carta constitui o prefácio em forma de dedicatória de uma Planta de Roma elaborada por Rafael, isto é, um corpus de levantamentos e de reconstruções gráficas dos edifícios da Roma antiga. A sua autoria nos leva aos maiores nomes do Renascimento italiano, uma vez que o documento é de grande interesse para muitos campos diferentes como os da história da arquitetura e da urbanística, da história das teorias e da didática da arquitetura, da história do desenho arquitetônico, seja no sentido técnico-prático (por exemplo, o emprego da bússola no levantamento dos edifícios) seja no teórico (o problema da representação sobre o plano dos objetos tridimensionais), mas também da história dos estudos antiquários e da arqueologia. Além disso, trata-se de um documento fundamental dentro do programa político do Papado de Leão X no inicio do Cinqüecento. Este texto, encontrado em três versões, foi exaustivamente estudado, permitindo várias leituras, e depois da publicação de Francesco Di Teodoro, teve a questão da datação e autoria praticamente esclarecidas. Quanto à autoria, trata -se de um produto coletivo, pois a carta foi escrita em nome de Rafael mas o rascunho é da mão de Baldassare Castiglione, assim como o estilo e também grande parte dos pensamentos expressos no texto sobre a antiguidade, sobre os monumentos, sua tutela e sua história. A nós foi de grande interesse compreender que a Carta seria o prefácio de um projeto ainda maior do papa Leão X que pretendia, através do trabalho de Rafael e do desenvolvimento das técnicas de ilustração e da gravura, apresentar a Roma antiga em um livro ilustrado, isto é , um Atlas da cidade. Essa propaganda ao mundo da imagem da Roma Imperial como sede legítima da Igreja estaria, portanto, associada à valorização do papel de Leão X na tutela dos monumentos antigos; no entanto , isto não deve ser interpretado como uma reconstrução material dos edifícios, mas uma proposta de conservá -los na memória por meio de uma reconstrução gráfica, antes do seu total desaparecimento. / The purpose of this dissertation is to present a study about the text kn own as Letter of Rafael - Castiglione to Pope Leo X and its implications. During three years, we have had the pleasure and opportunity to obtain from Professor Luciano Migliaccio a series of precious texts which had the objective of studying the so calle d Letter of Leo X. According to Christof Thoenes, the letter establishes a preface, in the form of a dedication of a Blueprint of Rome , elaborated by Rafael. That is, a corpus of settings and graphic reconstruction of the buildings of ancient Rome. His authorship takes us to the greatest names of the Italian Renaissance, once the document is of great interest to various fields, such as, history of architecture, urbanism, the history of the theories and didactics of architecture and the history of architectural design, whether in a technical -practical manner (the use of the compass, for instance, in constructing buildings), or in theory (the significance of three dimensional objects in the plan), as well as the history of antiquary and archeological stud ies. In addition to this, the document is fundamental inside the political program of the papacy of Pope Leo X, in the beginning of the XVI th century. This text, which can be found in three versions, was studied exhaustively, enabling various readings and, after the publication of Francesco Di Teodoro, it had its dating and paternity practically clarified. As for the paternity, the letter was signed in name of Rafael, however it is the result of a collective job the draft, the style, along with a great deal of the thoughts expressed about antiquity, the monuments, their custody and history, were the work of Baldassare Castiglione. It was of great interest to us to comprehend that this letter was the preface of an even greater project of Pope Leo X who inten ded, through the work of Rafael and the development of illustration and engraving techniques, to present ancient Rome in an illustrated book, that is, a map of the city. This advertisement to the world of the image of Imperial Rome as the legitimate headquarters of the church would therefore be associated to the valorization of the role of Pope Leo X as tutor of ancient monuments. However, this should not be interpreted as a material reconstruction of the buildings, but as a proposal to maintain their memor y by means of graphic reconstruction, before their complete disappearance.

Anal cancer, like cervical cancer, is associated with Human Papillomavirus (HPV) infection. HIV+ patients have 38-60 fold increased risk of anal cancer compared to HIV- patients prompting many to suggest routine screening given the success of cervical Pap screening. Our goal is to describe our experience with routine anal Pap screening, determine which patients are most likely to have abnormal results, if anal disease on physical exam is predictive of cytology, and correlate cytology with histology findings. Charts of all patients with an anal Pap followed at the Hospital of Saint Raphael HIV Clinic were reviewed. Demographics, immune status, sexually transmitted disease history, cytology and histology data was extracted from medical charts. Patients with an anal Pap between November 1, 2002-November 30, 2004 were included. Those with an insufficient sample were excluded. Analysis was done using ÷2 for comparison of proportions and student t-test for continuous variables. Overall, 265/560 HIV+ patients had at least one anal Pap. Seventy-four of these 265 patients had an abnormal anal Pap. Mean age was 44 yrs, and 68% were men. Fifty-nine percent were African American, 34% White, and 17% Hispanic. Those with an abnormal Pap were more likely to be White (p=.03), and be gay or bisexual men (p=.02). They were also more likely to have lower CD4+ nadir (142 vs 223, p=.005) and CD4+ at time of anal Pap (353 vs 497, p<.001). Those with an abnormal anal Pap also had more anal disease (30% vs 9%, p<.001), history of warts (23% vs 12%, p=.02) and herpes (35% vs 22%, p=.02). Anal disease on physical exam had a sensitivity of 56% and specificity of 77% for abnormal cytology findings. On histology two patients had Anal Intraepithelial Neoplasia (AIN ) I, 2 AIN II, 3 AIN III, and 2 Squamous Cell Carcinoma In Situ. There was no correlation between cytology and histology. Routine anal cytology screening is a feasible tool to incorporate into an ethnically diverse HIV clinic for identifying precancerous anal lesions, a group which has been largely overlooked. Anal disease on physical exam is a poor predictor of abnormal cytology and there was no correlation between severity of disease on cytology and histology. However, further follow-up study is required to determine the impact on morbidity and mortality.

Esta dissertação de mestrado se propõe a apresentar um estudo sobre o texto conhecido como Carta de Rafael -Castiglione a Leão X e suas implicações. Durante três anos tivemos a oportunidade e o prazer de recolher, junto ao Professor Dr. Luciano Migliaccio, uma série preciosa de textos que tinham por objeto de estudo a chamada Carta a Leão X. Segundo Christof Thoenes, a Carta constitui o prefácio em forma de dedicatória de uma Planta de Roma elaborada por Rafael, isto é, um corpus de levantamentos e de reconstruções gráficas dos edifícios da Roma antiga. A sua autoria nos leva aos maiores nomes do Renascimento italiano, uma vez que o documento é de grande interesse para muitos campos diferentes como os da história da arquitetura e da urbanística, da história das teorias e da didática da arquitetura, da história do desenho arquitetônico, seja no sentido técnico-prático (por exemplo, o emprego da bússola no levantamento dos edifícios) seja no teórico (o problema da representação sobre o plano dos objetos tridimensionais), mas também da história dos estudos antiquários e da arqueologia. Além disso, trata-se de um documento fundamental dentro do programa político do Papado de Leão X no inicio do Cinqüecento. Este texto, encontrado em três versões, foi exaustivamente estudado, permitindo várias leituras, e depois da publicação de Francesco Di Teodoro, teve a questão da datação e autoria praticamente esclarecidas. Quanto à autoria, trata -se de um produto coletivo, pois a carta foi escrita em nome de Rafael mas o rascunho é da mão de Baldassare Castiglione, assim como o estilo e também grande parte dos pensamentos expressos no texto sobre a antiguidade, sobre os monumentos, sua tutela e sua história. A nós foi de grande interesse compreender que a Carta seria o prefácio de um projeto ainda maior do papa Leão X que pretendia, através do trabalho de Rafael e do desenvolvimento das técnicas de ilustração e da gravura, apresentar a Roma antiga em um livro ilustrado, isto é , um Atlas da cidade. Essa propaganda ao mundo da imagem da Roma Imperial como sede legítima da Igreja estaria, portanto, associada à valorização do papel de Leão X na tutela dos monumentos antigos; no entanto , isto não deve ser interpretado como uma reconstrução material dos edifícios, mas uma proposta de conservá -los na memória por meio de uma reconstrução gráfica, antes do seu total desaparecimento. / The purpose of this dissertation is to present a study about the text kn own as Letter of Rafael - Castiglione to Pope Leo X and its implications. During three years, we have had the pleasure and opportunity to obtain from Professor Luciano Migliaccio a series of precious texts which had the objective of studying the so calle d Letter of Leo X. According to Christof Thoenes, the letter establishes a preface, in the form of a dedication of a Blueprint of Rome , elaborated by Rafael. That is, a corpus of settings and graphic reconstruction of the buildings of ancient Rome. His authorship takes us to the greatest names of the Italian Renaissance, once the document is of great interest to various fields, such as, history of architecture, urbanism, the history of the theories and didactics of architecture and the history of architectural design, whether in a technical -practical manner (the use of the compass, for instance, in constructing buildings), or in theory (the significance of three dimensional objects in the plan), as well as the history of antiquary and archeological stud ies. In addition to this, the document is fundamental inside the political program of the papacy of Pope Leo X, in the beginning of the XVI th century. This text, which can be found in three versions, was studied exhaustively, enabling various readings and, after the publication of Francesco Di Teodoro, it had its dating and paternity practically clarified. As for the paternity, the letter was signed in name of Rafael, however it is the result of a collective job the draft, the style, along with a great deal of the thoughts expressed about antiquity, the monuments, their custody and history, were the work of Baldassare Castiglione. It was of great interest to us to comprehend that this letter was the preface of an even greater project of Pope Leo X who inten ded, through the work of Rafael and the development of illustration and engraving techniques, to present ancient Rome in an illustrated book, that is, a map of the city. This advertisement to the world of the image of Imperial Rome as the legitimate headquarters of the church would therefore be associated to the valorization of the role of Pope Leo X as tutor of ancient monuments. However, this should not be interpreted as a material reconstruction of the buildings, but as a proposal to maintain their memor y by means of graphic reconstruction, before their complete disappearance.

Made available in DSpace on 2016-04-28T14:16:29Z (GMT). No. of bitstreams: 1 Ivy.pdf: 855811 bytes, checksum: 6f07144d1f7bf9389a83793b74d4ea3e (MD5) Previous issue date: 2005-05-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The concept of soul, implied in The Treatise about the Immortality of the Soul written by Rabi Mosseh Rephael d Aguilar, is a by-product of the specific social and historical conditions that surrounded the Jewish community in Holland, by the time of the Renaissance in the 1600. It is also the result of the arguments among the natural philosophers of the time about the old and the modern . By combining natural philosophy and religion, added to the magic character provided by the Cabala and hermetic writings, the efforts of the renaissance magician can be seen clearly, as his attempts to blend different views, and finding the unity underlying the differences. The net of relations among Aristotelian, Platonic and neo-Platonic schools, as well as the magic that perpetuated the Renaissance through the hermetic writings, sets the tone to the Treatise, and explains much of the rationale used by Rabi Mosseh Rephael d Aguilar in proving the immortality of the soul / A concepção de alma implícita no Tratado sobre a Imortalidade da Alma, de autoria do Rabino Mosseh Rephael d Aguilar, é resultado de condições específicas do entorno histórico-social da comunidade judaica na Holanda renascentista, nos Seiscentos. Também é fruto do debate sobre o antigo e moderno entre os filósofos naturais do período. A combinação da filosofia natural com a religião natural, adicionada ao caráter mágico advindo dos textos herméticos e da Cabala, evidenciam o esforço do mago renascentista em conciliar distinções, acolhendo a unidade subjacente às diferenças. As redes de relações entre aristotelismo, platonismo e neoplatonismo, bem como a magia que impregnou a Renascença através dos textos herméticos, dá o tom ao Tratado e explica muitos dos argumentos usados pelo Rabino Mosseh Rephael d Aguilar para provar a imortalidade da alma

Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2018-04-05T17:25:44Z No. of bitstreams: 2 Dissertação - João Fernandes da Silva Neto - 2017.pdf: 21655916 bytes, checksum: c2eaa441e43ed2fb96b81e3dbc28201d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-04-06T12:14:54Z (GMT) No. of bitstreams: 2 Dissertação - João Fernandes da Silva Neto - 2017.pdf: 21655916 bytes, checksum: c2eaa441e43ed2fb96b81e3dbc28201d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-04-06T12:14:54Z (GMT). No. of bitstreams: 2 Dissertação - João Fernandes da Silva Neto - 2017.pdf: 21655916 bytes, checksum: c2eaa441e43ed2fb96b81e3dbc28201d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-12-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research had as scope to investigate the peculiarities of the elaboration and execution of the baixaria (bass lines) of seven-string guitar in the interpretation of the Choro by Rogério Caetano, aiming to identify how it interacted with the marked diversity that characterizes postmodernity and with the elements of the tradition, here represented by the work of Dino Sete Cordas and Raphael Rabelo, and, in this context, the innovations that he brought to the history of the genre in Brazil. Three works by Rogério Caetano – Amigos, Um chorinho em Cochabamba and Rogerinho no sete – as well as three recordings of the music Noites Cariocas – composed by Jacob do Bandolim – interpreted, respectively, by Rogério Caetano, Dino Sete Cordas, and Raphael Rabello, were selected for analysis, interpretation, and comparison. The methodological trajectory prioritized: bibliographical survey; documentary survey (musical scores); exploration of oral sources (semi- structured interviews), auditory and audio-visual sources; investment in the transcription of baixarias of choro music carried out by the researcher; analysis, interpretation and comparison of the baixarias performed by each of the three mentioned musicians. Finally, it was possible to consider that Rogério Caetano, despite all the mastery of the traditional elements (in the context of the baixaria of Choro), represented here by the work of Dino Sete Cordas and Raphael Rabello, used a lot of melodic material from other musical genres like the jazz, the blues, Latin American music, evidencing that it brought great innovations to the choro genre. We state that this musician achieved this when he established profound dialogues with the diversity characteristic of the postmodern scenario with which he interacted. In what it concerns to the seven-string guitar universe, still having in sight the other two mentioned musicians, he showed that he is able to represent a third school of the seven-string guitar in Brazil. / Essa pesquisa teve como escopo investigar as peculiaridades da elaboração e execução da baixaria do violão de sete cordas na interpretação do Choro de Rogério Caetano, visando identificar a forma como interagiu com a diversidade acentuada que caracteriza a pós- modernidade e com os elementos da tradição, aqui representada pelo trabalho de Dino Sete Cordas e Raphael Rabelo, e, nesse contexto, as inovações que trouxe para a histórica do gênero no país. Foram selecionadas para análise, interpretação e comparação, três obras de Rogério Caetano – Amigos, Um chorinho em Cochabamba e Rogerinho no sete – e três gravações da obra Noites Cariocas de Jacob do Bandolim, interpretadas, respectivamente, por Rogério Caetano, Dino Sete Cordas e Raphael Rabello. A trajetória metodológica priorizou: levantamento bibliográfico; levantamento documental (partituras); exploração de fontes orais (entrevistas semiestruturadas), auditivas e audiovisuais; investimento na transcrição de baixarias do choro realizada pelo pesquisador; análise, interpretação e comparação da interpretação das baixarias dos músicos em questão. Por fim, foi possível considerar que Rogério Caetano, apesar de todo o domínio dos elementos tradicionais (no âmbito da baixaria do Choro), aqui representados pelo trabalho de Dino Sete Cordas e Raphael Rabello, utilizou muito materiais melódicos oriundos de outros gêneros musicais, sobretudo o jazz, o blues, música latino-americana, evidenciando que trouxe grandes inovações para o gênero choro. Isto ao dialogar profundamente com a diversidade característica do cenário pós-moderno com o qual interagiu. Em relação ao universo violonístico de sete cordas, tendo em vista os dois outros músicos mencionados, mostrou que tem condições de representar uma terceira escola do violão de sete cordas no Brasil.

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