Diss. : Kunstgeschichte--Zürich--ca 1977. / Bibliogr. p. 179-194.

Diss--Philosophische Fakultät--München--Ludwig-Maximilians-Universität, 1997. / Bibliogr. p. 335-346. Index.

Texte remanié de: Diss.--Fachbereich Erziehungs-, Sozial- und Geisteswissenschaften--Hagen--FernUniversität/Gesamthochschule. / Bibliogr. p. 231-277.

Proefschrift--kunst--Katholieke Universiteit Nijmegen, 1997. / Bibliogr. p. 173. Index.

Diss.--Würzburg--Julius-Maximilians-Universität, 1993. / Bibliogr. p. 494-532. Index.

Texte remanié de: Th. doct.--Art et archéologie--Paris 4, 1992. / Bibliogr. p. 21-39. Notes bibliogr. Index.

This thesis reconstructs the activities of a single print workshop, active from 1515 to 1593. By providing a microcosm of the Venetian print industry, it both challenges preconceived notions of the inherent competitiveness of the industry, and demonstrates the sheer variety of printed material available for purchase during the sixteenth century. Chapter One begins by reconstructing the life of Giovanni Andrea Vavassore, a woodcarver from a small Bergamasco town in the Venetian terra-ferma. By charting his integration into a new city and a new trade, it questions the role of religious and social institutions in enabling ‘foreigners’ to feel at home in Venice, and considers the push and pull factors at work among immigrants in the Renaissance. Chapter Two focuses closely on reconstructing the workshop’s output, using a catalogue of works compiled for this thesis to demonstrate the quantity and variety of printed material sold in a sixteenth century printshop. It also gives an insight into the world of the Venetian bottega and the artisans who worked within it. Chapter Three highlights the importance of networking and collaboration in the world of Venetian print. By drawing on a selection of illustrations produced by Vavassore for other publishers, it demonstrates the close working relationships – and geographical proximity – that enabled new printers to enter the trade, and continued to support them in the decades that followed. Chapter Four nuances the idea of the network further, demonstrating the importance of copying, and the sharing of resources, in the workshop’s production of maps. It also offers a new perspective on the purchasing habits of people in the Renaissance, questioning why large multi-sheet maps and prints were popular and how they were used. Chapter Five focuses on ‘popular’ books and pamphlets, relating printed material to the contemporary events, interests, and material objects that both inspired and were derived from it. Chapter Six reconstructs the workshop’s interactions with the Venetian authorities, questioning why certain texts and images were protected by Senatorial privileges and others were not. Finally, Chapter Seven charts the impact of religious reform on the workshop across the eight decades of its activity. By focusing on specific case studies, it examines the devotional texts issued by the workshop in the years prior to, during, and after, the meetings of the Council of Trent; and demonstrates the extent to which the activities of a Renaissance printer and his shop were monitored and restricted by the Inquisition.

No description available.

The introduction discusses the problematics involved in developing a feminist theory of late Renaissance and early modem witchcraft. It includes an overview of both Renaissance feminist theory and witchcraft studies, and posits that the witch is a hybrid, multivalent figure. Chapter one examines contemporary sources for portrayals of witches. The second chapter analyses the roles of witches, hags, and viragos in The Facrie Queene. Throughout the work their femininity is problematised, its meaning displaced onto horrific figures or fragmented into "good" and "bad" women. Both inspire dis-ease. Lyly's Endimion introduces a witch in the Thessalian tradition and women whose transgressions lie in daring to act and speak. Chapter three expands the definition of witch to other unruly women, including the shrew and the power-wielding woman; it also proves that Dipsas' power is the strongest in the play. Chapter four analyses the way in which the definition of witcheraft can be imposed on a woman by exterior societal forces, with reference to The Witch of Edmonton. Also discussed are the role of cursing and the problematics of female sexuality. Chapters five through eight discuss Shakespeare. Shakespeare's Joan of Arc is fragmented and reflects the varying views about her, and again shows how one woman may be variously defined. With Joan's death, Margaret of Anjou becomes the virile woman in the tetralogy. She and other women who share her verbal potency are condemned not only by the men in the plays but also by critics who erroneously take the negative view as definitive. Macbeth concerns itself with exploration of gender, androgyny, power (occult and otherwise) and its betrayal. Chapter eight outlines how the women in other Shakespearean plays do not achieve dramatic impact as witches because they are robbed of primary agency in the plays. Chapter nine demonstrates how Middleton distances his Heccat and proves that the real witches and villains lie in the structure of the patriarchy of The Witch. Lyly combines cunning woman with Sibyl in Mother Bombie; wit defines wisdom. Chapter eleven presents The Wise-Woman of Hogsdon, an anomaly in that the witchfigure and unruly characters of both sexes are not condemned and have happy resolutions. The conclusion summarises briefly and outlines areas of further study. Appendix A is a table; Appendix B outlines the role of cursing as gendered speech in Shakespeare's first tetralogy.

The title page of Schein's Opella nova I (1618) advertises `Geistliche Concerten.a. uff jetzo gebreuchliche italiänische Invention'. A mixture of Latin, Gothic and Italic script styles gives an immediate visual impression of mingling styles. From this starting point, the genre and purpose of the two publications of the Opella nova (1618,1626) are discussed. Examination of the collections published in between these volumes reveals that Schein deliberately published sacred and secular music alternately, positively advertising and applying the same Italian genres and styles in each category. The reception of the `new Italian style' by Schein's contemporaries, Michael Praetorius, Johann Staden, Samuel Scheidt and Heinrich Schütz is explored. Schein's Opella nova concertos are examined thoroughly, and the question of how he adapted and adopted the Italian style into music for the Lutheran liturgy is considered. This reveals that Schein possessed a deep knowledge of Italian music, and although no definitive claims about whether he imitated particular composers are made, points of similarity with the work of Viadana, Giovanni Gabrieli, Monteverdi and Alessandro Grandi are found. Finally the reasons why the Italian style was received so positively by Lutheranism in Schein's time, in spite of hostility towards the Catholic faith, are considered. The influence of Renaissanceh umanism in Luther's thought is outlined, and the author takes the view that the Italian style in Lutheran music of Schein's time was the result of the continuing influence and development of this intellectual movement. Music is compared to poetry and rhetoric in its function. The question of how the Italian style fitted in to Schein's local context of the Lutheran free city of Leipzig is briefly discussed, and a conclusion reached that it was due principally to the cosmopolitan nature of the university and international trade in the city that Schein was able to pursue his interest in the `italiänische Invention