Reproduction de : Thèse de doctorat : Histoire : Lyon 2 : 2003. / 1 vol. d'annexes. Titre provenant de l'écran-titre. Bibliogr. Index.

Thesis (Ph. D.)--Rutgers University, 2009. / "Graduate Program in Art History." Includes bibliographical references (p. 247-275).

Thesis (Ph. D.)--Catholic Sisters College of the Catholic University of America, 1916. / Text made available in compliance with Section 108 of the Copyright Revision Act of 1976. Includes bibliographical references (p. 176-182.).

Thesis (Ph. D.)--Columbia University, 1983. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 268-283).

Thesis (Ph. D.)--Columbia University, 1984. / "8506032." Includes bibliographical references (p. 229-246).

Thesim-Facultati litterarum Parisiensi. / Bibliographie, p. [127]-129.

Inaug.-diss.-Tübingen. / Lebenslauf. "Die gesamte arbeit ist gleichzeitig als band XII der 'Tübinger forschungen zur archaeologie und kunstgeschichte' im Gryphius - verlag in Reutlingen erschienen."

Inaug.-dis.-Breslau. / Lebenslauf.

Uniting literary analysis, theories of affect from the sciences and humanities, and an archival-based account of Tudor history, this project examines how literature reflects and constructs the emotional dynamics of life in the Renaissance courtly sphere—with hopes of showing why emotionality, as a primary mode through which historical subjects embody and engage their world, should be adopted as a fundamental lens of social and textual analysis. Spanning the 16th Century, chapters on John Skelton and Henrician satire, Henry Howard, Earl of Surrey, Sir Philip Sidney and Elizabethan pageantry, and the Essex circle demonstrate how the dynamics of disgust, envy, frustration, and dread guide literary production in the early modern court. By aligning Renaissance discourses of emotion with current trends in empirical and theoretical research, the study provides a new context for an "affective" analysis of literature. / text

Abstract The purpose of this article is to interpret a selection of El Greco’s Italian paintings (1560-1576) based on Bible texts in which ideas current during the Catholic Counter- Reformation are symbolised. At the age of nineteen El Greco, who was born in Crete in 1541 and was initially an icon painter in the Byzantine tradition, went to Venice. Through study and experiment, and by following the examples of other artists who had achieved artistic mastery and was of proven Catholic orthodoxy, he educated himself as an artist in the Western manner. Even during his years as an apprentice El Greco’s art is proof that he aspired to the highest humanly accessible values exemplified by Renaissance artistic theory, humanism and Christian spirituality — all of which later came to fruition in an unprecedented original combination in Toledo, Spain, where he settled permanently in 1577.