Habilitationsschrift--Halle.

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S. Andrea al Quirinale, by Gian Lorenzo Bernini, is undoubtedly one of the great achievements of the Italian Baroque. No less spectacular is its message, though art historians have generally regarded it as simply a Jesuit church housing the glorious scene of the martyrdom and apotheosis of St. Andrew. This view, however, is clearly misleading since a closer examination of the building and its contents shows that the devout and learned Bernini intended to suggest a number of other important related themes. / This thesis focuses on the concept of martyrdom through a thorough analysis of not only the dominant religious event above the high altar area, but the entire iconographic scheme of the church, which is reinforced by the architectural setting. This Jesuit building is further examined in the light of several artistic influences. The most obvious, yet most overlooked of these is the literary source of the Spiritual Exercises by St. Ignatius of Loyola. S. Andrea al Quirinale is also considered in terms of the architectural heritage of early Christian churches and martyria. (Abstract shortened by UMI.)

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Thesis (M.A.)--Florida State University, 2005. / Advisor: Dr. Cynthia Hahn, Florida State University, School of Visual Arts and Dance, Dept. of Art History. Title and description from dissertation home page (viewed June 8, 2005). Document formatted into pages; contains vii, 70 pages. Includes bibliographical references.

Thesis (doctoral)--Rijksuniversiteit te Utrecht, 1982. / In English, with summary in Dutch. Includes bibliographical references and index.

Orientadores: Luiz Cesar Marques Filho, Maria Cristina Louro Berbara / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-14T17:34:30Z (GMT). No. of bitstreams: 1 Azevedo_Evelyne_M.pdf: 12063793 bytes, checksum: 928c7b993703d336d31616d9f1c0281f (MD5) Previous issue date: 2009 / Resumo: A Fonte dos Quatro Rios situada na Piazza Navona, em Roma, foi projetada e construída por Gian Lorenzo Bernini (1598-1680) entre os anos 1648 e 1651. Grosso modo, ela é constituída de quatro colossos representando os quatro maiores rios da Terra, aos quais são vinculados elementos da flora e fauna respectivos das zonas geográficas às quais os rios pertencem. Sobre o conjunto, encontra-se um obelisco encimado por uma pomba levando em seu bico um ramo de oliveira. Ao projeto iconográfico da fonte vincula-se a figura do jesuíta alemão Athanasius Kircher (1602 -1680), que, em 1650, finaliza sua obra Obeliscus Pamphilius, na qual trata, dentre outras coisas, especificamente da simbologia dos animais utilizados na fonte e sua relação com a mitologia egípcia. Peça fundamental deste estudo, a tradução do texto kircheriano revela diferentes significados para o monumento berniniano, permitindo uma nova interpretação que associa ambas obras. / Abstract: The Four Rivers Fountain is located at the Piazza Navona, in Rome and it was projected and constructed by Gian Lorenzo Bernini between 1648 and 1651. It is formed by four colossi representing the greatest rivers of each continent known at that time. Above them an obelisk was erected having on its top a dove with an olive branch. The iconographic project is associated to the german Jesuit Athanasius Kircher which published in 1650 the Obeliscus Pamphilius. This book reveals the simbology of the animals used in the fountain and its relation with the egyptian mythology. The translation from the latin of this text shows differents meanings for the monument, which permits a knew interpretation for Bernini's fountain. / Mestrado / Historia da Arte / Mestre em História

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This thesis looks at the nature and evolution of communal responses to socio-economic problems in imperial Italy and Gaul. Ancient analysis of this topic tended to view any popular expression of discontent as the result of the moral failings of the plebs, or, somewhat more generously, as being due to poverty. These two lines of thought have had an effect on modern scholarship, shaping opinion not only on how the Roman elite viewed the general population, but also influencing and distorting our view of the actual situation. In some cases, poverty certainly was the underlying cause of unrest, as it has so often been throughout human history; to see it as the sole cause (and to imagine that the Romans perceived it to be the sole cause) is, however, an oversimplification. This thesis aims to show that a complex array of factors was responsible for those popular actions (e.g. grain riots) traditionally seen as reactions to deprivation. It will be seen that not only the socio-economic problems that caused these actions, but also the underlying customs and social mores that dictated how people reacted to these problems were manifold. In addition to showing the socio-economic complexities that dictated popular response, this thesis will show that said response could take a variety of forms, and that just as we must steer ourselves away from simplistic adages like panem et circenses when searching for a cause, we must move beyond the more sensational instances of violence, crime and unrest when looking for a response. A number of reactions, from beggary to banditry, are therefore considered, in order to show the various communal responses available to those at the lower end of the socio-economic scale. Given the vast amount of time and space covered, this thesis will explore diachronic and geographical developments in the nature of communal response. By considering the wider socio-economic developments that precipitated the various responses considered, it will be shown that there was indeed a distinct evolution in the way in which the people reacted to specific stimuli, governed by factors such as the amount of imperial contact, adherence to pre-existing social structures, and, interestingly, a growing sense of popular political involvement.

Texte remanié de : Doctoral thesis : ? : Ludwig-Maximilians-Universität zu München : 1981. / Bibliogr. p. IX-X. Index.