Magistro darbe tiriama galimybė veisti plantacinius želdinius iš svetimžemių eglių rūšių greitam medienos išauginimui Lietuvoje. Darbo tikslas – įvertinti sitkinės eglės (Picea sitchensis), baltosios eglės var. alberta (Picea gauca var. albertiana), raudonosios eglės (Picea rubens), ajaninės eglės (Picea jezoensis), tarprūšinių hibridų – paprastoji eglė x kanadinė eglė (Picea abies x Picea glauca), paprastoji eglė x baltoji eglė (Picea abies x Picea glauca var. albertiana) genotipų tinkamumą sutrumpintos rotacijos plantaciniams želdiniams. Darbo objektas – Rokų Kelmyno bandomieji želdiniai. Darbo metodai ir techninės priemonės – tyrimo metu buvo įvertinti medžių kokybiniai ir kiekybiniai požymiai bandomuosiuose želdiniuose naudojant tokius prietaisus ir metodus: aukštis - aukštimačiu, skersmuo – žerglėmis, kokybiniai požymiai buvo įvertinti pagal vizualaus medžių kokybinių požymių įvertinimo metodiką. Taip pat buvo atlikta šių duomenų statistinė analizė. Naudoti tokie metodai: aprašomosios statistikos rodiklių palyginimas ir tiesinė koreliacinė analizė. Darbo rezultatai. Picea sitchensis ir abu tarprūšiniai hibridai pasižymi didesniu skersmeniu ir aukščiu, taip pat didesniu tūriu, nei vietinė paprastoji eglė. 33 metų amžiuje Picea sitchensis produkuoja 540 m3/ha medienos, kas rodo jos tinkamumą trumpos apyvartos želdiniams. Picea glauda var. albertiana, Picea jezoensis, ir Picea rubens produktyvumas yra mažesnis nei Picea abies. Didžiausiu tiesių ir vienastiebių... [toliau žr. visą tekstą] / This master thesis analyses possibility to cultivate exotic spruce plantations for shorten rotation forestry in Lithuania. Objective of the study was to find out suitability of Picea sitchensis, P. gauca var. albertiana, P. rubens, P. jezoensis, P. abies x P. glauca, P. abies x P. glauca (var. albertiana) for shorten rotation plantations. Object – Roku Kelmyno experimental forest area. Methods – such qualitative and quantitative tree parameters as height, diameter were assessed using clinometer and callipers. Qualitative parameters were assessed using visual tree qualitative parameters assessment methodics. All data was statistically analyzed. Methods used: comparison of descriptive statistics parameters and linear correlation analyzes. The results – Picea sitchensis and both interspecific hybrids have bigger diameter, height and volume parameters than local Norway spruce. Picea sitchensis produce 540 m3/ha of timber in 33 years, it shows suitability for shorten rotation plantations. Productivity of Picea glauda var. albertiana, Picea jezoensis, and Picea rubens is poor compared to Picea abies. Biggest percentage of straight and single-stemed trees were noticed in sitka spruce and both hybrids stands. Yezo spruce had the smallest percentage (62%) of healthy trees. Whereas the other tree species had percentage of healthy trees between 80 and 95. Branches positioned by blunt angle according the steam dominated in all stands and percentage of such trees was from 88 to 100. P... [to full text]

Rubens' material reality culminates in the tableau which he named Het Pelsken (Flemish for 'The little Fur,' known also as La Pelisse). Of his vast oeuvre it is the most frequently cited work, described by one spectator as an "oil painting of a subject quite unusual...a beautiful woman naked beneath her dark fur." 1 Among art historians the tableau has been the subject of debate as to its 'meaning,' especially since the life-size image does not include narrative paraphernalia that would allow mythological interpretations. But as one scholar wrote, "most are relieved that the work was never meant to be sold."2 / This dissertation's trajectory is different. It points to Rubens' late style tableaux, of which Het Pelsken is one, as items painted in an exquisite technique effecting (bodily) presence, and conceived as commodities destined for circulation. Thus the works are heavily invested by producer(s) and buyer(s). Painted in a sophisticated allegorical language that simultaneously defies easy (narrative) access and yet keeps viewers continuously spellbound, Het Pelsken is being reframed together with some of Rubens' other paintings to establish a dialogue with today's audience. This study analyzes the allegorical paradigm by way of Walter Benjamin's dialectics in order to locate levels of truth---which are of relevance to current viewers---and also probes the forces that generate such an overt and repeated display of the feminine body. In so doing, the study also spotlights neo-allegorists, who in their' more recent art practice reconnect with Rubens and disconnect with some compositional and technical strategies of the Baroque master's paintings. These artists include contemporaries Robert Rauschenberg, Peter Dressler and Jean-Luc Godard. / 1Leopold von Sacher-Masoch, please see Chapter One for more of his commentary. 2Julius Held's research and response is also taken up in Chapter One.

No description available.

Dendrochronology studies in Atlantic Canada are rare partly because old-growth forests are scarce making it difficult to establish multiple-century tree-ring chronologies. One approach to overcome this problem is to use tree-ring records found in the wood of historical structures. For our study, the Sinclair Inn in Annapolis Royal, Nova Scotia, was selected for a dendroarchaeological assessment because of its rich and complex history: it resulted from the merging of two early 18th Century houses (the Soullard and Skene houses). To date the Sinclair Inn, three other historical structures of a younger age were used to establish an annual ring record in lieu of old-growth forest data. Red spruce (Picea rubens), a dominant tree species in the Maritimes, was the most prominent wood found in the structures and allowed for the creation of a regional red spruce reference chronology extending far enough into the past to cover the supposed period of construction of the Sinclair Inn. Crossdating results indicate cutting dates of 1709 and 1710 for the Skene and Soullard houses, respectively, and 1769 for the inn itself. In the process of dating the structure, a ,200-year long regional floating red spruce chronology (1591–1789) was developed that will further help future dendrochronological investigations in the Maritimes.

The Flemish painter Anthony Van Dyck extended his preoccupation with portraiture into the printed medium by designing a body of portrait prints, posthumously compiled into a book entitled, the Iconography. This suite of images, organized and designed by Van Dyck and printed by workshop assistants between 1632 and 1644, is comprised of engraved and etched half-length portraits of contemporary European men and women of various professions and backgrounds, including artists, scholars, diplomats, and religious leaders. This thesis examines the artistic and literary context for Van Dyck’s Iconography, with a focus on the changing social and intellectual status of artists in northern Europe during the seventeenth century. It seeks to provide the scholarship on the Iconography with an understanding of how the portraits function as a collective group that enhanced the prestige of artists in the seventeenth century.

This dissertation offers a new interpretation of Anthony van Dyck’s art and career, taking as its point of departure a body of contemporary anecdotes, poems, and art theoretical texts that all responded to Van Dyck’s portrait sittings. It makes a decisive break with previous scholarship that explained Van Dyck’s focus on portraiture in terms of an intellectual deficit or a pathological fixation on status. Instead, I argue that throughout his career, Van Dyck consciously made the interaction between painter and sitter a central theme of his art. Offering an alternate account of Van Dyck’s relationship to Rubens as a young painter, the opening chapter examines Van Dyck’s initial decision to place portraiture at the heart of his production. I trace that decision to Van Dyck’s work on a series of history paintings that depict the binding of St. Sebastian, interpreted here as a programmatic statement on the part of a young artist with a deep commitment to life study and little interest in an emerging hierarchy of genres that deprecated portraiture. The second chapter surveys the portrait copies of both Rubens and Van Dyck, demonstrating that imitative and historicist investigations link their approaches to portraiture. Van Dyck drew upon his copies of Titian and Raphael in paintings such as his epochal portrait of Cardinal Guido Bentivoglio, which awakened an ambivalent response on the part of Italian artists and critics. But Van Dyck’s practice of imitation also extended to his comportment and self-presentation in public, as exemplified by his emulation of Sofonisba Anguissola. A discussion of Van Dyck’s encounter with Anguissola leads to the contention that Van Dyck saw himself as participating in an alternate genealogy of art that placed court portraiture at the heart of an ambitious career and offered a rare opening to female practitioners. Van Dyck’s reception by one such painter, the English portraitist Mary Beale, provides a Leitmotiv throughout the dissertation. The third chapter situates Rubens’s and Van Dyck’s contrasting approaches to female portraiture within a larger shift in the status of portraits of women in the early seventeenth century, as embodied by the pan-European phenomenon of the “Gallery of Beauties.” This chapter also offers readings of the two artists’ contrasting depictions of Maria de’ Medici, who visited both of their homes during her exile in the Southern Netherlands. Such visits to Van Dyck’s studio provide the subject of the fourth and final chapter, which reexamines early biographers’ accounts of Van Dyck’s sittings and surveys his legacy for English painting and art theory over the course of the long seventeenth century. Whereas in their own writings, artists emphasized the opportunities for courtly self-assertion afforded by the sitting, poets and playwrights were more likely to depict sittings as threats to the sexual and moral order. Both attitudes represent important aspects of Van Dyck’s critical reception. The conclusion looks ahead to the tenacious hold of the portrait sitting on modern imaginings of the studio. Examining the portrait practices of such artists as Lucian Freud, Andy Warhol, and Alice Neel, the conclusion reveals the persistence of a fascination with the sitting that had its origin with Van Dyck.

This thesis’ main goal is to answer the question: from where did Peter Paul Rubens’s Life of Marie de Medici Cycle come? Previous literature has focused on the content of the twenty-four canvases of the Medici Cycle and their meanings. However, they have not viewed the Medici Cycle as part of a bigger whole and thus part of a larger agenda that was symbolised through Marie de Medici’s construction and patronage of her own palace in Paris, the Luxembourg Palace. Originally planned to emulate the Palazzo Pitti in Florence in which Marie was raised, the Palace represents the Florentine agenda that was prevalent throughout Marie’s patronage after her first exile at the hands of her son, Louis XIII, in 1617. By viewing the Luxembourg Palace as a whole and exploring the Medici Cycle’s placement there, this thesis will show that Marie was looking back to Florence for guidance when constructing her own image as wife, widow, mother and regent. The first chapter places the Medici Cycle firmly within the Luxembourg Palace and the themes prevalent throughout the decoration there, acknowledging Marie’s dependence on Medici architectural and pictorial projects when developing her own programme of praise. The second chapter looks to how the other Medici queen of France, Catherine de Medici, portrayed herself when faced with the same obstacles as Marie, fifty years prior: motherhood, widowhood, regency, foreignness, gender and power. In this chapter it becomes evident that Marie used many of the same strategies as Catherine, yet far surpassed her in her own aggressive self-promotion, as evidenced by the nature of the Medici Cycle. Chapter three focuses on the similarities between the Medici Cycle and sixteenth and seventeenth century entries and festivals, especially those in Florence staged in celebration of dynastic marriages. The chapter answers the question of whether the Medici Cycle was in fact, finally, Marie’s triumphal entry into Paris. The final chapter looks to Marie and her image following her final exile in 1630. It highlights the importance of the Medici Cycle on Marie’s public image and how it influenced later depictions and laudations of Marie, specifically in her entries into Brussels, Antwerp, Amsterdam and London. This chapter will show that Marie still had the same patronage agenda following her final exile and how the imagery of the Medici Cycle became part of the symbolism and vocabulary in Marie’s patronage and image that shaped opinions of Marie far past her death in 1642 to how her image is perceived today.

Ulm, Univ., Diss., 2003.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A partir de uma proposta de ampliação do conceito de metaficção, a tese tem como objetivo investigar os usos metaficcionais nas obras de dois autores da literatura brasileira contemporânea: Sérgio SantAnna e Rubens Figueiredo. No caso de Sérgio SantAnna, são investigadas as relações que a metaficção estabelece com o controle do imaginário, com a reflexão estética feita no interior dos textos ficcionais e com a polêmica em torno das vanguardas. No caso de Rubens Figueiredo, a discussão sobre o uso do discurso metaficcional levará em conta os três ciclos pelos quais passa a obra do autor, ciclos esses marcados pela ênfase em determinadas questões, tais como a parodização de romances policiais, a questão da identidade e a problemática do social. O olhar panorâmico lançado para a obra ficcional dos dois autores deverá mostrar como os diferentes usos metaficcionais − ao atribuírem valores diferenciados à ligação que a literatura tem com o chamado mundo real − sinalizam duas concepções quase antagônicas do fenômeno literário / This thesis proposes the idea of amplifying the concept of metafiction and aims at investigating the functions of metafictional discourse in the works of two authors in contemporary Brazilian literature: Sérgio SantAnna and Rubens Figueiredo. Regarding Sérgio SantAnna, we investigate the relationship between metafiction and the following issues: the control of imagination; the aesthetic reflection explored inside fictional texts; and the debate concerning the avant-garde. As for Rubens Figueiredo, the discussion about the usage of metafictional discourse takes into account the three cycles which the writers work goes through. These cycles are singled out by the emphasis put upon issues like the following: the parady of detective stories, the problem of identity and last but not least the problem of social issues. The panoramic view of the works of both writers intends to throw light on how the different metafictional usages − as they attribute different values to the relationship that literature establishes with the so-called real world − signpost two almost antagonistic conceptions of the literary phenomenon

Submitted by Aelson Maciera (aelsoncm@terra.com.br) on 2017-05-31T16:51:11Z No. of bitstreams: 1 DissCC.pdf: 5139352 bytes, checksum: 95ba3b442cc87cb703f57daa3ac8f99e (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-06-01T20:01:49Z (GMT) No. of bitstreams: 1 DissCC.pdf: 5139352 bytes, checksum: 95ba3b442cc87cb703f57daa3ac8f99e (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-06-01T20:01:55Z (GMT) No. of bitstreams: 1 DissCC.pdf: 5139352 bytes, checksum: 95ba3b442cc87cb703f57daa3ac8f99e (MD5) / Made available in DSpace on 2017-06-01T20:05:16Z (GMT). No. of bitstreams: 1 DissCC.pdf: 5139352 bytes, checksum: 95ba3b442cc87cb703f57daa3ac8f99e (MD5) Previous issue date: 2017-02-14 / Não recebi financiamento / The Umbanda´s history in Brazil is marked since its foundation by the intense publication of doctrinal and literary books written by different liturgical currents, also representatives of different political associations. Following the trajectory of one of the greatest Umbanda´s authors, this dissertation analyzes the emergence of a new chain of umbanda. Created by Rubens Saraceni in the late 90´s, the so called Divine Magic inserts in Umbanda´s terreiros the use of mandalas, giving to the old Umbanda´s symbols a new look, linked to the esoteric and modern urban movements. Reaching new audiences, the expansion of this new "energetic" Umbanda ", merges in terreiros the classroom and the altar. The integration of courses and practices of Divine Magic on the terreiros features various implications, such as the formation of a network of interconnected terreiros and the emergence of groups and representatives in order to strengthen and unify within the Umbanda. This effort of indoctrination and standardization of practices next to the insertion of a new conflict resolution´s key seems to offer us clues about the contemporary Umbanda movement itself, part of the religious Market is greater than the Umbanda itself. / A história da Umbanda no Brasil é marcada desde sua fundação pela intensa publicação de livros doutrinários e literários escritos por diferentes correntes litúrgicas, representantes também de diferentes associações políticas. Seguindo a trajetória de um dos maiores autores atuais da umbanda paulista, a presente dissertação analisa a emergência de uma nova corrente umbandista. Criada por Rubens Saraceni no final dos anos 90, a chamada Magia Divina insere nos terreiros umbandistas a utilização de mandalas, oferecendo aos antigos símbolos umbandistas uma nova roupagem, ligada aos movimentos esotéricos e modernos urbanos. Alcançando novos públicos, a expansão dessa nova umbanda “energética”, mescla no terreiro a sala de aula e o altar. A inserção dos cursos e práticas da Magia Divina nos terreiros apresenta implicações variadas, como a formação de uma rede de terreiros interligados e o aparecimento de grupos e representantes com intuito de fortalecimento e unidade dentro da umbanda. Este esforço de doutrinação e padronização das práticas ao lado da inserção de uma nova chave de resolução de conflitos, parece nos oferecer pistas a respeito do próprio movimento umbandista contemporâneo, parte do cenário religioso maior do que a própria umbanda.