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Thèse--Basel. / Bibliography: v. 1, p. 81-82.

Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 1986. / Includes indexes. Publisher's no.: UMI 8711146. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [236]-249).

Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 1986. / Includes indexes. Publisher's no.: UMI 8711146. Includes bibliographical references (leaves [236]-249).

Les voiles du Sacrifice d’Iphigénie de Timanthe et du Rideau de Parrhasios problématisent le regard antique et font naître un au-delà qui stratifie la représentation. Le silence qu’ils introduisent dans l’image génère une activité « phantastique » fondatrice d’une poéticité visuelle. La Pala di San Marco adapte à un espace pictural unifié la structure du Tabernacle des Linaioli déjà empruntée au Tabernacle mosaïque. Séparant des espaces de sacralité croissante qui font écho à la lecture exégétique en vigueur au Couvent, les voiles y épaississent l’espace et le sens de l’œuvre, exigeant à chaque étape une transformation du regard. L’exégèse identifiant Marie à l’Arca Dei, le XVe siècle développe autour d’elle diverses formules tabernaculaires susceptibles d’annexer l’espace profane du spectateur. Au fond des Annonciations du Quattrocento le voile révélait le thalamus virginis, ventre métonymique de la Vierge. Cette symbolique s’effrite quand la scénographie se charge de l’évocation du Mystère. Le voile prend des accents métapicturaux ou révèle le vulgaire, la vanité, l’intime, la chair. Il les sacralise alors comme il avait sacralisé l’Arca Dei ou la figure de l’empereur. Aléatoire, il ouvre les œuvres à de surprenantes transgressions, comme l’érotisation des Virgo lactans. Les métaphores visuelles se multipliant pour évoquer ce qui pose problème à la représentation, le voile finit par prendre en charge l’image de ce qu’il cache. L’émergence du caché s’assume comme projet de l’œuvre. Contournant le précepte albertien, ce commerce avec l’invisible relie le motif à l’antique approche, ravivée par La Pléiade, d’une poésie qui n’a d’autre raison que d’en-visager l’ineffable. / Veils in Sacrifice of Iphigenia by Timanthes and Curtain by Parrhasius signify a problematisation of the Antiquity’s gaze and engender a hereafter which stratifies representation. The silence these works introduce within the image generates a phantastic activity, the founding basis of a visual poetry.Pala di San Marco adapts to a unified pictorial space the structure of Tabernacolo dei Linaioli already borrowed from the Tabernacle of Moses. Separating spaces of increased sacredness and in accordance with the exegetic reading, veils thicken the space and the meaning of the masterpiece, demanding at each stage a transformation of the viewers’ gaze.The exegesis identifying Marie to Arca Dei, the 15th century develops around her numerous forms which are epigones of the Tabernacle’s and become liable to encompass the viewer’s profane space. Deep within Annunciations of the Quattrocento, the veil revealed the thalamus virginis, metonymical belly of the Virgin Mary. This symbolism becomes eroded when the stage design evokes Mystery. The veil conveys metapictorial allusions or reveals vanity, intimacy, flesh. It « sacralizes » them as it did of Arca Dei or of the emperor. Unpredictably, all works become opened up to surprising transgressions, such as the eroticisation of Virgo lactans. Multiple visual metaphors alluding to what is problematic about representation, the veil supports the image of what it is hiding. The surfacing of the concealed becomes the artwork in itself. Skirting around Alberti’s precepts, this trade with the invisible connects the motif with the ancient concept, revived by La Pléiade, of a poetry whose motive is no other than to en-visage the ineffable.

Thesis (doctoral)--Schlesische Friedrich-Wilhems-Universität zu Breslau, 1933. / Vita. Includes bibliographical references.

Gemlike objects are a nearly ubiquitous phenomenon in the medium of glass, although culturally specific studies remain scarce. This dissertation considers the production of such works in the early medieval period, primarily in association with Abbasid rule. The first half attends to several accessory issues, including glass-related terminology, glass-coloring treatises, the lives of glassworkers, gemstone connoisseurship, and the legal status of such products. These demonstrate a range of coexisting attitudes, including the desirability of such works for their own sake rather than as surreptitious substitutes for “true” gemstones. The second half focuses on an exemplary object, an opaque turquoise glass bowl from the Treasury of San Marco in Venice, which I propose was produced in Baghdad for the caliph al-Mutawakkil just after the year 850. I then consider this work’s changing reception from late medieval Venice to modern scholarship, including ways in which “correct” interpretations of its material and/or origin have been repeatedly supplanted by false leads. The fundamental argument is that gemlike vessels like the San Marco turquoise were not deceptive stand-ins but rather intended to exercise complex discursive practices, both political and connoisseurial in nature, a function that ultimately remains in effect today.

During the late sixteenth and early seventeenth centuries, Venetian society and politics could be considered as a "polychoral culture." The imagination of the republic rested upon a shared set of social attitudes and beliefs. The political structure included several social groups that functioned as identifiable entities; republican ideologies construed them together as parts of a single harmonious whole. Venice furthermore employed notions of the republic to bolster political and religious independence, in particular from Rome. As is well known, music often contributes to the production and transmission of ideology, and polychoral music in Venice was no exception. Multi-choir music often accompanied religious and civic celebrations in the basilica of San Marco and elsewhere that emphasized the so-called "myth of Venice," the city's complex of religious beliefs and historical heritage. These myths were shared among Venetians and transformed through annual rituals into communal knowledge of the republic. Andrea and Giovanni Gabrieli and other Venetian composers wrote polychoral pieces that were structurally homologous with the imagination of the republic. Through its internal structures, polychoral music projected the local ideology of group harmony. Pieces used interaction among hierarchical choirs - their alternation in dialogue and repetition - as rhetorical means, first to create the impression of collaboration or competition, and then to bring them together at the end, as if resolving discord into concord. Furthermore, Giovanni Gabrieli experimented with the integration of instrumental choirs and recitative within predominantly vocal multi-choir textures, elevating music to the category of a theatrical religious spectacle. He also adopted and developed richer tonal procedures belonging to the so-called "hexachordal tonality" to underscore rhetorical text delivery. If multi-choir music remained the central religious repertory of the city, contemporary single-choir pieces favored typical polychoral procedures that involve dialogue and repetition among vocal subgroups. Both repertories adopted clear rhetorical means of emphasizing religious notions of particular political significance at the surface level. Venetian music performed in religious and civic rituals worked in conjunction with the myth of the city to project and reinforce the imagination of the republic, promoting a glorious image of greatness for La Serenissima.