The polyphonic sources of medieval Sweden are very few, although well-documented in musicological research. However, while most of the earlier research has tended to focus on interpreting the sources themselves rather than to examine the cultural and historical context in which they were written, the present dissertation aims at providing a broader narrative of the transmission and practice of polyphony. By examining the cultural context of the sources and putting them in relation to each other, a bigger picture is painted, where also Danish and Norwegian sources are included. Based on the discussion and analyses of the sources, a general historical outline is suggested. The practice of organum in the late 13th century in Uppsala was probably a result from Swedes studying in Paris and via oral transmission brought the practice back home. This 'Parisian path' was accompanied by an 'English-Scandinavian' path, where mostly Denmark and Norway either influenced or were influenced by English polyphonic practice. During the 14th century, polyphony seems to have been rather established in Sweden, although prohibitions against it were made by the Order of the Bridgettines. These prohibitions were probably linked to a general antipolyphonic attitude in Europe, beginning with the papal bull of John XII in 1324. The sources of the 15th and 16th centuries are very different from each other, and perhaps suggest that polyphony of older styles were sung in monasteries and certain churches while more modern discant were sung at the royal courts and at larger religious feasts such as the translation of Catherine of Vadstena.

The aim of this essay is to examine and compare how virtue was depicted in the visual arts in medieval and renaissance Italy: why it was depicted this way; how the depiction of virtues may have differed between the two periods and, if so, what caused it to change. The essay first examines and analyses the history of virtue, beginning in classical antiquity, and the evolution of virtue through the Middle Ages and the virtues’ role in society and art. It follows with a close examination of Giotto di Bondone and his grisaille frescoes of the virtues and vices in the Scrovegni Chapel in Padua. The essay then examines the role of virtue in renaissance society and art, followed by a close examination of Raphael and his frescoes of the heavenly virtues in the Stanza della Segnatura in The Vatican Palace in Rome. The essay concludes with a discussion of how the two periods differed in their depiction of virtue and why.

Ce travail se compose de deux parties. La première décrit et évalue, dans les premiers deux chapitres, l’interprétation du Décaméron de Boccace dans les travaux de Schlegel, Hegel, Lukács, Bakhtine et Auerbach. Ensuite, à partir de cette opération de comparaison, un troisième chapitre analyse des nouvelles perspectives interprétatives et historiques sur le roman, et pose les bases herméneutiques pour une nouvelle lecture du Décaméron.La deuxième partie aborde, dans un premier chapitre, la réécriture boccacienne de l’épisode de Paolo et Francesca de la Commedia de Dante (Enfer V). Dans le cadre de ce même chapitre, on analyse la théorie de la « fable » développée par Boccace dans les Genealogie deorum gentilium en montrant surtout les aspects liés aux d’allégorie, de connaissance et de consolation. À cela fait suite une analyse de la structure narrative du Filocolo et une hypothèse sur la fonction de l’épisode des « Questioni d’amore » dans l’économie globale de l’œuvre. Le deuxième chapitre propose une lecture du Décaméron qui prend appui sur la notion de « compassion » et qui offre une analyse du récit-porteur à partir d’instances éthiques et philosophiques. Les sous-chapitres centraux explorent les modalités de mise en jeu des croyances. Le chapitre se termine par une analyse de la notion de « fortune », sa théorisation et sa représentation dans le Décaméron. Le troisième chapitre est consacré à l’interprétation individuelle d’un groupe de cinq nouvelles (IV, 4 ; V, 1 ; II, 7 ; II, 9 ; X, 10). / This work is composed of two parts. In the first one, I critically analyze how Boccaccio was read by the main theorists of the novel (Schlegel, Hegel, Lukács, Bakhtine, Auerbach); once described individually, these authors are later confronted with each other. A third chapter deals with new perspectives in the theory of the novel, which provide the foundation for a new interpretation of Boccaccio’s Decameron.The second part is devoted to Boccaccio’s works in themselves. First, I analyze Boccaccio’s rewriting of the dantean episode of Paolo and Francesca (Inf. V). In the same chapter I also discuss Boccaccio’s theory of the fabula as it is developed in his Genealogie deorum gentilium, by focusing on crucial issues such as allegory, knowledge and consolation. I conclude the chapter with an inquiry on the Filocolo’s narrative framework; particular attention is devoted to the episode of the «Questioni d’amore» and to its functions in the economy of the whole work. The second chapter puts forward a new reading of the Decameron, based on the notion of ‘compassion’; I analyze the Decameron’s narrative framework on the ground of philosophical and ethical categories. I also explore how the beliefs’ device is shaped by Boccaccio; the chapter ends with an enquiry around the concept of fortune, its theorization and representation in the Decameron. The third and final chapter is devoted to the individual interpretation of five novellas (IV, 4; V, 1; II, 7; II, 9; X, 10).

O claustro do mosteiro beneditino de Sant Benet de Bages, na Catalunha espanhola, é caracterizado pela grande quantidade e diversidade de elementos ornamentais esculpidos em seus capitéis, o que é um importante indício de como a ornamentação se constituía em tanto que instância fundamental para a estética medieval. No entanto, até hoje poucas pesquisas foram realizadas sobre este claustro, o que é revelador da pouca atenção dada pela historiografia da arte tradicional ao tema da ornamentação. De modo geral, as imagens medievais mais valorizadas enquanto objeto de estudo são as historiadas. Isso em muito se deve à supervalorização da ideia de Bíblia dos iletrados, em detrimento de uma análise mais profunda sobre a presença estrutural e da complexidade dos diversos elementos que compõem as imagens, dentre os quais, os elementos ornamentais. Os trabalhos existentes sobre o tema da ornamentação e sua presença nas imagens medievais são, com poucas exceções, superficiais, procurando categorizações estilísticas e raízes filológicas. Uma das exceções é a obra do medievalista e teórico da arte francês Jean-Claude Bonne, principal marco teórico de nossa pesquisa, e que cunhou os conceitos de ornamental e ornamentalidade. A partir destas noções é que nos dedicamos ao estudo do claustro de Sant Benet de Bages, considerando os papéis estruturantes da ornamentação na economia imagética medieval e a diversidade de funções que ela pode adquirir, relacionando-a ao contexto sócio-histórico onde foi produzida. / The cloister of the Benedictine monastery of Sant Benet de Bages, in the Spanish Catalonia, has a large number and diversity of ornamental elements in its capitals, what sets us a fertile field of study. The few studies on this cloister indicate little attention by art historians to ornamentation, generally engaged in studying the historiated images. This is greatly due to the overemphasis of the idea of images as a \"Bible of the illiterate\", at the expense of a deeper analysis on the structural presence and complexity of the various elements that compose the images, among which, the ornamental elements. The existing papers on the subject of ornamentation and its presence in medieval images are generally superficial, limited to studies for stylistic categorizations, occupying a marginal place because they are supposed to be additional and unnecessary elements. At Sant Benet de Bages, like some other Romanesque cloisters, the amount of ornamental capitals exceeds that of historiated, which reveals the possibility of ornamentation to constitute a critical field to the aesthetic functioning of medieval art. This research aims to study such elements present in the cloister considering their structuring aspects in medieval imagetic economy, and the diversity of functions that can carry the concepts of \"ornemental\" and \"ornementalité\", proposed by the medievalist and French art theorist Jean-Claude Bonne, opening new possibilities for their study.

As obras A Canção dos Nibelungos e A Saga dos Völsung foram escritas na região que hoje corresponde à Áustria, no século XII, e na Islândia, no século XIII, respectivamente. São obras apresentam as mesmas personagens, assim como uma narrativa semelhante, mas tem um tratamento diferenciado dessas personagens, e a narrativa se desenvolve de maneira notoriamente díspare na segunda parte das obras. Esta dissertação tem como objetivo analisar o papel das personagens femininas, as quais são de vital importância para o desenvolvimento das vinganças que constituem o tema principal dessas histórias. A pesquisa foi fundamentada nas vertentes atuais da Medievística alemã que integra as tradições da filologia crítica e uma hermenêutica informada pela teoria da recepção. Os procedimentos centrais consistem em leitura crítica, comparação e interpretação dos textos literários, seguidos por uma confrontação de controle mediante estudos historiográficos. O estudo foi separado em cinco partes, sendo elas: Os Pares Românticos, Casamento, Maternidade, Mulheres e Poder, e, Conflitos Violentos da Perspectiva feminina. Nesses capítulos, procurou-se analisar os principais campos de atuação feminina, de forma a poder destacar como as semelhanças e diferenças entre as culturas e o imaginário dessas distantes regiões se refletem em duas obras que têm por base a mesma matéria. / The works The Nibelungenlied and The Saga of the Volsungs were written in the region that nowadays corresponds to Austria during the 12th Century and in Iceland during the 13th Century, respectively. Those are works that have the same characters and a similar plot, but they show the characters in a different way, as well as the plot takes separate ways on the second part of each book. The aim of this dissertation is to analyse the role of the feminine characters, which are of great importance to the main theme of those stories: revenge. The research has been based on the modern german medieval studies, which combines the tradition of the critical philology with an interpratation of texts informed by the theory of reception. The main procedures are the critical lecture, critical comparison and interpretation of the texts, and, at last, a confrontation with historical documents. This study has five parts: The Romantic Pairs, Wedding, Maternity, Women and Power, and, Violent Conflicts from a Feminine Perspective. On these chapters it was atempted to analyse the main fields of feminine actions, in way that enable the reader to recognize how the similarities and the differences between the cultures and the imaginary world of those distant regions are reflected in two works that are based on the same material.

Etwa 20 skulpturale Arbeiten des frühen 16. Jahrhunderts werden auf der Basis stilkritischer Untersuchungen dem so genannten Meister HW zugeschrieben. Die Bildwerke gruppieren sich um drei mit den Buchstaben HW monogrammierte und datierte Bildwerke: die Figur der Hl. Helena von der Hl.-Kreuz-Kapelle des Rathauses in Halle/Saale (1501/1502), das Altarretabel in der Bornaer Marienkirche (1511) und die Schöne Tür von der Franziskanerklosterkirche in Annaberg (1512). Neben zwei Arbeiten in Goslar und Braunschweig konzentrieren sich die Erhaltungsorte und die Provenienzen im albertinisch regierten sächsischen Raum, wobei insbesondere die Städte Chemnitz und Freiberg, Annaberg und Ehrenfriedersdorf im oberen Erzgebirge sowie die südlich bzw. südwestlich von Leipzig gelegenen Orte Borna und Pegau hervortreten. Seit den 1938 von Walter Hentschel vorgelegten Untersuchungen stand die Gruppe von Bildwerken nicht erneut im Mittelpunkt einer wissenschaftlichen Arbeit. Die jüngste Beschäftigung mit den Werken kann auf die Forschungen insbesondere der letzten 10-15 Jahre zu bildkünstlerischen Äußerungen des ausgehenden Mittelalters und der beginnenden Neuzeit aufbauen. Im Vordergrund der vorgelegten Arbeit stehen umfassende Untersuchungen der drei monogrammierten und datierten Bildwerke sowie der Tulpenkanzel in der Freiberger Marienkirche. Dabei gewähren die Untersuchungen zu den künstlerischen Voraussetzungen nicht nur Einblicke in den Schaffensprozess des Bildhauers und Bildschnitzers, sie ermöglichen zugleich eine Positionsbestimmung der skulpturalen Arbeiten im Kontext des bildnerischen und raumkünstlerischen Geschehens des ausgehenden 15. und beginnenden 16. Jahrhunderts innerhalb des deutschen Sprachraums. / Approx. 20 sculptural works from the early 16th century are ascribed to the so-called Master HW on the basis of stylistic examinations. These sculptures are grouped around three dated sculptures monogrammed with the letters HW: the sculpture of St. Helena in Hl.-Kreuz-Kapelle (Holy Cross Chapel) of the town hall in Halle/Saale (1501/1502), the altar retable in St. Mary’s Church in Borna (1511) and Schöne Tür [Beautiful Gate] at the church of the Franciscan monastery in Annaberg (1512). Apart from two other pieces in Goslar and Brunswick, the places of preservation as well as the provenances are concentrated in the Saxon region formerly governed by the Albertine dynasty with the towns of Chemnitz and Freiberg, Annaberg and Ehrenfriedersdorf in the upper Ore Mountains as well as the towns of Borna and Pegau located to the south and south-west of Leipzig as especially prominent locations. Since the examinations presented by Walter Hentschel in 1938 this group of sculptures has never been the centre of another scientific examination again. The most recent thesis on these works can build on the research in particular of the last 10 to 15 years regarding sculptural expressions at the end of the Middle Ages and at the beginning of the modern age. Comprehensive examinations of the three monogrammed and dated sculptures as well as of Tulpenkanzel (tulip pulpit) in St. Mary’s Church in Freiberg form the focus of the thesis submitted. In this respect, the examinations regarding the artistic preconditions do not only provide insights into the sculptor’s creative process; at the same time, they also allow a positioning of the sculptural work in the context of the events in graphic arts and interior design in the German speaking territories at the end of the 15th and at the beginning of the 16th century.

<div> <div> <div> <p>Medieval fairies are chaotic and perplexing narrative agents—neither humans nor monsters—and their actions are defined only by a characteristic unpredictability. My dissertation investigates this fairy chaos, focusing on those moments in a premodern romance when a fairy or group of fairies intrudes on a human community and, to be blunt, makes a mess. I argue that fairy disruption of human ways of thinking and being—everything from human corporeality to the definition of chivalry—is often productive or generative. Each chapter examines how narrative fairies upset medieval English culture’s operations and rules (including, frequently, the rules of the narrative itself) in order to question those conventions in the extra-narrative world of the tale’s audience. Fairy romances, I contend, puzzle and engage their audiences, encouraging readers and hearers to think about and even challenge the processes of their own society. In this way, my research explores the interaction between a text and its audience—between fiction and reality—illuminating the ways in which premodern narratives of chaos and disruption encourage readers and headers to engage in a sustained, ethical consideration of the world. </p> </div> </div> </div>

The diploma thesis deals with the approach of today's elementary school pupils to medieval games. The theoretical part of the thesis characterizes the period of the Middle Ages and the representation of the game in the life of medieval people. It is about the importance of the game, the most famous classification of games are described and the play is described in the school-age pupils. The practical part of the thesis presents the course and results of the research aimed at determining the familiarity of students of school age with medieval games. Partial goals were to analyze the representation of medieval games in the school-age pupils' life and to determine how these pupils look at medieval games, even in the context of today's games. The research file consisted of 282 pupils of the 4th and 7th grades of elementary school. Three research assumptions have been formulated and verified by chi-quadrate. The results found point to the importance of medieval games in the lives of today's children, and the research concept itself offers suggestions for pedagogical activities in the context of the education of primary school pupils, in which the game has an irreplaceable role.

Made available in DSpace on 2016-08-10T11:22:01Z (GMT). No. of bitstreams: 1 MAX LANIO MARTINS PINA.pdf: 2106718 bytes, checksum: 60fdf914dbd4ce3c63a3222a56b8e829 (MD5) Previous issue date: 2016-03-15 / This thesis investigated the historical ideas of students from the 7th, 8th and 9th grade of elementary school II, of State College President Kennedy, which is located in the central city of Porangatu - GO on its conceptualization of the historical period Middle Ages. For realization of this research sought to support the theories produced by the didactics of history, from the German paradigmatic turn of the 60s and 70s, but specifically the historian Jörn Rüsen. Concomitantly used the methodology of History Education research line that emerged in Europe in the same period because it allowed the application of a metacognitive instrumental in obtaining the narratives of school that wished to analyze and understand. However, it was observed that the concept Middle Ages suffers the influence of the three dimensions of historical culture, namely, aesthetic, political and cognitive. For this work, interested latter dimension that is found in academic literature and directly influences the teaching of history in primary education. Categorized and analyzed the narratives presented by young people in this research as well as all substantive words described by them that were related or not to the Middle Ages. Finally, there was discussion with the typology of historical consciousness so that through it, was observed prospects and possible notes to be observed in the historical ideas of the students. / Esta dissertação investigou as ideias históricas de alunos do 7º, 8º e 9º ano do Ensino Fundamental II, do Colégio Estadual Presidente Kennedy, que está localizado na região central da cidade de Porangatu GO, sobre sua conceituação do período histórico Idade Média. Para efetivação desta pesquisa buscou-se amparo nas teorias produzidas pela Didática da História, a partir da virada paradigmática alemã dos anos 60 e 70, mas especificamente no historiador Jörn Rüsen. Concomitantemente utilizou-se a metodologia da linha de investigação da Educação Histórica que surgiu na Europa no mesmo período porque ela permitiu a aplicação de um instrumental metacognitivo para obtenção das narrativas dos escolares que se desejavam analisar e compreender. Todavia, observou-se que o conceito Idade Média sofre as influências das três dimensões da cultura histórica, a saber, estética, política e cognitiva. Para este trabalho, interessou esta última dimensão que é encontrada na produção acadêmica e influencia diretamente o ensino de História na educação básica. Categorizou e analisou as narrativas apresentadas pelos jovens nesta investigação, bem como todas as palavras substantivas descritas por eles que se relacionavam ou não com a Idade Média. Por fim, dialogou-se com a tipologia da consciência histórica para que por meio dela, se observasse as perspectivas e os apontamentos possíveis de serem observados nas ideias históricas dos alunos.

Submitted by admin tede (tede@pucgoias.edu.br) on 2017-03-07T11:54:05Z No. of bitstreams: 1 TAREK CHAHER KALAOUN.pdf: 1045672 bytes, checksum: beadd1d3d90108f18f570bfc7eb06810 (MD5) / Made available in DSpace on 2017-03-07T11:54:05Z (GMT). No. of bitstreams: 1 TAREK CHAHER KALAOUN.pdf: 1045672 bytes, checksum: beadd1d3d90108f18f570bfc7eb06810 (MD5) Previous issue date: 2016-12-15 / The rise and fall of the Arab Empire are among the most notable episodes in history. Throughout the decade that followed Muhammad’s migration from Mecca to Medina, in 622 AD, the tribes that were dispersed in the Arab peninsula became consolidated, thanks to great religious fervor, into a great nation. During the Middle Ages, Arab science gained a strong position in the Arabic language, the language in which the Quran was revealed to Muhammad. Different from existing religions, Islam needed to resort to science to profess its faith and for that purpose, when Greek and works from other civilizations became available, they were translated into Arabic so they could be used to enhance the faith of the Muslin citizen. / A ascensão e o declínio do Império árabe constituem um dos episódios mais notáveis da história. Na década que se seguiu à fuga de Maomé de Meca para Medina em 622 d. C., as tribos dispersas da península da Arábia se consolidaram, mercê de um grande fervor religioso, numa poderosa nação. No período da idade média a ciência árabe se ascendeu com toda força na língua árabe, a língua que o Alcorão foi revelado a Maomé. Ao contrário das religiões que existiam, o Islã precisou avançar na ciência para poderem professar a sua fé. E para isso, quando tiveram a oportunidade de ter nas mãos obras gregas e de outas civilizações, fizeram as traduções para o árabe para que servisse o seu uso para a fé do cidadão muçulmano.