This thesis is concerned with the artists Tora Vega Holmström and Adolf Hölzel. Hölzel taught students in painting in the Dachau art colony, where TVH attended his classes in 1903. A thorough investigation of her notes provides us with novel information concerning his teaching and his theoretical outlook on art.
Their correspondence extended 30 years past her stay in Dachau and over the years their relationship evolved into a cordial friendship between two likeminded colleagues. Tora Vega Holmström often came to visit Adolf Hölzel in Stuttgart, where he had come to teach at the art academy. She became a member of the group of avant-garde artists known as the Hölzel circle („Hölzel-Kreis“). 
On a visit to Sweden in 1911, Adolf Hölzel came into contact with the Swedish progressive educational movement at the community college ”Hvilan” in Scania, which was led by Tora Vega Holmströms father. We establish that through Hölzel, there was an indirect influence from this institution on the methods of teaching employed in the early Bauhaus in Weimar. Throughout the 1920s, Tora Vega Holmström spent time in France and became a intermediary between the cubists in Paris and the Hölzel circle in Stuttgart. Through a brief analysis of some of her works we show how firmly her style of painting is grounded in Hölzel’s formalism and his theories of colour.

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Renaissance and Baroque drama offers a view into gender dynamics of the time. What is seen is a development in the allowed expression and manifestation of desire by females, beginning from a point of near silence, and arriving at points of verbal statement and even physical violence. Specifically, in La Mandragola by Niccolò Machiavelli, Romeo and Juliet by William Shakespeare, and Fuenteovejuna by Lope de Vega, there appears a chronological progression, whereby using desire and its expression as a metric in conjunction with modern concepts of gender and sexuality to measure a shift in relation to what is and is not allowed to be expressed by women. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection

This thesis explores the relationship between the many literary texts referring to the deaths of Ugo d'Este and Parisina Malatesta, who were executed in Ferrara in 1425 in accordance with an order by Niccolò III d'Este after he discovered their incestuous relationship. The texts are divided in three categories: (1) the fifteenth- and sixteenth-century Italian novellas and their translations; (2) the seventeenth-century Spanish tragedy; and (3) the nineteenth- and twentieth-century Romantic works. Although these categories divide the various texts chronologically, they also represent a thematic grouping as the texts within each category share common themes that set them apart from those in the other groups. While the various texts all tell the same story, each approaches the tragedy slightly differently based largely on the audience for which it was intended. Thus, the time and place of each text greatly affects its telling. Still, the fact that substantial differences exist between texts that were produced in both geographic and temporal proximity suggests that these are not all-determining factors. Although scholarship exists analyzing individual texts, a comprehensive study of the literary accounts relating to the tragedy has never been undertaken. Rather than detracting from the story, the differences put forth in each of the literary texts enrich the global reading experience by offering many perspectives on the tragedy. In addition, these differences influence how the reader reacts to each of the other texts. Familiarity with one version of the story changes the way a reader approaches the others. A parallel reading of the different versions of the story also shows the power culture has on interpretation. Texts referring to a singular event from one time and place sharply contrast with those that are the product of other circumstances.