Thesis (Ph. D.)--New York University, 1966. / Typescript. Vol. 5 contains illustrations. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (v. 4, p. [605]-624).

Inaug.-Diss.--München. / Curriculum vitæ. "Verzeichnis der Opern Agostino Steffani's": p. [154]-161.

Texte remanié de: Thèse de doctorat--Littérature et culture italienne--Paris 4, 2006. Titre de soutenance : Dans l'angle mort de l'histoire : Agostino J. Sinadino, Le Caire 1976-Milan 1956, ou Le grand livre égaré entre les langues. / Bibliogr. p. 377-400. Index.

Th. doct.--art--New York--Columbia university, 1995. / Bibliogr. p. 231-247.

Riche banquier siennois, Agostino Chigi est un homme d’affaires puissant. Il est également célèbre pour les commandes qu’il passe et qui feront bientôt partie des trésors de l’histoire de l’art de la Renaissance. L’actuelle villa Farnésine est alors un modèle d’architecture du début du XVIème siècle. Les fresques qui la décorent exaltent la créativité des peintres qui, après leur passage à la Villa, deviendront les artistes les plus « famosi » de Rome, et la chapelle Chigi, en l’église Santa Maria del Popolo, offre une véritable synthèse du néoplatonisme. Toutes ces commandes participent à la valorisation du banquier et témoignent de son mécénat fastueux. Pourtant, le mécénat d’Agostino Chigi ne se limitait pas aux seules commandes picturales, ou architecturales, et le rayonnement de l’homme d’affaires s’étendait à de nombreux autres secteurs. Quelles sont alors les particularités du mécénat d’un des banquiers les plus puissants de la Rome du début du Cinquecento ? Archétype de la Renaissance, le marchand-banquier est un des principaux artisans de la nouvelle société qui se met en place. Ainsi, de nombreux secteurs en développement éveillent son intérêt. Il investit dans le secteur éditorial à travers le financement d’imprimeries, la marchandisation et la démocratisation des savoirs. Il soutient les scientifiques, se passionne pour l’astrologie, la médecine, la botanique. Le mécénat d’Agostino Chigi nous plonge au cœur d’une société moderne naissante, notre société. Étroitement lié à ses préoccupations d’homme d’affaires moderne, ce mécénat met en lumière le bouleversement des mentalités et les profondes transformations de cette société. / As a rich banker from Sienna, Agostino Chigi was a powerful businessman. He was also famous for the works of arts he commissioned and that now count as the treasures of Italian Renaissance art history. The contemporary Villa Farnesina was at the time a model of early sixteenth century architecture and stood as a cultural centre. The frescos that adorn it are an illustration of the creativity and inventiveness of the painters who, after their stay at the Villa, became the most renowned artists in Rome. The Chigi Chapel in Santa Maria del Popolo’s church, displays the epitome of Neoplatonism. All these commissions made the banker an important figure and testify to his sumptuous patronage. Yet, Agostino Chigi’s patronage was not only about commissions for paintings or architectural designs: the businessman’s influence actually spread to many other areas. Then, what were the specificities of the patronage of one of the most powerful bankers in early-Cinquecento Rome? An archetype of the Renaissance period, the merchant-banker was one of the main actors in the establishment of a new society. Thus, many developing sectors caught his attention: he invested in publishing by funding printing houses and encouraging the sale and democratization of knowledge. He also supported scientists and he showed interest for astrology, medicine and botany. Agostino Chigi’s patronage takes us into the heart of a developing modern society: ours. Because it is intimately connected to a modern businessman’s concerns, this patronage brings some light into the important changes in people’s mentalities and the deep transformations of this society.

Thesis (Revise). / Includes bibliographical references (p. 231-247) and index.

Lo studio effettuato sulle carte di Ungaretti critico e docente universitario ha permesso di evidenziare l'evoluzione dei concetti di memoria e di innocenza e di far emergere alcune basi teoriche della nozione di memoria, elaborate nel corso degli anni Trenta. L’approfondimento della conoscenza di Bergson, Agostino e Vico, infatti, rendono il concetto di memoria sempre più articolato, ampliandone i confini. L’indagine ha inoltre portato alla luce il debito che l’attività critica di Ungaretti ha con le teorie di Giambattista Vico, conosciuto quasi certamente tramite gli animatori de «La Voce», ma poi studiato quale fonte, indiretta, della poetica leopardiana. Sono le teorie vichiane ha suggerire a Ungaretti il ruolo fondamentale della fantasia nella creazione artistica, ruolo che svolge coadiuvando la memoria. Nella Scienza Nuova infatti fantasia e memoria sono sempre associate. Anche in Ungaretti questa associazione, una volta istituita, resiste nel tempo e, nel periodo in cui la suggestione vichiana è più intensa, la fantasia sembra sostituire l’innocenza. Ungaretti si interessa di Vico anche perché il filosofo che pone grande attenzione alla questione delle origini dell’umanità. Un tema imprescindibile per chi, come Ungaretti, fa dell’innocenza primigenia un obiettivo artistico ed umano da raggiungere, tramite la memoria. / The aim of this essay is investigate the evolution of ideas like memory and innocence in Ungaretti's critical writings. These ideas were influenced from studies on Bergson, Agostino e Vico' philosophical teories during the Thirties in Brazil. Thanks to these investigations Ungaretti can wide the bounds of those concepts. Particularly important was Vico's influence and the association introduced between memory and imagination by the neapolitan philosopher in his most important work, the Scienza Nuova. Furthermore, Ungaretti is interested in Vico's humankind origins theory, a fundamental topic for who, like the italian poet, set the idea of archetypical innocence as a human and artistic target attainable by memory.

No description available.

Little did Hadrian know in 130 A.D. that when he deified his beloved departed Antinous, in order to provide a unifying symbol of worship for his diverse empire, that he was instead creating a lasting symbol of the antique world. This thesis examines the power of nostalgia and its successful use by two formidable men from different eras in Rome: The Emperor Hadrian and the extravagantly wealthy Renaissance merchant Agostino Chigi. Though separated by centuries, each man used the nostalgic allure of the beautiful youthful male figure of Antinous to gain power and influence in his own time and to leave a lasting impact on generations to come. Using the statue known as the Farnese Antinous I will show that these very different men were not so different after all: each understood the human tendency to romanticize the past, and each attempted to evoke a feeling of nostalgia for the past from those they sought to “conquer.” Hadrian used portraits of Antinous to unite an empire and cement his place in history; Agostino used one of those very same portraits in commissioned artworks by Raphael to earn his place among the nobility of his day, and to leave a lasting legacy for his descendants.

Frequently, deep foundations extend through potentially liquefiable soils. When liquefaction occurs in cohesionless soils surrounding a deep foundation, the skin-friction in the liquefied layer is compromised. After cyclical forces suspend and pore pressures dissipate, effective stress rebuilds and the liquefied soil consolidates. When the settlement of the soil exceeds the downward movement of the foundation, downdrag develops. To investigate the loss and redevelopment of skin-friction, strain was measured on an instrumented micropile during a blast-induced liquefaction test in Mirabello, Italy. The soil profile where the micropile was installed consisted of clay to a depth of 6m underlain by a medium to dense sand. The 25cm diameter steel reinforced concrete micropile was bored to a depth of 17m. Pore pressure transducers were placed around the pile at various depths to observe excess pore pressure generation and dissipation. Soil strain was monitored with profilometers in a linear arrangement from the center of the 10m diameter ring of buried explosives out to a 12m radius. Immediately following the blast, liquefaction developed between 6m and 12m below ground. The liquefied layer settled 14cm (~2.4% volumetric strain) while the pile toe settled 1.24cm under elastic displacement. The static neutral plane in the pile occurred at a depth of 12m. From 6m to 12m below ground, the incremental skin-friction was 50% compared to pre-liquefaction measurements. The decrease in residual skin-friction is consistent with measurements observed by Dr. Kyle Rollins from previous full-scale tests in Vancouver, BC, Canada, Christchurch, New Zealand, and Turrel, Arkansas.