[pt] No início do século XVI, a Península Itálica passava por uma série de conflitos - a calamità -, originados pela invasão de Carlos VIII, rei de França, ocorrida em 1494. Neste contexto de turbulência, emerge na cidade de Florença uma nova forma de pensar a política, da qual Francesco Guicciardini (1483-1540) foi um dos protagonistas; esta dissertação tem por objeto seu discurso político. Erigido com base em um procedimento analítico, o qual denomino método prudencial de análise da política, o discurso político de Guicciardini procura estabelecer mecanismos eficientes que visem à consolidação, em um contexto de corrupção, dos princípios do bom governo herdados da tradição - liberdade, harmonia civil, concórdia e justiça, consolidados pela condução virtuosa do estado. Diferentemente dos humanistas cívicos - seus predecessores -, o autor não se contentava com análises retóricas acerca destes temas gerais; para Guicciardini, era preciso definir procedimentos eficazes - o que fazia através da articulação entre discrezione, experiência prática e conhecimento das histórias antigas e modernas -, que incidissem para a realização do melhor governo possível. / [en] In the beginning of the fifteenth century, the Italian Peninsula went through a conflict series - the calamità - originated by the invasion of Carlos VIII, king of France, in 1494. In this turbulent context, emerges in the city of Florence a new way of thinking politics. Francesco Guicciardini (1483- 1540) was one of the protagonists of it; Francesco Guicciardini s political discourse is the goal of the present dissertation. Built based on an analytical procedure which I denominate prudential method of political analysis, Guicciardini s political discourse tries to establish efficient mechanisms viewing the consolidation of the principles of the good government inherited from the tradition - freedom, civil harmony, agreement, and justice though a virtuous conduction of the state - in a time of corruption. Differently from the civic humanists - his antecessors - the author was not satisfied with rhetorical analysis on the themes previously mentioned. To him, it was necessary to define efficient procedures - which he did through discrezione, practical experience and the knowledge of ancient and modern histories - which would help the effectiveness of the the best government possible.

Tesis--Bologna, 1966. / Includes bibliographical references.

Tesis--Bologna, 1966. / Includes bibliographical references.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-04-11T13:17:08Z No. of bitstreams: 1 lorrainepinheiromendes.pdf: 2993654 bytes, checksum: 8d6af57393cc7ceb5152d9a6cbef2c90 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-04-11T15:06:21Z (GMT) No. of bitstreams: 1 lorrainepinheiromendes.pdf: 2993654 bytes, checksum: 8d6af57393cc7ceb5152d9a6cbef2c90 (MD5) / Made available in DSpace on 2018-04-11T15:06:21Z (GMT). No. of bitstreams: 1 lorrainepinheiromendes.pdf: 2993654 bytes, checksum: 8d6af57393cc7ceb5152d9a6cbef2c90 (MD5) Previous issue date: 2015-06-15 / A partir dos “Trattati di architettura ingegneria e arte militare” (1479-1480) de Francesco di Giorgio Martini e de seus projetos como arquiteto, principalmente em Urbino durante o ducado de Federico da Moltefeltro, pretende-se analisar e elucidar de que forma esse artista contribuiu para o desenvolvimento do conceito de cidade ideal durante a Renascença. Para isso é necessário conhecer a biografia de Martini bem como entender sua formação e obra como um todo complexo, inserindo-o em uma tradição tratadística do Renascimento. / From the "Trattati di architettura, ingegneria e arte militare" (1479-1480) by Francesco di Giorgio Martini and his projects as an architect, especially in Urbino during the duchy of Federico da Moltefeltro, it is intended to analyze and elucidate how this artist contributed to the development of the concept of ideal city during the Renaissance. For this it is necessary to know the biography of Martini as well as to understand his formation and work as a complex whole, inserting it in a treatise tradition of the Renaissance.

Francesco Bordoni (1574?-1654), originaire de Florence, fut un sculpteur spécialiste du marbre et du bronze. Elève de Pietro Francavilla, il s’aguerrit à Florence dans la bottega de Giambologna, à l’époque de Ferdinand de Médicis, et il y participa aux chantiers du Grand-Duc, comme ceux occasionnés par son mariage (1589). Ensuite, il suivit Francavilla à Pise pour travailler aux chantiers de Ferdinand I. Vers 1601, il s’installa en France avec son maître. Cependant Francavilla revint bientôt à Florence, alors que Bordoni restait à Saint-Germain-en-Laye. Là, comme à Fontainebleau, il collabora avec le fontainier Tommaso Francini et fournit des sculptures pour les grottes et les fontaines des jardins, suivant le modèle de la villa de Pratolino. Plus tard il revint à Paris, où il travailla encore pour les souverains et les Concini. Il termina le piédestal de la statue équestre d’Henri IV (Pont-Neuf, Paris), commencée à Florence par Giambologna et Pietro Tacca. Il n’en subsiste que les quatre esclaves, signés par Bordoni (Musée du Louvre). Sa carrière continua sous le règne de Louis XIII. Dans les années 1630, il importa des marbres d’Italie et devint premier sculpteur du roi, il créa le sol en marbres et l’autel de la Chapelle de la Trinité de Fontainebleau avec les statues de Saint-Louis, de Charlemagne et quatre anges de bronze. Artiste profondément lié à la famille des Médicis et à la monarchie française, Bordoni participa aux stratégies de l’image voulues par ses grands clients. Cette thèse, fondée sur une large documentation d’archives, approfondit son œuvre dans ses rapports entre la sculpture italienne et française et dans son rôle avec Henri IV et ses successeurs. / Francesco Bordoni was a Florentine sculptor, a specialist in bronze and one Pierre de Fracheville’s disciples. He grew up in Florence in the “bottega” of Giambologna during the period of Ferdinando de’ Medici. He attended the yards of the Grad-Duke such as the ones for Ferdinando’s weddings. Later he followed Francheville to Pisa where he worked at Fedrinando’s monuments. Before 1601 he moved to France with his master. Therefore Francheville soon returned to Florence whereas Bordoni remained in Saint-Germain-en-Laye. In Saint-Germain-en-Laye as well as in Fontainebleau, he collaborated with Tommaso Francini for the sculptures of grottoes and fountains of the gardens following the model of the villa of Pratolino. Later he went back to Paris where he worked again for the king and for the Concinis. He concluded the basement of the equestrian statue of Henri IV (Pont Neuf, Paris) which had been commenced in Florence by Giambologna and Pietro Tacca. The four slaves which adorned the basement, signed by Bordoni, are at Louvre Museum. His career went on during the period of Louis XIII. In the 30’s he imported some marbles from Italy, he became the first sculptor of the King, he created the floor in marble and the altar of the Chappelle of Fontainebleau. He was an artist deeply bound to the Médicis and to the French monarchy. Tanks to his works he shared in the strategies of the images wanted by his great Patrons. The aim of my study is the relation with the Italian and French sculpture and his role in the reorganization of the Kingdom of Henry IV and of his successors.

Il codice SLUB Dresden, Mscr.Dresd.F.107 preserva una copia mutila della Cortona convertita del padre Francesco Moneti (1635–1712). Il contributo ripercorre le tappe che hanno portato all’individuazione delle carte mancanti, date per disperse e invero rilegate insieme a materiale di varia natura nel ms. SLUB Dresden, Mscr.Dresd.P.102. Data una descrizione puntuale dei due manufatti, si è tracciato un percorso storico-catalografico del testimone sassone della Cortona convertita.

La thèse reconstitue les liens culturels entre Paris et Modène pendant les règnes de François Ier (1629-58) et Alfonso IV (1658-62) et explique comment les artistes français à la cour des Este ont contribué à la définition de l’image du pouvoir ducal. La correspondance diplomatique de l’abbé Ercole Manzieri, résident de François Ier à Paris, a révélé le trafic intense des portraits, des bijoux et des vêtements expédiés de Paris à Modène, certifiant une profonde influence française sur le goût et le costume des Este. En décrivant les liens entre les deux cours, la thèse traite de la figure de Girolamo Graziani, poète et secrétaire d’État au service des Este et, en même temps, salarié de Louis XIV pour des panégyriques négligés jusqu’à maintenant. L’étude se concentre ensuite sur Jean Boulanger, premier peintre de François Ier, dont la formation et les commandes ducales sont clarifiées. L’accent est mis sur ses peintures dans le Palazzo Ducale de Sassuolo et, en particulier, sur la galerie de Bacchus, dont l’architecture, l’iconographie et la fonction se sont révélées inspirées par des modèles français. La dernière section est dédiée aux commandes « françaises » d’Alfonso IV et se concentre sur les fresques de Boulanger dans la villa ducale de Pentetorri, cycle disparu et analysé entièrement pour la première fois, et sur les funérailles voulues par Alfonso pour commémorer son père et décrites dans l’Idea di un prencipe. Cet ouvrage, l’un des plus prestigieux du XVIIe siècle, modèle l’image du pouvoir ducal grâce à un riche répertoire d’illustrations qui a vu la participation de plusieurs artistes, notamment français, dont les noms et les modes d’engagement sont spécifiés. / The thesis is about the cultural links between Paris and Modena during the government of Francesco I (1629-1658) and Alfonso IV (1658-1662) and explains how the French artists at the Este court contributed to define the image of ducal power. The diplomatic correspondence of Abbot Ercole Manzieri, resident of François I in Paris in 1650, revealed an intense traffic of portraits, jewelry and clothes that came from Paris to Modena, testing a large French influence on the taste and the Este costume. Outlining the links between the two courts, the thesis deals with the figure of Girolamo Graziani, poet and secretary of state at the service of the Este and, at the same time, sponsored by Louis XIV for some panegyrics not well known until now. The study then focuses on the activities of Jean Boulanger, first painter of Francesco I, clarifying his formation and his role at the Este court. This work focuses on his paintings in the Palazzo Ducale in Sassuolo and, in particular, the Bacchus gallery, that turned out to be inspired by french models for its architecture, iconography and function. The last section is dedicated to 'French' commission by Alfonso IV and focuses on Boulanger decorative cycle in the lost ducal villa of Pentetorri, analyzed for the first time in its organic structure, and on the funeral that Alfonso wanted to commemorate his deceased father as immortalized in the Idea di un prencipe. This work, one of the leading printing examples of the seventeenth century, shapes the image of ducal power thanks to a rich repertoire of illustrations in which several artists took part, including French artists, whose names and ways of recruitment are specified here as well.

The distinction between institution types and institution tokens plays an important role in Francesco Guala’s philosophy of institutions. In this commentary, I argue that this distinction faces a number of difficulties that are not sufficiently addressed in Understanding Institutions. In particular, I critically discuss Guala’s comparison between the taxonomy of organisms and the taxonomy of institutions, consider the semantics of institution terms on different levels in this taxonomy, and argue for an alternative solution to the problem of how to reconcile reformism and realism about institutions like marriage.

This study provides background information, International Phonetic Alphabet (IPA) transcriptions and pronunciations, poetic translations, and pedagogical analyses of ten Francesco Paolo Tosti songs. Included is the connection between the rhythm and meter of the poetry and its’ influence on Tosti’s setting of the text to music. In addition, a portion is devoted to an overview of pedagogy, specifically, appoggio, registers and passaggi in the lyric tenor voice, range and, as well as chiaroscuro. This document addresses potential vocal challenges presented for the lyric tenor voice within each song, as well as the benefits. In particular, suggestions for vowel modifications in the passaggi of the lyric tenor voice in relationship with the provided IPA transcription are addressed. Finally, by gathering all of the necessary information on Aprile, Non t’amo più, Luna d’estate, Preghiera, La serenata, Ideale, A vucchella, In van preghi, L’alba sepàra dalla luce l’ombra, and L’ultima canzone, this performance guide creates a concise tool for teachers and singers in the vocal studio seeking ideal performance practice suggestions.

The following research records the functionality of collections of wealthy individuals in an effort to clarify the current system of collection categorization. Although many functions were indeed possible, this research will be restricted to the discussion of collections in which objects reveal the collector’s devotional, social, and intellectual curiosity. These classifications reflect the most prevalent themes initiated by my research on collections of royal and affluent collectors during the Early Modern Period, and as such are the three most rational means of discussing collections as functional, working, tools.