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31	南北朝民間樂府之研究金銀雅, JIN, YIN-YA Unknown Date (has links) 本論文約九萬字，根據宋郭茂倩所撰「樂府詩集」，選出南北朝樂府中採諸民問者五百四十七首，而立要部分則分兩大方而進行討論。一為外緣的研究：首章研究其產生、盛行之社會背，景凡分自然環境、政治因素、經濟條件以及社會風尚。次章則從文學潮流著手，討論其與民間文學、音樂文學、文人文學之關係。二為內在研究：首章先探討其音樂性，凡分曲名、樂器與曲調、唱法、節奏與旋律之美等。第二章論表現藝術，凡有意象之特、色修辭技巧，分別右以討論。第三章則以其所表現的世界為主，分別研析南朝庶民的愛情觀、北朝庶民對戰爭的反省、南北朝婦女的形象以及南北朝人民的生活狀態等。結論則總結其特色，並論述其對後代的影響，肯定它在中國文學史上的價值。南北朝樂府郭茂倩民間文學樂府詩集 NAN-BEI-DYNASTY GUO-HAO-GIAN
32	太平廣記引書考盧錦堂, LU, JIN-TANG Unknown Date (has links) 古籍流傳迄今，散亡者多，汲古雅士，莫不興歎。若太平廣記者，宋太宗敕修之書也，姑不論其修書意在羈縻降國舊臣，抑或欲獲右文令名，其書於稗官野史實徵引浩博，不特久佚者賴以存其鱗爪，即今傳而非完帙者亦可據以增補，堪稱古今說部之淵藪，無怪乎後之輯收唐以前小說者，多取資於是，其有功於來學，信不可滅。茲考證其所引書，庶幾為關心吾國典籍者以獻一得之愚。在凡例中，嘗揭示本文大綱：首為所據廣記諸本簡介（附述未見諸本）；蓋廣記久經傳鈔，今所見諸本皆一免訛誤，吾人據以研究，實不可不先審辨。其次即為正文，並檢討廣記引書之得失，為作結論。末有附錄三篇，即「太平廣記卷首匠列引用書目」、「太平廣記未注出處條目表」及「太平廣記有目無文條目表」；而以參考書目及論文篇目繼之。又編製書名索引，置於最末，以便檢閱。茲就「本文所據太平廣記諸本簡介（附述未見諸本）」、「正文」、「結論」三者提要說明如下：本文所據太平廣記諸本簡介太平廣記五百卷目錄十卷，宋太宗於太平興國二年三月十七日，詔儒臣篡修，與太平御覽同時，篡者亦略相同，而廣記於翌年八月十三日書成進呈，較御覽為先。今據明談愷刻本廣記卷首所附李昉等進書表結銜題名後書云：「八月二十五日奉勒送史館，六年正月奉旨雕印板」雖非進書表文，要為實錄；可見廣記成書後，兩年餘即行雕板。然玉海卷五四云：「廣記鏤板頒天下，言者以為非學者所急，收墨板藏太清樓。」是廣記雕板固早，似猶未即印行。北宋末，蔡蕃嘗節太平廣記故事成鹿革事類，復節其詩文成鹿革文類；據，此謂廣記在北宋末已流傳則可，謂蔡氏所取為刻本則未必是，蓋當時伙妨以鈔本相傳也。又，清孫潛嘗以舊鈔宋本校正明談愷刻本；所謂舊鈔宋本，今不詳流落何，方試就國立臺灣大學研究圖書館所藏談刻之孫氏校語觀之，舊鈔本遇「構」、「構」，李皆書作「御名」（按高宗名構），可證南宋高宗時有傳本，唯亦未敢遽定為刻本。所可知者，清陳鱣嘗據宋板為吳騫所藏許刻手校一過（見藏園群書題記初集卷四校宋本太平廣記跋），依此，則宋代誠有刻本行世，惜其板未傳，今僅就陳氏校語（汪紹楹點校本引之）略知一二而已，無由詳其刊行年月。迨明、清以來，有談愷、許自昌、黃晟等先後校刻之本，始使是書印行漸廣。引書考正文本文分廣記引書為四項，隸屬兩大類，即：壹太平廣記引書之見於歷代書志者一卷首所列弔用書目有其名者二卷首所列引用書目無其名者貳太平廣記引書之未見於歷代書志者一卷首所列引用書目有其名者二卷首所列引用書目無其名者且為便於編制，各項弔書依四庫全書總目所分部類順序彙列。然芋書於芋部芋類，諸家書志實有出入；況廣記引書，以小說居多，雖引及其他，要亦取其近乎小說性質之條文，似不必拘泥於部類之區分。是以芋部芋類引書之，前不復明標部類名稱，僅於相鄰部類間隔兩行書寫以示區別。結論傳本廣記卷首所列引用書目，姑不論其真偽，但其於廣記引書遺漏頗多，則為事實。然宋本不傳，未得其實，本文姑就考證所得，重為引書總數作一估計：引書之見於歷代書志而引用書目復有其名者，凡二百五十五種引書之見於歷代書志而引用書目無其名者，凡四十八種引書之未見於歷代書志而引用書目有其名者，凡五十八種引書之未見於歷代書志而引用書目亦無其名者，凡五十八種合計四百一十九種此外，廣記引書尚「有引書名稱雜亂不統一」、「捨早出而引晚出之書」、「濫注出處而末能徵實」、「複出或文異而事同之篇章不□」、「不注出處篇章頗多」、「任意竄改原文」諸失，然瑕不掩瑜，未可輕之。 / 太平廣記宋太宗引書考歷代書志吳騫許自昌黃晟孫潛中國文學文學 AI-PING-GUANG-JI U,-GIAN U,-ZI-CHANG UANG,-CHENG UN,-GIAN HINESE-LITERATURE ITERATURE
33	南宋古文評點研究張秀惠, ZHANG, XIU-HUI Unknown Date (has links) 本論文旨在探討南宋古文評點之批評方法及其價值，全文共一冊，約十四萬字。分七章：第一章：緒論。分三節，依次為：何謂評點、評點源流概述、研究旨趣與方法。第二章：呂祖謙與《古文關鍵》、分五節，第一節：呂祖謙生平及《古文關鍵》庂作成年代。第二、三、四節，依次論述《古文關鍵》之版本、選文特色、評點內容及其標準。第五節：小結。第三章：樓昉與《崇古文訣》。第四章：真德秀與《文章正宗》、第五章：謝枋得與《文章軌範》。亦各分五節，體例與第二章同。第六章：呂、樓、真、謝四家評點之比較、分三節，依次就編篡目的、選文特色、評點標準加以比較研究。第七章：結論。綜述南宋古文評點之特笆與價值。南宋古文呂祖謙樓昉真德秀謝枋得批評方法 NON-SONG-DYNASTY ANCIENTWRITING LU-ZU-GIAN LOU-FANG ZHEN-DE-XIU XIE-FANG-DE CRITICAL-METHOD
34	Gothic Disembodiment, Supernatural Voices: Gender, Voice, and Performed Disembodiment in Music and Media Ferrari, Gabrielle January 2024 (has links) This dissertation presents an interdisciplinary investigation into the construction of gender-transgressive supernatural voices in Gothic media, drawing on works in queer and feminist theory, voice studies, and performance studies. Spanning two centuries and case studies including Gian Carlo Menotti’s The Medium, art and popular song including Franz Schubert’s “Erlkönig” and Kate Bush’s “Leave It Open,” literary works by Charles Brockden Brown and Vernon Lee, and the Spiritualist séances of Louisa Ann Meurig Morris and Jesse Shepard, I argue that these gender-transgressive voices offer a striking alternative theorization of the “disembodied voice” that, in direct contrast to techno-determinist narratives, is created in performance through unsettling the voice-body-gender relationship. I locate the origins of the connection between gender-transgressive and supernatural or disembodied voices in the early nineteenth century, where rapidly changing ideas about of gender and the body collided with a parallel retheorization of voice as both an important locus for understanding social difference and a site of identity formation. The Gothic became an important mode to explore and destabilize the relationship between voice, body, and gender, particularly for voices that did not conform to increasingly rigid gender expectations; high male and low female voices are consistently used to mark alterity in Gothic media across genres, as are other queer-coded vocal acts. This context sets the stage for what I term performed disembodiment; moments in which a voice is understood as being disembodied, despite the visible presence of the vocalizer. My work argues that some forms disembodiment can be produced not by making a performer’s body absent, but precisely through marking the body’s presence and setting the performing body at odds with the voice through gender-transgressive techniques. One of the primary methods of effecting this performed disembodiment is through “cross-gender vocalization,” wherein pitch, timbre, and articulation are manipulated resulting in, for example, female bodies that appear to produce “male” voices. My dissertation thus argues that “disembodiment” can be produced not only via technologies but through contextual strategies of performance, involving both performers and audiences in the creation of the disembodied voice Queer theory Queer musicology Seances Gender identity Gothic rock music Menotti, Gian Carlo, 1911-2007 Brown, Charles Brockden, 1771-1810 Schubert, Franz, 1797-1828 Bush, Kate Lee, Vernon, 1856-1935 Erlkönig (Schubert, Franz)
35	NUOVE RICERCHE PER LA BIOGRAFIA E LA PRODUZIONE STORIOGRAFICA DI CARLO BIANCONI (1732-1802) BINDA, LAURA 22 May 2017 (has links) Nuovi dati e considerazioni sulla biografia e gli scritti di Carlo Bianconi che emergono principalmente dallo spoglio di materiale archivistico inedito. Con questo studio viene ad essere chiarita la fase formativa di Bianconi cresciuto in una casa di bibliofili e collezionisti d’arte. Aggiornato sulle elaborazioni teoriche di Winckelmann e Mengs entrambi conosciuti personalmente, lo vedono progressivamente avvicinarsi e aderire ai modi del classicismo, mediato anche dal rapporto instaurato con Francesco Algarotti, a cui viene in questa sede ridato valore. Uno spiraglio viene aperto sul biennio trascorso a Roma, la frequentazione del cardinale Albani e sul viaggio a Napoli con importanti risvolti per la sua maturazione intellettuale. Seguono i motivi della scelta di Bianconi a segretario dell’Accademia di Brera, le sue iniziative a livello didattico e il rapporto con Carlo di Firmian. Vengono, di volta in volta ricordati i suoi numerosi corrispondenti, la sua produzione figurativa e soprattutto commentati i suoi scritti editi (guide di Bologna e Milano) e inediti (Vitruvio, scritti teorici sull’origine dell’architettura e dell’incisione, orazioni) e riconsiderata la collaborazione all’Enciclopedia Metodica di Pietro Zani. Artista, collezionista, scrittore d’arte e insegnante, immerso in una temperie di matrice razionalista è precoce assertore dei dettami del nuovo gusto per il classico. / New information and analysis about Carlo Bianconi’s biography and writings mainly appear from unpublished archival material bare. This work allows to clarify the education of Bianconi, who grew up in a family of bibliophiles and art collectors. He kept abreast of theoretical development of Winckelmann and Mengs, who personally knew and he gradually moved closer and accepted the models of the classicism that was also mediated by the relationship established with Francesco Algarotti, who is here reevaluate. Regarding his two-year period spent in Rome, the relationship with the Cardinal Albani and moreover his trip to Naples, a glimmer is opened, with important implications for his intellectual maturity. Furthermore, there are: the reason regarding the choice of Bianconi as Secretary of the Academy of Brera, his educational initiatives and the relationship with Carlo di Firmian. From time to time, his many correspondents, his figurative works of art and especially his published writings were commented (for example the guide of Bologna and Milan) and his unpublished writings (such as Vitruvius, theoretical writings on the origin of architecture and engraving, orations) are remembered and also the collaboration with the Enciclopedia Metodica of Pietro Zani is reconsidered. Artist, collector, art writer and teacher, immersed in a climate of a Rationalism, he is a early supporter of the new taste for the classic.
36	Giovanni Battista Foggini et la sculpture à Florence à l'époque des derniers Médicis (1670-1737) : la condition sociale de l'artiste et la pratique du dessin / Giovanni Battista Foggini and Sculpture in Florence at the Time of the Last Medici (1670-1737) : the Social Condition of the Artist and the Practice of Drawing Alburquerque, Kira d' 14 November 2015 (has links) Cette thèse, qui présente les sculpteurs actifs à Florence à l’époque des deux derniers grands-ducs de la dynastie des Médicis, Cosme III (1670-1723) et Jean-Gaston (1723-1737), est une étude de synthèse permettant de situer les sculpteurs dans un contexte social et historique. Elle considère le métier de sculpteur sous tous ses aspects : la formation, les conditions de vie et de travail, le statut social, l’organisation des ateliers, la répartition du travail entre les différents collaborateurs, le processus de création des sculptures et des décors sculptés, ainsi que le rôle essentiel du dessin dans l’élaboration et l’exécution de ces sculptures. En arrivant au pouvoir, Cosme III voulut donner un nouvel essor à la sculpture florentine et prit de nombreuses initiatives dans cette direction : il transforma l’enseignement, développa la production d’objets de luxe au sein de la Galleria dei Lavori et facilita le travail des sculpteurs de nombreuses manières, offrant à la plupart d’entre eux des pensions, des charges officielles et des ateliers. Les sculpteurs étaient certes nombreux, mais la vie artistique s’articulait en réalité autour de quelques figures majeures. Le plus important était Giovanni Battista Foggini, installé dans le célèbre atelier des sculpteurs de cour situé Borgo Pinti. Il cumula les fonctions de Premier sculpteur et d’architecte de la Galleria dei Lavori, dirigeant ainsi une très vaste équipe d’assistants et de collaborateurs. Notre recherche est fondée sur un ample dépouillement d’archives et sur l’étude de dessins préparatoires. Un volume d’annexe comprend un répertoire des sculpteurs ainsi que la transcription de nombreux documents inédits. / This thesis, presenting sculptors active in Florence at the time of the last two grand dukes of the Medici dynasty, Cosimo III (1670-1723) and Gian Gastone (1723-1737), is a synthetic study which situates these sculptors in their historical and societal contexts. The work takes into account all the aspects of the profession: the training, in Rome and in Florence, the living and working conditions, the social status, the organisation of the workshops, the creative process, the division of work among the specialists, as well as the important role of drawing in designing and executing the works. When Cosimo III came into power, he decided to bring about a revival in Florentine sculpture and rapidly took many initiatives in this direction: he reformed artistic education, developed the production of luxury artefacts within the Galleria dei Lavori and facilitated the work of sculptors in many ways, offering many of them monthly pensions, official functions and locations for workshops. Even though the period saw a significant number of sculptors working in Florence, artistic life actually centred around a limited number of major figures. Giovanni Battista Foggini, the most important, was settled in the famous sculpture workshop located in Borgo Pinti. At the height of his long career, Foggini was First sculptor as well as Architect of the Galleria dei Lavori, hence managing a vast team of collaborators, assistants and craftsmen. The research is based on a thorough analysis of the archives related to the period as well as an extensive study of the preparatory drawings. A volume of appendices contains a repertory of the sculptors and also the transcription of many unpublished documents. De Médicis, Cosme III De Médicis, Jean-Gaston Dessin - Italie - Florence - 17e siècle Dessin - Italie - Florence - 18e siècle Sculpteurs - ateliers Sculpteurs - condition sociale Sculpteurs - salaire De' Medici, Cosimo III De' Medici, Gian Gastone Sculptors - worshops Sculptors - social condition Sculptors - salaries
37	Cinéma et expérience totalitaire : le laboratoire du genre du film de guerre dans l'Italie fasciste (1935-1943) / Cinema and the totalitarian experiment : the laboratory of the war film genre in Fascist Italy (1935-1943) Courriol, Marie-France 10 December 2015 (has links) Cette thèse analyse les films de guerre de fiction produits dans l’Italie fasciste de 1935 à 1943, de la Guerre d’Ethiopie à la fin de la Seconde Guerre mondiale. Elle démontre que le genre de guerre fonctionne comme un laboratoire pour l’entreprise de révolution anthropologique de l’Italie, inhérente à l’expérience totalitaire fasciste. Ce modèle cinématographique et social est en effet célébré comme devant s’étendre à l’ensemble du monde cinématographique italien, et ses caractéristiques à l’écran sont censées fournir l’image d’une société fasciste idéale.Après avoir analysé la mise en place du film de guerre italien dans ses discours, ses institutions et ses circulations internationales, ce travail examine les réponses de la production cinématographique. Il se clôt sur la perception du genre de guerre, ses spectateurs, sa réception et sa publicité. Il montre que les films de guerre de la période forment un lieu où coexistent de nombreux objectifs servant des groupes variés. Reposant en grande partie sur des archives d’Etat et de cinéastes, ce travail se concentre sur des études de cas de producteurs (Scalera, Bassoli Film), de réalisateurs (Goffredo Alessandrini, Mario Camerini, Francesco De Robertis, Augusto Genina, Romolo Marcellini, Roberto Rossellini), de scénaristes (Asvero Gravelli, Gian Gaspare Napolitano) et de réception de films particuliers. Cette étude des réponses multiples aux demandes d’un système totalitaire en formation dans le champ cinématographique entend contribuer au débat historiographique sur l’adhésion populaire au fascisme, en en élargissant les paramètres. En outre, bien que le genre joue un rôle central dans le développement de l’industrie cinématographique nationale, ce travail démontre cependant la nécessité d’interpréter ces films en termes transnationaux et non comme simples produits politiques et nationaux. / This thesis analyses the fictional war films produced in Fascist Italy from 1935 to 1943, from the Ethiopian war to the end of WWII. It argues that this genre functioned as a laboratory for the anthropological renewal of Italy in the Fascist totalitarian experiment. Fascist critics celebrated it as a cinematic and social model that had to be applied to the whole Italian film world, and whose on-screen features were to become the mirror image of an ideal Fascist society. After tracing the foundations of the Italian war film genre (critical debates, international circulation), the thesis interrogates the positioning of film professionals in relation to Fascist cultural policies. Lastly, it redefines the genre in terms of its interactions with Italian viewers and through advertisement. This thesis shows that war films of the period constitute a contested site serving multiple purposes for multiple groups. Relying primarily on archival material from Italy’s state archives and filmmakers’ private papers, this work presents several case studies of producers (Scalera, Bassoli Film), directors (Goffredo Alessandrini, Mario Camerini, Francesco De Robertis Augusto Genina, Romolo Marcellini, Roberto Rossellini), screenwriters (Asvero Gravelli, Gian Gaspare Napolitano) and reception of specific films. A study of the multiple responses to the demands of an aspiring totalitarian system, both from the point of view of film consumption and filmmaking, contributes to the historiographical debate on Fascism by broadening the parameters of the longstanding debate on popular consent for the regime. In addition, this work demonstrates the need to interpret these films in a transnational perspective and not as mere political and national products. Cinéma italien Histoire du cinéma Fascisme Histoire culturelle du fascisme Politiques cinématographiques Totalitarisme Propagande Genre cinématographique Film de guerre Cinéma colonial Industrie cinématographique Militarisation Guerre et cinéma Roberto Rossellini Goffredo Alessandrini Mario Camerini Francesco De Robertis Augusto Genina Romolo Marcellini Asvero Gravelli Gian Gaspare Napolitano Écriture cinématographique Réception Guerre d’Ethiopie Seconde Guerre mondiale Guerre d’Espagne Critique cinématographique Adhésion populaire Italian cinema Film history Fascism Cultural history of the Fascist period Film policies Totalitarianism Propaganda Film genre War film Colonial cinema Film industry Militarisation War and cinema Roberto Rossellini Goffredo Alessandrini Mario Camerini Francesco De Robertis Augusto Genina Romolo Marcellini Asvero Gravelli Gian Gaspare Napolitano Screenwriting Reception Representation of the First World War Ethiopian war Second World War Spanish Civil War Film criticism Popular consent

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