Thesis (Ph. D.)--University of Wisconsin--Madison, 1951. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 174-200).

Diss.--Berlin--Freie Universität, 1998. / Bibliogr. p. 337-392. Index.

Diss.--Musicologie--Bologne, 2000/01. / Notes bibliogr. Index.

Giovanni Bellini's The Blood of the Redeemer has been traditionally approached in terms of its style and iconography. The two separate lines of investigation have shown the painting to be a complex image that participates in the traditions of both private and public Christ imagery. This thesis will focus on the painting with regard to both the function that it served and the Venetian context in which it was produced. The purpose of the study will be to show the work as a private devotional painting in which the public Christ type has been adapted to fulfill the needs of contemporary Venetian meditations. Chapter One will deal with the two distinct ways in which the work has been discussed and the particular problems that exist in approaching suffering Christ imagery in terms of context. Chapter Two will focus on the development and function of the full-length bleeding Christ in the private and public spheres within the context of Christ-centred piety in the fifteenth century. Chapter Three will discuss Venetian devotions to Christ with particular regard to the impact of historical events. Chapter Four will focus on the adaptation of the public Christ type in The Blood of the Redeemer. The appropriation will be discussed in terms of the liturgical resonances that are brought to the image and with regard to the use of public types in Bellini's other private Christ images. In addition, the importance of northern graphics will be examined as well as the civic associations with which the Christ type had become imbued in northern Italy. The location of the image within a particular social strata will be effected through considering the way in which it addresses contemporary intellectual issues in Venice. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Giovanni Paisiello's Barber of Seville, although no longer an opera that is frequently performed, was very popular in the eighteenth and early nineteenth centuries. Based on a play by Pierre-Augustin Caron de Beaumarchais, Le barbier de Seville (1775), was translated into many different languages, and performed by companies all over Europe and America. Paisiello's work was so successful that Mozart, inspired by the idea, wrote a sequel in 1786, The Marriage of Figaro in collaboration with Da Ponte. When Rossini presented his own version of Barber of Seville in Rome in 1816, the public hissed with indignation and outrage to demonstrate a predilection for Paisiello. Giovanni Paisiello (1740 - 1816) was a Neapolitan composer who worked at St. Petersburg, Russia from 1776 - 1784 in the court of Catherine II where he was appointed Kapelmeister of Italian opera. The composer chose the French play by Beaumarchais as his point of departure, having it adjusted and rewritten in Italian verse in order to please his patroness. Due to the restrictions set upon the duration of the spectacle and the subject matter, the comedy was shortened and its socio-political critique eliminated. Thus Le barbier de Seville, which the Empress essentially considered democratizing and harmful to the absolute monarchy, was transformed into an opera buffa, Il barbiere di Siviglia, that involved harmless clowning. Il barbiere is significant because its creation demonstrates how Italian opera buffa became a vehicle to distract the public from considering the issues that were in the air prior to the French Revolution. This thesis examines the many contradictory factors involved in allowing this sort of entertainment at the Imperial Court. The study explores Catherine the Great and her character, as well as her clever ability to maintain a successful image as an Enlightened Despot. The differences and similarities between the French play and the Italian libretto are surveyed in order to demonstrate the simplifications that had to be made. A discussion treating the shift of focus that resulted by moving attention away from Figaro toward Dr. Bartholo, will indicate how the play was transformed into a libretto which proved to be emasculated and irregular. The music and how the composer dealt with the text will be discussed. Paisiello's buffo characterization of the old miserly doctor will be considered through use of musical examples. Additionally, the composer's setting of ensembles will be examined given their particular prominence in this work. The use of unifying elements will also be surveyed. The ideas of the era of Enlightenment affected both the bourgeoisie and the aristocracy. However, each group interpreted education and rationalism in its own way. While the members of the middle class attempted to change the structure of society (ancien regime), the authorities needed to maintain it. Through Italian opera buffa, however, both seemed to find the middle ground for compromise. It was acceptable because it was musical theatre that was made to appear harmless. / Arts, Faculty of / Music, School of / Graduate

This dissertation focuses on Giovanni Boccaccio’s questioni d’amore, a text that, despite its immense richness, has been overlooked within the field of Boccaccio studies. It has been the subject of surprisingly little scholarship, and the sparse work that has been done on them has relegated them to tight and unimaginative spaces. This project, which seeks to fill this critical lacuna, is innovative in three respects: it is the first study to consider all thirteen questioni individually; it offers a new, essential translation of the questioni; and it is the only analysis to date that considers the questioni through a historicizing lens. To this end, I conduct a detailed analysis of the questioni that is contextualized by social history and supplemented with relevant literary intertexts. This study ultimately demonstrates the considerable social, legal, and literary significance of the questioni d’amore and provides new perspectives on Boccaccio’s authorial trajectory and intellectual interests.

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Gli studi sulla Vita santi Iohannis Gualberti (BHL 4398) di Attone di Pistoia si sono da sempre concentrati sugli aspetti storico-letterari dell’opera, escludendo il versante filologico. Ad oggi infatti non possediamo un’edizione critica di questa agiografia, nonostante essa sia la Vita più diffusa su Giovanni Gualberto, fondatore dell’Ordine Vallombrosano. Il presente lavoro cerca di colmare questa lacuna. Ad una prima parte introduttiva sull’autore e sull’opera (Capitolo I), segue un esame dettagliato della tradizione manoscritta della Vita BHL 4398 (Capitolo II). Molti codici fino ad oggi non erano mai stati studiati, mentre di altri le informazioni erano parziali o datate: ho pertanto riconsiderato l’intera tradizione, indagando i motivi di composizione e i luoghi di origine dei testimoni. Nel Capitolo III si espongono i risultati della recensio, si analizzano i legami tra questo testo e le sue fonti e si propone uno stemma codicum rappresentativo dei rapporti genealogici tra i testimoni indagati. Infine nel Capitolo IV offro il testo critico dell’opera.

Die Geschichte der Mozartrezeption entwickelte sich - und ich meine nicht nur in Polen - in mehreren Phasen. Die erste war eine feen- und märchenhafte Phase, bei der vor allem Papageno Pate stand. Die nächste Phase ist die dämonische (oder bescheidener gesagt romantische), die im Zeichen von Don Juan stand. Sie hat bei uns fast ausschließlich das 19. Jahrhundert beherrscht. Gegen Ende des Jahrhunderts kommt eine neue Phase: Mozart im Rokokostil - Mozart als Autor vom Figaro und leichter Klaviersonaten.