This study brings together the works of Giovanni Boccaccio (1313-1375) and Gratian’s Decretum, the 12th-century textbook that became foundational to the teaching of medieval canon law. Boccaccio studied canon law for six years, and the Church’s legal system deals with many of the issues that interested Boccaccio: marriage, sexuality, adultery, consent, coercion, and gendered forms of violence. Boccaccio and Gratian each showed close attention to women’s interior perspectives and a marked emphasis on the importance of consent. This dissertation illuminates the intertextual connections between Boccaccio’s works and Gratian’s Decretum, and argues that Boccaccio understand the law much better than has previously been recognized. In fact, Boccaccio’s most perceptive insights on the nature of debt, obligation, and consent derive from legal sources. The first chapter of this project introduces the figures of Boccaccio and Gratian. Boccaccio’s own works and a few surviving documents attest to his years of legal study in Naples as well as his lifelong engagement with the law, both in politics and his personal life. Little is known of Gratian’s biography, but his Decretum became a standard teaching tool in the curriculum of canon law. Boccaccio undoubtedly read the Decretum, and the following chapters show the extent to which its innovative cases and viewpoints influenced him. Chapter 2 begins with the “conjugal debt,” the idea in canon law that spouses incur a mutual sexual obligation by virtue of being married. Boccaccio expands the concept of sexual debt to include metaphorical usury and theft, drawing on medieval economic theory and offering an economic model of human relationships. Though Boccaccio’s view is transactional, it does not reduce human beings to commodities; rather, the economic system expresses relationships of trust and obligation. Chapter 3 extends the legal-economic discourse to several stories in the Decameron that deal with adulterous relationships, demonstrating that Boccaccio’s idiosyncratic application of legal theories is nevertheless solidly grounded in his reading of canon law. Chapter 4 focuses on Boccaccio’s treatment of consent in matters of marriage and legislation. Relying heavily on Gratian’s treatment of error and mistaken identity, as well as the legal principle of quod omnes tangit, Boccaccio argues for women’s right to offer informed consent to decisions that concern them. Chapter 5 continues the discussion of consent in the context of sexual violence, exploring the idea of vis (force) in Gratian’s Decretum as well as Boccaccio’s Decameron and Ninfale fiesolano. Canon law emphasizes women’s right to consent to marriage; Boccaccio extends this principle to matters of sex and violence, recuperating the power of women’s consent in an area where medieval law often faltered.

Submitted by MIRIAN SALVESTRIN null (miriansalvestrin@yahoo.com.br) on 2017-03-09T02:54:46Z No. of bitstreams: 1 Dissertacao_VERSAO_FINAL_Mirian_Salvestrin_Bonetto.pdf: 2321081 bytes, checksum: 14f8f3a4970e18f7ae6fe9beddf9b4db (MD5) / Approved for entry into archive by LUIZA DE MENEZES ROMANETTO (luizamenezes@reitoria.unesp.br) on 2017-03-14T16:43:39Z (GMT) No. of bitstreams: 1 bonetto_ms_me_sjrp.pdf: 2321081 bytes, checksum: 14f8f3a4970e18f7ae6fe9beddf9b4db (MD5) / Made available in DSpace on 2017-03-14T16:43:39Z (GMT). No. of bitstreams: 1 bonetto_ms_me_sjrp.pdf: 2321081 bytes, checksum: 14f8f3a4970e18f7ae6fe9beddf9b4db (MD5) Previous issue date: 2017-02-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Um dos temas de destaque na obra-prima de Giovanni Boccaccio, o Decameron, escrita por volta de 1353, é o amor sensual, vivenciado por seus personagens de forma realista e naturalista. Dentre esses personagens, encontramos membros do clero católico, celibatários, e é para eles que voltamos o nosso olhar. Pretendemos traçar as características da abordagem de Boccaccio ao tema do amor sensual no celibato clerical em dez novelle da obra e, com isso, levantar quais concepções de amor, indivíduo e natureza humana são encontradas nas entrelinhas dessas histórias. Para analisarmos o corpus, tomaremos como base a fundamentação do celibato na Igreja Católica, exposta por Brown (1990); a doutrina do amor em Boccaccio, que trata o amor sensual com realismo e naturalismo, abordada por Scaglione (1963) e Givens (1968); a retórica de Aristóteles (2006), já que os personagens usam a retórica para obter êxito na conquista amorosa; as considerações de Ó Cuilleanáin (1984) e Smarr (2014) sobre a representação decameroniana do clero; além de estudos sobre o autor e obra, como os de Auerbach (2007; 2013). Com base em Berger (1972) e Nodelman (1988), analisaremos ilustrações que representam o amor sensual praticado por personagens celibatários, feitas por Alex Cerveny. No Decameron, os clérigos são dessacralizados, retratados como homens comuns, nos quais a natureza e o instinto se fazem presentes. A nosso ver, esses homens e mulheres são levados pela instituição católica a abandonarem obrigatoriamente a sexualidade, mas eles não desejam renunciar efetivamente a esse aspecto que é inerente à vida humana. / One of the main themes in the masterpiece of Giovanni Boccaccio, the Decameron, written around 1353, is the sensual love, experienced by its characters in a realistic and naturalistic way. Among those characters, we find members of the Catholic clergy who are celibates, and who are the holders of our attention. We intend to describe the characteristics of Boccaccio’s treatment of the sensual love theme in clerical celibacy in ten novelle from the book and present which conceptions of love, individual and human nature are found in those stories. To analyse the corpus, we will consider the foundation of celibacy in the Catholic Church, exposed by Brown (1990); the doctrine of love in Boccaccio, that treats sensual love with realism and naturalism, approached by Scaglione (1963) and Givens (1968); the Aristotle’s rhetorics (2006), since the characters use rhetorics to succeed in loving conquest; the considerations of Ó Cuilleanáin (1984) and Smarr (2014) on the decameronian representation of the clergy; besides studies about the author and book, such as the ones by Auerbach (2007; 2013). Based on Berger (1972) and Nodelman (1988), we will analyse some illustrations which depict the sensual love experienced by celibate characters, drawn by Alex Cerveny. In the Decameron, clerics are unholy, portrayed as ordinary men, in whom nature and instinct are latent. In our view, these men and women must give up sexuality because of the Catholic Church doctrines, but they do not actually want to abdicate this aspect which is inherent to human life. / CAPES: 3300415-3

acase@tulane.edu / 1 / Ariel Tusa

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The objective of this essay is to study technical problems and performance issues in the piano-reduction accompaniments of three solo arias from Mozart’s Don Giovanni: “Or sai chi l’onore,” “Dalla sua pace la mia dipende,” and “Batti, batti, o bel Masetto.” This study is executed through the comparative analysis of the arias’ accompaniments from four piano-vocal score editions of the opera (Bärenreiter, G. Schirmer, Ricordi, and Boosey & Hawkes) with cross-reference to the full orchestral score (the Neue Mozart-Ausgabe). The essay contains a detailed presentation of the merits and flaws of each of the four piano-vocal score editions; a discussion of the realizations’ quality; examples by the author of plausible modifications; and the author’s suggestions for practice, fingering, pedaling, and dealing with various performance issues. This essay can provide a stimulus for vocal pianists to explore the countless possibilities in piano realizations of the orchestral accompaniments of operatic works, and to continue to refine and improve their ability to imitate orchestral sonorities and textures at the piano.

Diss.--Philosophy (musicology)--Cincinnati (Ohio)--College-Conservatory of music, 1997. / Contient la musique de 6 messes (1572), ainsi que du 1er livre de chansons napolitaines à 4 voix d'Antonio Scandello, et le 2e livre de chansons napolitaines à 3 voix de G.B. Pinello. Bibliogr. p. 277-283 (t.1).

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