Univ., Diss--Salamanca. / Cont. bibl. and notes. Giovanni Papini (1881-1956); Giuseppe Prezzolini (1882-1982); Mario Puccini (1887-1957); Giovanni Boine (1887-1917).

Thesis (M.M.)--University of Wisconsin--Madison, 1967. / Includes bibliographical references.

Issued also as Inaug. Diss. Mainz. / Bibliography: p. [151]-153.

Thesis (Ph.D.)--University of the Witwatersrand, Faculty of Arts, 1986.

archives@tulane.edu / This thesis focuses on a seldom-studied illuminated manuscript of Dante Alighieri’s (1265–1321) Commedia, known as Yates Thompson MS 36 (ca. 1450) in the British Library, whose Paradiso miniatures have been attributed to Giovanni di Paolo. One of the most visionary artists of the Quattrocento school of painting in Siena, his oeuvre – and the Yates Thompson codex in particular – begs for sustained critical interpretation beyond issues of connoisseurship, provenance, and stylistic analysis. The manuscript presents a remarkably rare instance in which Quattrocento Sienese pictorial and narrative strategies have been preserved in a complete suite of images, and the recent resurgence of interest in Giovanni di Paolo presents an opportune time to return to his work and to reassess the historiographic legacy that has shelved the art of fifteenth-century Siena as too “fantastic and marvellous” to be critically investigated on its own terms. Focusing particularly on issues of narrative, vision and optical theory, perspective, and the intersections between art, astronomy, and cartography, this thesis takes Giovanni di Paolo's representation of pictorial space as a locus of inquiry into the collaborative nature of manuscript production in the late medieval period, as intellectual circles shifted from spiritual concerns based on biblical tradition to empiricism. More broadly, this consideration of fifteenth-century Sienese visual culture vis à vis twenty-first scholarly concerns reconfigures Giovanni di Paolo's Paradiso miniatures as a referential assemblage or "web of images" that was inextricably linked to a complex entanglement of creative associations, and asks what it means to study an illuminated manuscript that was collaboratively authored over time. / 1 / Shannah Rose

Thesis--Music--Cambridge (Mass.)--Harvard univesersity, 1972. / Bibliogr. f. 1050-1073.

Inaug. Diss.--Bonn. / Vita. "Bibliographie": p. 6-9.

Thesis--University of Michigan. / Vol. 2 contains the author's transcription of 9 compositions by Giovanni Legrenzi into modern score. Includes bibliographical references.

No description available.

In this dissertation I examine the narrative parts of the so-called cornice of the Decameron. The core of my interpretation is to be found in Chapter I where I show that the frame story--the novella portante, as it has been called--with its "parabolic" rather than "rectilinear" progression is intended to illustrate the brigade's pursuit of pleasure, without any ulterior motive such as, for instance, the restructuring of the decaying Florentine society. A careful study of the members of the brigade (Chapter II) and of their songs (Chapter III) obviously forms an integral part of any analysis of the frame story. The Appendix deals with the illustrations of the cornice: the rich iconographic tradition of the Decameron, at least before this century, appears to have accorded more significance to the frame story than has literary criticism.