abstract: My thesis argues that an unrecognized genre existed in classical Chinese painting, one which I call “ethnic" or "minority painting.” The genre of ethnic painting consistently displays certain styles and cultural values and is meant to represent unique ethnic identities. These ideas have not been substantially covered by previous research on Qing dynasty painting. My research raises three main questions: was there a distinct genre in traditional Chinese painting that could be called “ethnic art” (or "minority art")? How did ethnic art distinguish itself within Chinese painting? What were the ethnic identities presented by minority artists from ethnic groups within and outside of China? The materials used for this research include a close visual study of six paintings by Lang Shining (Giuseppe Castiglione) from the Cleveland Museum of Art, the Munich Residenz in Germany and the Musée Guimet in France. / Dissertation/Thesis / Masters Thesis Art History 2019

Diss.--Fribourg, 2003--Phil.-Fak. / Sources et bibliogr. p. 333-376.

No description available.

No abstract available. / Thesis (M.Mus.)-University of Natal, Durban, 1982.

Thesis (M.A.)--University of Adelaide, 1987. / Includes bibliographical references (v. 1, p. 197-201).

Thesis (Ed. D.)--Teachers College, Columbia University, 1987. / Typescript; issued also on microfilm. Sponsor: Louis Forsdale. Dissertation Committee: Raymond P. McDermott. Bibliography: leaves 217-225.

Proefschrift--Letteren--Nijmegen, 1979. / Résumé en hollandais. Bibliogr. p. 266-288.

Thesis (M.S.)--Brigham Young University. Dept. of Mathematics, 2005. / Includes bibliographical references (leaf 15).

Thesis (M.Phil) - University of Queensland, 2005. / Includes bibliography.

Thesis (Ph.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / The dissertation examines adaptations of Shakespearean plays in the operatic libretti of Giuseppe Verdi (1813-1901), who dominated Italian opera in the second half of the nineteenth century. Although Verdi relied on the assistance of librettists with all his operas, he maintained scrupulous control over the textual details. The primary focus is on the triangle formed by Shakespeare, Verdi, and the librettist with considered attention to the ways in which a dramatic crux, or challenge, will both differ from and be cognate with an operatic crux. The monograph explores original Shakespearean sources, literary and musicological criticism, and the impact of historical circumstances on the genesis of Verdi's Shakespearean libretti. A brief biographical account of the composer is followed by a synopsis of the development of opera and an overview of the role of the librettist. It then addresses the distinguishing features of Shakespeare's writing that need to be considered when assessing adaptations of his plays into libretti. The second, third, and fourth parts of the study focus respectively on the three operas: Macbeth (1847) written with librettist Francesco Piave, Otello (1887), and Falstaff (1893), the latter two written with Arrigo Boito. Additional research includes new evidence regarding Verdi's unfinished Re Lear. The three complete operas are examined in close textual comparison with their original sources. Particular attention is given to the translations used in the libretti; textual and plot conformity; replication of rhyme and meter; diction and syntax; character portrayal and replication; and distinctions between dramatic and operatic settings. The study also compares different editions of the plays upon which the operas were based, as well as various editions of correspondence. The conclusion assesses Verdi's contribution to Shakespearean adaptation and the subsequent implications for the task of the librettist in creating a quality text that enhances, rather than detracts from, the composer's effort. / 2031-01-02