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Thesis (Ph. D.)--University of Texas at Austin, 2004. / Supervisor: Maria Franklin. Vita. Includes bibliographical references.

The idea of rhythm as applied to interior space is the basis for this thesis. The site is an old warehouse with a structure that contains a repetitive rhythm in the form of a columnar grid and a corresponding fenestration pattern, yet the building also has an atypical wedge shape. The program is a design business incubator, a place where design business startups, recent graduates of Virginia design programs, can begin their design careers and find their rhythm in a cooperative and supportive environment, a collage of design businesses, if you will. Rhythm is essential in our lives, from the beating of our hearts to the rising and setting of the sun. Rhythm is also essential to spatial design. Our built environments require some form of pattern in order to help create a sense of stability and familiarity with our surroundings. Whether in music or painting, poetry or design, rhythm starts with simple repetition. But rhythm moves beyond mere repetition to include a diverse assortment of elements. The more complex a rhythm, the more we can become involved with that rhythm and consequently with the object that provides the rhythm. How does rhythm translate into space and time? How is it possible to develop a more complex and expressive rhythm in a particular space? What might be considered more expressive? How can this old warehouse function as a design business incubator while new rhythms are introduced into the mix of old rhythms through the fulfillment of this program and thereby create a collage of space?

Alfred Jackson was an enslaved African American born on The Hermitage plantation (outside Nashville, Tennessee) of President Andrew Jackson around 1810, and lived most of his life on the plantation. Staff from The Hermitage wished to better understand and interpret lifeways of those once enslaved on the plantation, but the date of construction of Alfred’s Cabin first had to be determined. Was it built when Alfred was enslaved or was a freedman? We extracted nearly 100 core samples from eastern red cedar logs used to construct the cabin. Of these, 39 cores were used to develop a master tree-ring chronology for the cabin. Crossdating of the Alfred’s Cabin chronology was accomplished using an eastern red cedar chronology developed by the Lamont-Doherty Earth Observatory Tree- Ring Laboratory at Columbia University in Palisades, New York. The 39 series from Alfred’s Cabin resulted in a high-quality master tree-ring chronology, with an average inter-series correlation of 0.66 and an average mean sensitivity of 0.28. Graphical (skeleton plot and line plot) comparison and statistical crossdating with COFECHA anchored the Alfred’s Cabin chronology firmly between 1749 and 1842 (r = 0.45, n = 94 yrs, t = 4.83, p < 0.0001). Cutting dates of these 39 trees ranged from 1841 to 1843. This latter date indicates that the final trees used to construct the cabin were harvested in spring or early summer of 1843, with final construction of Alfred’s Cabin occurring soon after.

L’ermite est celui qui se retire du monde pour rencontrer Dieu. Le phénomène accompagne l’Eglise tout au long de son histoire. En Champagne et en Lorraine, l’anachorétisme apparaît particulièrement dynamique à trois époques : fin Ve siècle-fin VIIe siècle, fin Xe-XIIe siècle et fin XVIe-fin XVIIe siècle. Cette dernière ère constitue l’âge d’or du mouvement.Les raisons du renouveau de l’érémitisme dans la seconde moitié du XVIe siècle sont multiples. Toutefois, la production littéraire du temps fait l’apologie de la solitude. Le succès de courants spirituels (dévotio moderna et spiritualité espagnole) favorables à la solitude est réel. Les facteurs conjoncturels favorisent le phénomène. Les guerres de Religion, la Ligue conduisent au désir de rompre avec un monde de brutalité. Intervient également l’état du clergé régulier. Dirigé vers la pastorale ou pas encore réformé il ne satisfait pas ceux recherchant la solitude, d’autant que les règles monastiques constituent pour certains un cadre par trop rigide. Enfin, par leur aura, quelques ermites suscitent des vocations. Au XVIIe et au début du XVIIIe siècle, la littérature et les arts diffusent une image positive de l’ermite. Mais il s’agit d’un ermite ancien ou lointain. L’ermite contemporain subit de critiques, la première d’entre elle étant une indépendance d’état et d’esprit malvenue dans une société d’ordre. En conséquence, l’encadrement des solitaires dans les premières décennies du XVIIe siècle prend la forme extrêmement originale de congrégations diocésaines d’ermites à Langres (1623) et Toul (1655 et 1676).Les 410 ermitages répertoriés en Lorraine est en Champagne à l’aube du XVIIIe siècle montrent le succès de l’érémitisme. Mais le résultat n’est pas homogène dans l’espace. L’érémitisme est surtout présent et actif dans les diocèses de Toul, de Metz et de Langres. Les diocèses de Verdun, Reims et surtout Châlons et Troyes s’avèrent nettement moins touchés. Là influent les particularismes locaux : l’importance du protestantisme et du jansénisme dans ces diocèses crée une concurrence spirituelle défavorable à l’érémitisme et la personnalité de l’évêque, lorsqu’il n’est pas favorable aux ermites, tel Le Tellier à Reims prend tout son poids. L’étude des ermitages dans la géographie du sacré ébranle le mythe de l’ermitage loin de tout. L’ermite, issu le plus souvent des catégories sociales moyennes ou inférieures, a un itinéraire de vie parfois complexe (veuvage, pauvreté). Sa spiritualité, souvent commune à celle du peuple chrétien, s’avère parfois exceptionnelle et il est alors vu comme un saint.La décennie 1670 marque nettement le début d’une ère défavorable aux ermites. L’archevêque de Reims puis les évêques de Metz et de Verdun interdisent toute vie érémitique dans leurs diocèses. Les Lumières moquent les ermites dans leurs forêts. Pourtant, leur qualité est établie. L’érémitisme décline au XVIIIe siècle et disparaît quasiment durant la Révolution. Les ermites sont expulsés et les ermitages saisis puis vendus. Quelques ermites sont encore avérés au XIXe siècle. Souvent l’ermitage est détruit après la mort du dernier ermite et ne subsiste que la chapelle. L’érémitisme disparait physiquement pendant que la littérature et l’art perpétuent un ermite imaginaire. / Hermit leaves the world for meeting God. This fact that accompanied the Church all the long of her history. In Champagne and Lorraine, eremitical life appears especially dynamic at three times : end of 5th century to end of 7th century, end of 10th to 12th century and end of 16th to end of 17th century. This last era is the golden age of the movement. Reasons of revival of eremitical life in the second half of 16th century are manies. Books praise of solitude. The success of spiritual currents (dévotio moderna and spanish spirituality) favorable to solitude is real. Climate factors favour the movement. Wars of Religion, the League lead to the desire to leave a world of violence. The state of regular clergy plays a part too. Send to the pastoral or not yet reformed, it is not satisfactory for peoples who search solitude, all the more that monastic rules are for some peoples a too rigid framework. Finally, some hermits have an aura and arouse vacations.In the 17th and in the beginning of the 18th century, literatur and arts spread a positiv picture of hermit. But it’s mean an old or faraway hermit. The contemporary hermit is criticized. The first is an independent spirit out of place in an order society. So, supervision of hermits in the first decades of the 17th century is made by diocesan congregations at Langres (1623) and Toul (1655 and 1676).The 410 hermitages listed in Lorraine and Champagne at the beginning of the 18th century show the success of eremitical life. But the result is not homogenous in the space. eremitical life is principally present ant active in dioceses of Toul, Metz and Langres. Dioceses of Verdun, Reims and above Châlons and Troyes are clearly less concerned. Here play regional idiosyncrasies : importance of protestantism and jansenism in these dioceses create a spiritual competition unfavorable to eremitical life and the personality of the bishop, when he’s in disfavor about hermits, as Le Tellier at Reims, take a big importance.The study of hermitages in sacred geography shake the myth of hermitage faraway of all. The hermit, often born in lower or middle social classes, has a career sometime complex (widowerhood, poverty). His spirituality is often the same of Christian people but sometime exceptional and he is seeing as a saint.The 1670 decade is the beginning of a time disfavor to hermits. The bishops of Reims then Metz and Verdun forget hermits in their dioceses. The Age of Enlightenment makes fun of hermits in their woods. Nevertheless their quality is proved. Eremitical life declines at the 18th century and miss practically behind the French Revolution. Hermits are expelled and hermitages sold. Some hermits exist at the XIXth century. Often, the hermitage is broken after the death of the last hermit. Only the chapel remains. Eremitical life miss physically but literature and art perpetuate an imaginary hermit.

The thesis works with Czech translation of apofthegmats - stories of fathers of desert. The thesis focuses on topic of sadness, anger and acedia. The thesis is based on apofthegmats and on the spirituality of desert. From this point of view the thesis makes analysis of the structure of pastoral work with sadness, anger and acedia. The thesis is following some actual authors who are working with spirituality of desert, too. Due to immanent dimension of spirituality of desert the thesis is reflecting psychological approach and refers to actual psychological methods which help a man to live with sadness, anger and acedia.

This construction programme deals with a hermit colony located in the western part of the Vysočina Region. This hermit colony has been established to provide accommodation for women living in this area permanently while offering an opportunity of occasional relaxation for people who are living hectic lives in urban environment. The aim of my project is to design the remaining parts of the colony, i.e. two hermitages and the community’s chapel. A hermitage is a one-storey building intended for one person only. The load-bearing walls of the individual hermitages are designed to be built from different materials (wooden and masonry constructions) whereas the elevational structures of all the buildings are to be the same. The chapel’s wall system combines stone and wood. The chapel will serve solely the purposes of the community. The main objective of my project is to respect and maintain the natural features of the landscape to the maximum extent possible.

Cette présente étude propose d’éclairer l’apport de la France durant la première étape du développement de la galerie impériale de peintures, qui donna naissance au Musée de l’Ermitage, à Saint-Pétersbourg. C’est durant cette période que se constitue et se sanctuarise, comme nous tenterons de le démontrer, la galerie des souverains russes au sein d’un nouveau complexe palatial adossé au palais d’Hiver – siège du pouvoir –, en un établissement qui prend rapidement le nom – français – d’« ermitage ». Ce travail se divise en trois parties. Après une présentation de l’apport de la France sous Catherine II (1729-1762-1796), à travers l’étude de la construction des bâtiments de l’Ermitage d’une part, et la formation des collections d’autre part, nous traiterons ensuite des règnes de Paul Ier (1754-1796-1801) et surtout de son fils Alexandre Ier (1777-1801-1825), afin de déterminer comment ils ont géré cet héritage, en soulignant ce que ces souverains ont puisé en idées et en œuvres en France. Il reste enfin à établir, dans un troisième temps et au terme de cette première étape de l’évolution de l’Ermitage, comment la France a stimulé la mutation de la galerie impériale en un établissement tendant de plus en plus vers le musée. / This study proposes to clarify the contribution of France during the first stage of development of the Imperial Gallery of Paintings, which gave birth to the State Hermitage Museum, in Saint Petersburg. It is during this period that the gallery of the Russian sovereigns, within a new palatial complex, is gathered, organized and housed immediately just next to the Winter Palace – the seat of power – in an establishment which is quickly given the – French – name, “Hermitage.”This study is divided in three parts. First, the study will present the contribution of France under Catherine the Great (1729-1762-1796), by examining both the construction of the Hermitage’s building and the formation of the collections. Secondly, we will delve into the reigns of Paul I (1754-1796-1801) and especially his son, Alexander the Great (1777-1801-1825), in order to determine how they managed this inheritance, by highlighting how these sovereigns used the ideas and artworks from France. Finally, the study will establish, how, at the end of this first stage of the evolution of the Hermitage, France stimulated the transformation of the Imperial Gallery into an institution whose trajectory arced towards becoming a museum.

Submitted by Sandra Pereira (srpereira@ufrrj.br) on 2016-10-18T10:49:20Z No. of bitstreams: 1 2016 - Jorge Gabriel Rodrigues de Oliveira.pdf: 1803407 bytes, checksum: 14d3e313e5d9cd8d6206d683acccc3ca (MD5) / Made available in DSpace on 2016-10-18T10:49:20Z (GMT). No. of bitstreams: 1 2016 - Jorge Gabriel Rodrigues de Oliveira.pdf: 1803407 bytes, checksum: 14d3e313e5d9cd8d6206d683acccc3ca (MD5) Previous issue date: 2016-04-20 / This research aims to demonstrate the process of developing a martyr stereotype for the hermit Copts monks, through which we believe we can analyze the hagiographic representation drawn to these religious, from textual traces found in primary sources Vita Antonii (357) and Vita Pauli (374-379), written, respectively, by Athanasius of Alexandria (296-373) and Jerome of Stridon (347-420), about the desert monks Anthony the Great (251- 356) and Paul of Thebes (228-330). We understand that the martyrdom of the content is present in this stereotype monastic hermit Copt, introduced by the authors of the sources, this will allow us greater strength in proving our hypothesis about the development of a patristic representation, which aimed to raise the monks as the authentic successors of the martyrs and establishes guidelines and patristic models defined for these religious and those who followed them. / Nesta pesquisa pretende-se demonstrar o processo de elabora??o de um estere?tipo de m?rtir para os monges eremitas coptas, atrav?s do qual acreditamos ser poss?vel analisar a representa??o hagiogr?fica elaborada para esses religiosos, a partir de vest?gios textuais encontrados nas fontes prim?rias Vita Antonii (357) e Vita Pauli (374-379), de autoria, respectivamente, de Atan?sio de Alexandria (296-373) e Jer?nimo de Estrid?o (347-420), acerca dos monges Ant?o do deserto (251-356) e Paulo de Tebas (228-330). Entendemos que se o conte?do do mart?rio estiver presente neste estere?tipo mon?stico erem?tico copta, introduzido pelos autores das fontes, isto nos permitir? maior solidez na comprova??o de nossa hip?tese acerca da elabora??o de uma representa??o patr?stica, que visava al?ar os monges como os aut?nticos sucessores dos m?rtires, al?m de estabelecer diretrizes e modelos patr?sticos definidos para esses religiosos e aqueles que os seguiam.

The thesis in its first part outlines in general the iconographical type of pietà and its genesis from the very beginning of the representation of this type until the end of the 14th century. Furthermore the work interprets the literary sources and its impact on the form of medieval pietàs. The emphasis in all chapters of this work will be put in the first place on the type of the so called Beautiful pietàs of the Beautiful Style. In the first, theoretical part of the work the author presents, among others, an interpretation of Beautiful pietàs' gestures. The second part of the thesis treats seven concrete Beautiful pietàs chosen as illustrative representatives of the iconographical type they belong to. The attention will be devoted to the Pietà of Marburg, Pietà of Baden, Pietà of St. Elisabeth in Wrocław, Pietà of the Kreuzenstein Castle, K ivák's Pietà, Pietà from the Hermitage Museum in Petersburg and Pietà of Celje. In the case of these concrete examples will be summarized and interpreted the existing research outputs. Subsequently the author will attempt to solve some of the problems and questions relating to the concrete sculptures concerning in particular the time of their creation, provenance, the original placement and authorship.