This dissertation is a study of the comic intermezzo’s literary origins and musical practice in the years before Pergolesi’s La serva padrona (1733). It begins with a chronological examination of Italian comic plays and operas written between 1660 and 1723. During these years comic playwrights adopted a style of writing speech from the improvised theatre which makes use of what Richard Andrews (1993) refers to as “elastic gags.” This style of comedy flourished under Medici patronage in Florence in the last decades of the seventeenth century and then spread to Venice, Rome and Naples during the first years of the intermezzo’s development. It is a style of comedy shared with the plays of Molière, and other contemporaneous French authors. This dissertation examines several scenes based on French works which have previously not been identified as having earlier sources. The decision to adapt these earlier sources for the intermezzo did not occur in a vacuum. The practice of comedy in the intermezzo was conditioned by the artistic, social and political climate of Italy. This study investigates the relationship between intermezzos and the milieus which produced them. The success of some intermezzos, like Il marito giocatore (1719), resulted from a combination of their artistic merit and their broad social appeal, while others, like Albino e Plautilla (1723), were musically adept but remained obscure because their humour was specific to the world they satirized. Both intermezzos are indebted to earlier French sources. Many others which are metatheatrical in nature draw on contemporary debates about opera. A final section examines selected arias from the intermezzo repertory using incongruity theory. Comic theory makes clear that the intermezzo’s musical language was not a new development. Just as librettists drew on earlier written traditions to form the literary text of the intermezzo, composers drew on existing musical practices to create humour. The intermezzo was therefore not naively comic—a portrait of the genre which is all too common—but rather a repertory which was thoroughly enmeshed within contemporary artistic practice and a wider social and cultural world.

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Submitted by Maria Suzana Diniz (msuzanad@hotmail.com) on 2015-11-30T12:34:27Z No. of bitstreams: 1 arquivototal.pdf: 766531 bytes, checksum: ad20186d0268a15265279ab809f9fd2f (MD5) / Approved for entry into archive by Maria Suzana Diniz (msuzanad@hotmail.com) on 2015-11-30T12:38:24Z (GMT) No. of bitstreams: 1 arquivototal.pdf: 766531 bytes, checksum: ad20186d0268a15265279ab809f9fd2f (MD5) / Made available in DSpace on 2015-11-30T12:38:24Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 766531 bytes, checksum: ad20186d0268a15265279ab809f9fd2f (MD5) Previous issue date: 2014-08-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work is about research done Fibonacci's Numbers. Initially it presents a brief account of the history of Leonardo Fibonacci, from his most famous work,The Liber Abaci, to the relationship with other elds of Mathematics. Then we will introduce some properties of Fibonacci's Numbers, Binet's Form, Lucas' Numbers and the relationship with Fibonacci's Sequence and an important property observed by Fermat. Within relationships with other areas of Mathematics, we show the relationship Matrices, Trigonometry and Geometry. Also presents the Golden Ellipse and the Golden Hyperbola. We conclude with Tribonacci's Numbers and some properties that govern these numbers. Made some generalizations about Matrices and Polynomials Tribonacci. / Este trabalho tem como objetivo o estudo dos Números de Fibonacci. Apresenta-se inicialmente um breve relato sobre a história de Leonardo Fibonacci, desde sua obra mais famosa, O Liber Abaci, até a relação com outros campos da Matemática. Em seguida, apresenta-se algumas propriedades dos Números de Fibonacci, a Fórmula de Binet, os Números de Lucas e a relação com a Sequência de Fibonacci e uma importante propriedade observada por Fermat. Dentro das relações com outras áreas da Matemática, destacamos a relação com as Matrizes, com a Trigonometria, com a Geometria. Apresenta-se também a Elipse e a Hipérbole de Ouro. Concluímos com os Números Tribonacci e algumas propriedades que regem esses números. Realizamos algumas generalizações sobre Matrizes e Polinômios Tribonacci.

[EN] Studio Azzurro is, probably, the main exponent in the field of research, experimentation and artistic hybridization with regard to the audio-visual language and the new technologies, inside the current Italian scene. Founded in Milan in 1982 by three artists, Paolo Rosa, Fabio Cirifino and Leonardo Sangiorgi, from the beginning they have opted for the collaborative team work, distancing themselves from the opinions of the critique and from the art market. Characterized by a militant past of social activism through artistic practices of counter information, their international recognition is owed to, above all, their capacity to involve the viewer into the environment of their works, generating a sensitive and participative experience with narratives of poetical cut. Their extensive work includes languages such as film, photography, video-instalation, performing arts and interactive audio-visual projection. The trajectory of Studio Azzurro, their artistic legacy as well as their theoretical contribution, reveal the group as an exemplary case for analysing the artistic evolution of the new media in Italy from the 1970's to the present day. / [ES] Studio Azzurro es, probablemente, el mayor exponente en el ámbito de la investigación, experimentación e hibridación artística en lo referente al lenguaje audiovisual y las nuevas tecnologías, dentro del panorama actual italiano. Fundado en Milán en 1982 por tres artistas: Paolo Rosa, Fabio Cirifino y Leonardo Sangiorgi, han apostado desde el principio por el trabajo en grupo de carácter colaborativo, alejándose de los dictámenes de la crítica y del mercado del arte. Caracterizados por un pasado militante de activismo social a través de prácticas artísticas de contrainformación, su reconocimiento internacional se debe, sobre todo, a su capacidad de involucrar al espectador en el ambiente de sus obras, generando una experiencia sensorial y participativa con narrativas de corte poético. Su extensa obra abarca lenguajes como el cine, la fotografía, la videoinstalación, las artes escénicas y la proyección audiovisual interactiva. La trayectoria de Studio Azzurro, su legado artístico así como su testamento teórico, revelan al grupo como un caso de estudio ejemplar para analizar la evolución artística de los new media en Italia desde los años 70 hasta nuestros días. / [CAT] Studio Azzurro és, probablement, el major exponent en l'àmbit de la investigació, experimentació i hibridació artística pel que fa al llenguatge audiovisual i les noves tecnologies, dins del panorama actual italià. Fundat a Milà el 1982 per tres artistes: Paolo Rosa, Fabio Cirifino i Leonardo Sangiorgi, aquests han apostat des del principi pel treball en grup de caràcter col·laboratiu, allunyant-se dels dictàmens de la crítica i del mercat de l'art. Caracteritzats per un passat militant d'activisme social a través de pràctiques artístiques de contrainformació, el seu reconeixement internacional es deu, sobretot, a la capacitat d'involucrar l'espectador en l'ambient de les seues obres, generant una experiència sensorial i participativa amb narratives de tall poètic. La seua extensa obra comprèn llenguatges com el cine, la fotografia, la videoinstal·lació, les arts escèniques i la projecció audiovisual interactiva. La trajectòria de Studio Azzurro, el seu llegat artístic com també el seu testament teòric, revelen el grup com un cas d'estudi exemplar per a analitzar l'evolució artística dels new media a Itàlia des dels anys 1970 fins als nostres dies. / Valdaliso Casanova, T. (2016). STUDIO AZZURRO: TRES DÉCADAS DE EXPERIMENTACIÓN EN LA CREACIÓN AUDIOVISUAL Y LOS ESPACIOS SENSORIALES [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62217 / TESIS

Leonardo Bruni published one of his most widely copied translations, Xenophon's pro-monarchical Hiero, shortly before he penned his more famous original works, his Dialogues and Panegyric to the City of Florence. Scholars have traditionally focused on the political ideas present in these original treatises; yet, despite the centrality of political ideas to the Hiero, its temporal proximity to these works, and its enormous popularity (the work exists in 200 fifteenth-century manuscripts), scholars have neglected to offer a full assessment of Bruni's translation in the context of these works. Bruni's translation of Xenophon's Hiero fit into a debate in early fifteenth-century Florence about Julius Caesar and the Florentine poet Dante. The two major thinkers in the debate, Bruni and Coluccio Salutati, agreed that a distinction had to be made between kings and tyrants based on legal claim and quality of rule. The Hiero reinforced this assumption. The two men disagreed, however, about which category applied to Julius Caesar and what this meant for the reputation of Dante.

When I began developing the video game concept for my thesis, I realized that I was one of the kids that grew up in a society where video games took prevalence over historical artistry. I, however, was unaware of the hidden secrets that resided in the art and how much they contribute to the video games I enjoy playing today. This thesis aims to provide the younger generations with an engaging and stimulating way to experience historical artistry, more specifically the Italian Renaissance, without having to consult a history book. I aim to provide enough detail on multiple aspects of the movement to bring it to life in the classroom via any video game platform. Students need to develop an awareness of the benefits our digital culture gained over the centuries from the Italian Renaissance; therefore, I aspire to provide present-day children and teenagers with the ability to learn about the movement by doing one of the things they love most: playing video games. Although the art is most intriguing in its natural form, one must stay up to date with the changing times and provide the next generation with the artistic knowledge on which they might rely in their future career.

Humanism and ritual combined to establish a new foundation for the Florentine Republic in the fifteenth century. Leonardo Bruni’s History of the Florentine People was at the center of this new foundation. In 1428 and again in 1439, Bruni formally presented portions of his History to the Florentine government in the midst of crucial events in Florentine foreign affairs. For example, Bruni’s book presentation in 1428 occurred in the midst of rituals celebrating peace between Florence and Milan. During the celebration, a procession behind the sacred icon of Our Lady of Santa Maria Impruneta paused at the government palace. At that moment, Leonardo Bruni formally announced the peace, gave an oration, and presented a volume of his History to the Florentine governors. Following the presentation, trumpets sounded and the procession began anew. In this ritual, Bruni’s History became a key ritual object. On the most basic level, Bruni’s book served as a tangible, physical reminder of the peace for future rulers of the Florentine Republic. Yet, Bruni’s History provided much more than a material memento of a monumental moment. The content of the work created a Florence that was founded free and, after several battles against tyrannical oppressors, had once again become free. By creating a new foundation and history of Florence, the Florentines could add new authority and legitimacy to its dealings with the world outside its walls. This article will examine the rituals surrounding the presentation of Bruni’s work combined with a close literary analysis of the History itself. Through this investigation, the article will examine how and why the Florentines sought to refound their city in an official Latin history by establishing its independence from outside powers, particularly the Roman and Holy Roman Emperors.

This thesis explores the ideological underpinnings of political soteriological discourse. Through analyzing key texts in liberation theology, using critical theorists such as Theodor W. Adorno and Wendy Brown, I aim to understand to how this soteriological discourse respond to the predicaments that afflict theology in modernity – and to explore the ideological issues with these responses. I then turn to present day Swedish theological conversations concerning salvation and its political use, in order to discuss whether the issues exposed in liberation theology can be considered to continue to be a problem for the present discussion. I also discuss the ethical and theological obstacles connected to the translocation of liberation theology from the Latin America of the 60’s, 70’s and 80’s to present day Sweden, or, in other words: from an exploited continent in protest against imperialism and capitalism, to the continent guilty of so much of the suffering that Latin American liberation theology condemned. What does it mean to turn to liberation theology in this context? I find, in this discourse, a certainty and assuredness concerning the salvation of all, which I find to be at least in part ideologically grounded. Instead, I suggest another direction for political revolutionary soteriology: to unsettle and disturb the modern image of the God-like man; to reconnect with the prehistoric fear of nature through a vigilant and restless immanent critique and through the subversive act of rituals and sacrifice.

Made available in DSpace on 2016-04-27T19:32:07Z (GMT). No. of bitstreams: 1 Lucelmo Lacerda de Brito.pdf: 897561 bytes, checksum: b7fd6f880b7481605a4631bd45225545 (MD5) Previous issue date: 2009-01-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Our object of study is the controversy surrounding the book "Igreja: Carisma e Poder", Leonardo Boff, launched in 1981. In delimitamos, however, we term "Brazilian phase" of controversy since açambarca the quarrel between Arquidiocesana Boff and the Comissão Arquidiocesana para a Doutrina da Fé do Rio de Janeiro CADF-RJ , and from it, other intellectuals argue that both parties still in Brazil. In other words, do not be looking at the stage of the Roman process, where the book is analyzed and condemned by the Vatican. We believe that this is an important issue in view of the importance of the Catholic Church in Brazil and by relation is an issue of fundamental importance: the change of political orientation of the Catholic Church in the decade of 90. We want - a) Understanding the impaction of controversy in Rio de Janeiro, around the book Igreja: Carisma e Poder in its unfolding: the condemnation of the Vatican. b) Give the representativeness and impact of the controversy between Leonardo Boff, the Archdiocese of Rio de Janeiro and the Vatican, the Church of Brazil; c) Understanding how the TL's strained relations with the conservatives in Brazil and the Vatican affect the conduct the progressive forces in the Catholic Church in Brazil d) Further understanding of the relationship between conservatives and progressives in the Catholic Church in Brazil; To use it in the range of texts and documents in the process CADF-RJ as well as they did echo the process / Nosso objeto de estudo é a polêmica em torno do livro Igreja: Carisma e Poder, de Leonardo Boff, lançado em 1982. Nos delimitamos, no entanto, no que denominamos de fase brasileira da polêmica, uma vez que açambarca a querela entre Boff e a Comissão Arquidiocesana para a Doutrina da Fé do Rio de Janeiro CADF-RJ e, a partir dela, de outros intelectuais que defenderam ambas as partes ainda no Brasil. Ou seja, não nos debruçaremos na fase romana do processo, em que o livro é analisado e condenado pelo Vaticano. Entendemos nosso objeto de estudo é importante em face da importância da Igreja Católica no Brasil e por se interseccionar uma questão de fundamental importância: a mudança de orientação política da Igreja Católica na década de 90. Pretendemos a) Perceber a impactação da polêmica, no Rio de Janeiro, em torno do Livro Igreja: Carisma e Poder em seu desdobramento: a condenação do Vaticano. b) Conhecer a representatividade e impacto da polêmica entre Leonardo Boff, a Arquidiocese do Rio de Janeiro e o Vaticano, na Igreja do Brasil; c) Perceber de que forma as relações tensas da TL com os conservadores no Brasil e com o Vaticano afetaram o desenrolar das forças progressistas na Igreja Católica no Brasil; d) Avançar na compreensão da relação entre conservadores e progressistas na Igreja Católica no Brasil; Para isso nos utilizaremos do conjunto de textos e documentos do processo na CADF-RJ bem como dos que fizeram eco ao processo

Made available in DSpace on 2016-04-28T14:16:42Z (GMT). No. of bitstreams: 1 Alberto Tadeu Acaiaba dos Santos.pdf: 1898301 bytes, checksum: dff408eb33e28cabba94fce850811da9 (MD5) Previous issue date: 2009-10-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The contribution of Leonardo de Pisa for the commercial mathematics of XIII century, from the publication of the Líber Abacci and the spreading of the hindu arabian numbers in the Europe in substitution to the Roman numbers, thus facilitating the commercial transactions between the peoples after the opening of the ports. We will analyze the importance of the Pisa s Leonardo de Pisa Book publication, mainly the relative aspect the commercial mathematics, the applicability of the methods of conversion developed by it, the social political moment that had favored its success and the recognition of its excellence at a time marked for a long period of ostracism. The aim of this dissertation is the analysis of the importance of the publication of the book; why of the success of the same and, although some problems even though it s time to be considered of little use the workmanship if supported during the turbulence of the period. For this he will be analyzed the problems of the book as primary source (digitalized edition) and will have theoretical subsidies from the workmanship History of the mathematics of Carl B. Boyer and will be supported in the theoretical workmanships of Dirk Struik, Rubens Gouvêa Lintz, Ubiratan D Ambrosio, Russell, the social moment and philosophical Thomas will be based in the writings of Santo Tomás de Aquino who had great influence in this period of the Europe. This project is excellent for the studies of the Mathematics History because we can verify that Science and History are strict on throughout the times, discoveries are supported or refuted, thus forming some of the fundamental questions in history of Science, of that we must reflect on the past, not to look at it with an anachronistic vision, therefore thus we will be able to understand questions and moments. When analyzing the Pisa s Leonardo book, I intend to show that science is supported at the historical moment and that if Fibonacci got success where others if had not failed, had not shown in such a way, this if must to the general contextual moment of the time. But history is not discontinued as they think, as well as nothing appears for one passes of magician, has a link that they join the ideas and accomplishments for the introduction hindu-arabic numbers in the Europe, has a social moment that determines its acceptance or and mainly it does not have the fertile mind of Fibonacci that knew to lancer the effective situations and assim to get success where others had failed, thus giving a light in the tunnel s end for a period of considered by some until the present as one period of darkness s in the scientific field / A colaboração de Leonardo de Pisa para a matemática comercial do século XIII, a partir da publicação do Líber Abacci e a divulgação dos números hindu - arábicos na Europa, em substituição aos números romanos, passou a facilitar assim as transações comercial entre os povos após a abertura dos portos. Desse modo, analisamos, por meio deste trabalho, a importância da publicação do Livro de Leonardo de Pisa, principalmente o aspecto relativo à matemática comercial, a aplicabilidade dos métodos de conversão desenvolvidos por ele e o momento sócio-político que favoreceram seu sucesso e o reconhecimento do seu brilhantismo em uma época marcada por um longo período de ostracismo. A finalidade desta dissertação é a análise da importância da publicação do livro, o porquê do sucesso de seu sucesso e, apesar de alguns problemas, até mesmo para sua época, ou seja, o fato de a obra ser considerada de pouco uso, pôde sustentar-se durante a turbulência do período. Para isto, analisaram-se os problemas do livro como fonte primária (edição digitalizada) e como subsídios teóricos optamos por adotar a obra História da matemática de Carl B. Boyer, amparada nas obras teóricas de Dirk Struik,Rubens Gouvêa Lintz,Ubiratan D Ambrosio,Bertran Russell,Quanto ao momento social e filosófico, esse foi embasado nos escritos de Santo Thomás de Aquino que teve grande influência neste período da Europa. Trata-se de um trabalho relevante para os estudos da História da matemática porque podemos verificar que Ciência e História têm estado, ao longo dos anos, estritamente ligadas. descobertas são amparadas ou refutadas na, com e por meio dessa inter-relação, formando assim algumas das questões basilares em História da Ciência, ou seja, a de que devemos refletir sobre o passado e não olhá-lo com uma visão anacrônica, pois assim poderemos entender questões e momentos. Ao analisar o livro de Leonardo de Pisa, pretende-se mostrar que a ciência está amparada no momento histórico e que se Fibonacci obteve sucesso onde outros ,se não fracassaram, não brilharam tanto, isto se deve ao momento contextual geral da época. Todavia, a História não é descontinuada como pensam alguns, assim como nada surge em um passe de mágica, há um elo que une as idéias e realizações para a introdução dos números hindu-arábicos na Europa , há um momento social que determina sua aceitação ou não, e, principalmente, há a mente fértil de Fibonacci que soube relacionar as situações vigentes e obter êxito onde outros falharam , dando assim uma luz ao fim do túnel para um período, considerado por alguns até os dias de hoje, como um período de trevas no campo cientifico