Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-07-13T17:18:30Z No. of bitstreams: 1 rogeriaolimpiodossantos.pdf: 14200296 bytes, checksum: 8b6fd94d6dc4fa5a23714be2b6eb8512 (MD5) / Approved for entry into archive by Diamantino Mayra (mayra.diamantino@ufjf.edu.br) on 2016-07-14T10:29:59Z (GMT) No. of bitstreams: 1 rogeriaolimpiodossantos.pdf: 14200296 bytes, checksum: 8b6fd94d6dc4fa5a23714be2b6eb8512 (MD5) / Made available in DSpace on 2016-07-14T10:29:59Z (GMT). No. of bitstreams: 1 rogeriaolimpiodossantos.pdf: 14200296 bytes, checksum: 8b6fd94d6dc4fa5a23714be2b6eb8512 (MD5) Previous issue date: 2011-11-28 / Este trabalho pretende analisar o tratado de arte Da Pintura Antiga escrito pelo português Francisco de Holanda na década de 30 do século XVI. Nesta obra Holanda estuda a arte da pintura, sua origem e seus objetivos, quem é o pintor e como deve ser a sua formação e quais os preceitos a serem observados ao se executar uma pintura. A presente dissertação foi redigida a partir da pesquisa das relações existentes entre Holanda e outros tratadistas de arte do período – em especial Alberti e Gáurico – e da antiguidade – Plínio e Vitrúvio. Foram analisadas também as relações de Holanda com o círculo humanístico da cidade de Évora e com o círculo frequentado por Holanda quando da sua estadia em Roma, do qual resultou a escrita do Da Pintura Antiga. / This Work intends to analyze the treatise of art Da Pintura Antiga written by the portuguese Francisco de Holanda in the 30s of the XVI century. In this work Holanda studied the art of painting, its origins and its goals, who is the painter and how it should be your training and what precepts to be observed by executing a painting. This dissertation was written from the research of the relationship between Holanda and other treatises authors of art of the period – especially Alberti and Gaurico – and the antiquity – Plínio and Vitruvio. We also evaluate the relations between Holanda and the humanist circle of Évora and the circle frequented by Holanda when their stay in Rome, which resulted in the writing of Da Pintura Antiga.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

No description available.

No description available.

Made available in DSpace on 2016-08-10T11:07:09Z (GMT). No. of bitstreams: 1 EDNA RODRIGUES ARAUJO.pdf: 816252 bytes, checksum: 9f1c67137f3fab4e1dcfd1115e4639e3 (MD5) Previous issue date: 2015-03-18 / This paper shows, through critical analysis, the comic Mannerist work in O exército de um homem só, by Moacyr Scliar. The hybrids character of the comic and its variations are significant elements for the laugher composition in this narrative. From this, it was asked if the work by Moacyr Scliar has Mannerist features. The methodological study and qualitative research studied the laughter with emphasis on concept of mannerism, emphasizing it not as a period style, but as aesthetic effect. The objective of this research is to analyze the method of production of the comic, exposing, from mannerism, the construction of laughter. The result confirms that, in fact, the work has Mannerist characteristics by innovating the way of presenting the narrative. This work is important because can support future researches, for literature teachers and others interested in dichotomous spheres dealing with the real and unreal, rational and irrational. Thus, it can be proved that the mannerism as aesthetic effect shows that there are not innocent words in the construction of the work in O exército de um homem só, and that the humor, of this novel, can bewitch, shock, incite or displease, presented it about different shades / O presente trabalho visa mostrar, por meio da análise crítica, a comicidade maneirista na obra O exército de um homem só, de Moacyr Scliar. O caráter híbrido do cômico e suas variações são elementos significativos para a composição do riso nessa narrativa. A partir disto, questiona-se se a obra de Moacyr Scliar possui características maneiristas. A pesquisa de cunho metodológico com abordagem qualitativa estudou o riso com ênfase no conceito de Maneirismo, enfatizando-o não como estilo de época, mas como efeito estético. Assim, o objetivo desta pesquisa é analisar o modo de obtenção da comicidade, expondo, a partir do Maneirismo, a construção do riso. O resultado obtido confirma que, de fato, a obra possui características maneiristas por inovar a forma de apresentar a narrativa. Esta dissertação se justifica por ser uma obra importante para pesquisas futuras, para professores de literatura e demais interessados. Sendo assim, pode-se comprovar que o Maneirismo, como efeito estético, mostra que não há palavras inocentes na construção discursiva na obra O exército de um homem só, e que o humor, nessa novela, pode enfeitiçar, chocar, incitar ou desagradar, apresentando-se sob diferentes matizes.

L'invention de l'imagerie médicéenne a accompagné la campagne politique initiée par Cosimo I, investi duc de Florence en 1537, puis duc de Sienne en 1559, et grand-duc de Toscane en 1570, pour établir une autorité dynastique à la tête d'un principat créé en 1530 par Charles Quint et enraciner un pouvoir autocratique pour ses héritiers. Les arts du textile, de l'ornement et de la joaillerie sont aux fondements de cette image du pouvoir médicéen. Dans un contexte économique et culturel où Florence était considérée, sur la scène internationale, comme un des principaux foyers de l'artisanat du luxe et de la création artistique, les Medici utilisèrent cette renommée à leur avantage. Ils se firent représenter en ambassadeurs de la culture florentine pour faire reconnaître leur identité et promouvoir leur légitimité auprès de la société de cour européenne. Simultanément, ils prirent des mesures financières et législatives en faveur de la modernisation industrielle de leur État, du déploiement européen du marché textile régional et de la fondation d'un centre international de l'artisanat d'exception. Le portrait du costume définit la représentation d'une esthétique originale, en lien avec ce contexte singulier, qui fut instrumentalisée pour afficher une image à la hauteur de telles ambitions. Grâce à cette vitrine du luxe florentin, traduite avec une plasticité minutieuse et une authenticité sidérante, les portraits témoignent d'une stratégie des apparences orchestrée pour répondre à un double objectif : ériger Florence en joyau de l'art de la Renaissance et exalter le prestige royal conquis par les grands-ducs de Toscane. / The creation of the Medicean portraiture has supported the political campaign started by Cosimo I, invested duke of Florence in 1537, then duke of Siena in 1559, and Grand Duke of Tuscany in 1570, to establish a dynastic authority on a princely state created by Charles V and to ensure the continued existence of an autocracy for his heirs. The arts of textile, ornament and jewellery are the pillars of this image of power. In an economic and cultural context where Florence was regarded as one of the major centers of luxury and artistic creation, the Medici used this world-renowned culture to their advantage. They became its ambassadors in order to have their identity recognized and to promote their legitimacy in the eyes of the European courtly society. At the same lime, they took financial and legislative measures to help the industrial modernization of their State, the European expansion of the Tuscan textile market and the foundation of an international and unparalleled center of the arts and crafts. The portrait du costume defines the representation of an original aesthetics, in connection with this singular context, which was mounted to realize such ambitions. With the exhibition of Florentine luxury, depicted with meticulous materiality and stunning authenticity, the portraits bear witness to a strategy of appearances staged to fulfill a double objective: enhance Florence as a jewel of Renaissance art and exalt the royal prestige conquered by the Grand Dukes of Tuscany.

This study focuses on the rhetorical and political conditions for answering the question 'what is kulturpolitik?'. The most common translation of kulturpolitik is 'cultural policy', but 'cultural politics' is an alternative - perhaps policies must al­ways involve broader notions of politics. Here, politics is understood as struggles and conflicts in community, struggles that take place between rules and practical cases, between law and freedom. It is argued that language is a key to an awareness of political conditions, although politics also might involve aesthetics and violence. According to Aristode and Ricoeur, language is something that occurs 'when somebody says something to somebody about something' - and, as added in the dissertation: 'for a certain purpose and in a certain manner'. The general conditions for saying what kulturpolitik is, can thus be studied with reference to the interplay between six aspects: author; utterance, audience, reference, purpose and manner These rhetorical aspects can be used differendy in different cases. Four particular cases are examined in the dissertation. These are chosen pardy because they allow a gen­eral overview of the connections between politics and the arts, or policy and cul­ture, mainly in Western Europe; and pardy because they allow a demonstration of the importance of rhetoric. The cases are: (1) a comparison between two major Government Bills to the Swedish Parliament, concerning the general formulation of state cultural policy; (2) an analysis of the meaning of goals in policy, with particular reference to the Council of Europe's evaluations of cultural policies in France, Sweden, Austria, the Netherlands, and Finland; (3) an overview of the political uses of the concept of culture in Germany between 1800 and 1932; (4) a study of the French state's effort to engage the arts in the service of the republic between 1789 and 1983. It is, furthermore, argued that a rhetorical 'manner' can be understood as a way of employing the faculty of judgement. Following Aristode and Kant, and es­pecially according to Arendt and Lyotard, it is shown that judgement is a pre- eminendy political faculty. It allows those who use language - authors as well as audiences — to reflect upon the conditions of agreement in the absence of precon­ceived rules, but with the help of aesthetical awareness and imagination. / Digitalisering@umu

La ricerca si focalizza sulle espressioni artistiche a Crema durante il Cinquecento, prendendo in considerazione artisti, episodi particolari, commissioni pubbliche e private. Partendo dall’intervento di Benedetto Diana in Santa Maria della Croce, passando per la bottega di Vincenzo Civerchio, si giunge ad analizzare le figure di Aurelio Buso e Carlo Urbino, fino alla fine del secolo. Il lavoro presenta alcuni documenti inediti, quali uno che attesta la presenza di Aurelio Buso a Genova e altri che mostrano l’origine di Carlo Urbino . / This study is focused on the artistic expressions in Crema along the XVI century, considering artists, happenings, public and private commissions. Starting from the work of Benedetto Diana in Santa Maria della Croce, through the workshop of Vincenzo Civerchio, we arrive studying Aurelio Buso and Carlo Urbino, at the end of the century. This study presents come new documents, as one that certificate the journey of Aurelio Buso to Genua and others that show the origin of Carlo Urbino.

Orientador: Carlos Fernando Fiorini / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T18:07:35Z (GMT). No. of bitstreams: 1 Garbuio_RafaelLuis_M.pdf: 22403114 bytes, checksum: 9461fad37604e4b36c15673b32927257 (MD5) Previous issue date: 2011 / Resumo: Este trabalho refere-se aos nove motetos escritos pelo italiano Carlo Gesualdo (1566 - 1613) em 1611, intitulados Sábado Santo. São peças escritas em forma de responsório que fazem parte de um grupo maior conhecido como Responsoria Tenebrae, composto para uma cerimônia da igreja Católica denominada Ofício das Trevas, ou Tenebrae Officium. O objetivo da pesquisa é elaborar uma série de propostas práticas que auxiliem o regente no momento do ensaio e da execução da obra, pois, em razão das características musicais encontradas na escrita desse compositor e da dificuldade em se trabalhar com o estilo de sua composição, é necessário um trabalho direcionado à prática desse repertório de forma a auxiliar em todo o processo de execução, desde a escolha do grupo até a melhor forma de apresentação pública. Para atingir o objetivo proposto, a presente pesquisa realizou, num primeiro momento, um levantamento histórico e estilístico do período e da obra do compositor, bem como um estudo sobre a cerimônia religiosa para qual foram escritos os motetos. Com base em uma ampla análise musical dos nove motetos, foram formuladas sugestões práticas de ensaio e execução da obra de Carlo Gesualdo / Abstract: This dissertation presents a work about the nine motets written by the Italian composer Carlo Gesualdo (1566 - 1613) in 1611 entitled Holy Saturday. Each piece was composed in responsorial form. This set of motets - Responsoria Tenebrae - was written for a Catholic Ceremony known as Darkness Service, or Tenebrae Officium. The purpose of this research is to prepare a series of practical proposals that will help the conductor to rehearse and to perform the work. The musical characteristics and the difficulty of this kind of composition show the necessity of a study directed to its practice, from the group choice to its public performance. To reach that objective, this research contains a historic and stylistic overview of the period and of the work of this composer, as well as of the religious service to which the piece was composed, a wide musical analysis and a final chapter with practical suggestions for rehearsal and performance / Mestrado / Praticas Interpretativas / Mestre em Música

Dans Arcadia de Sir Philip Sidney (1554-1586), les représentations de la nature témoignent de la richesse de l’univers artistique de l’auteur. Le titre de l’œuvre suggère que le socle esthétique sur lequel repose la mimesis sidnéienne est ancré dans l’imitation de la tradition poétique pastorale. L’imitation littéraire est certes au cœur du processus de création sur lequel repose la composition de l’œuvre. Cependant, le texte de Sidney est bien plus qu’une autre Arcadie littéraire inspirée des Bucoliques de Virgile ou de L’Arcadie de Jacopo Sannazaro. Le texte fait s’imbriquer les récits héroïques qui empruntent à l’épopée les repères esthétiques sur lesquels reposent l’évocation du locus terribilis, vision antagoniste du locus amoenus. L’œuvre est donc animée par une passion pour la fiction au point que la littérature et la lecture se substituent à l’intrigue en tant que sujet même de l’œuvre. Cette conception de la création littéraire comme acte réflexif imprègne la représentation de la nature qui devient donc dans certains passages un texte dans le texte, une nature textualisée. Le champ de la réflexivité s’étend à d’autres domaines de la création artistique et notamment aux arts plastiques dont l’esthétique informe à la fois la représentation de la nature et la matière verbale de l’œuvre. L’affinité entre les formes verbales et les formes visuelles est sous-tendue par une esthétique commune que l’on doit replacer dans le contexte du mouvement du maniérisme. Paradoxalement, l’unité de cette œuvre protéiforme réside dans sa fragmentation dont résulte une esthétique du détail. L’énergie créative de l’auteur s’illustre en effet dans la représentation de petites natures dont l’esthétique témoigne de la beauté de son univers artistique. / In Philip Sidney’s Arcadia, the representations of nature testify to the diversity and wealth of the author’s artistic world. The title of the literary work suggests that the aesthetic foundations on which the Sidneyan mimesis lies are rooted in the imitation of the pastoral poetic tradition. Literary imitation lies at the core of the creative process from which the text proceeds. Yet, Philip Sidney’s work goes beyond the vision of nature as locus amoenus associated with Virgil’s Bucolics or Jacopo Sannazaro’s own Arcadia. The text features embedded narratives recounting heroic tales which draw on the epic literary tradition and lead to the representation of nature as locus terribilis. The passion for fiction with which Arcadia is imbued leads to a shift from the plot to the essence of literature as the main focus of Sidney’s work. This conception of literary creation as a reflexive praxis pervades the representation of nature which, in parts of the text, becomes a text within the text, a textualized nature. The spectrum of the reflexive dynamics encompasses several artistic areas including the plastic arts which inform both the aesthetics of the representation of nature and that of the verbal matter. The correspondences between the visual forms and the verbal ones spring from a common aesthetics which ties to the artistic context of mannerism. Paradoxically, the unity of this multifarious work lies in its fragmented dimension from which derives an aesthetics of the detail. Indeed, the illustration of author’s creative energy resides in the depictions of a small-scale nature and minute details which illustrate the beauty of his artistic environment.