Thesis (Ph. D.)--University of Adelaide, Dept. of English, 1996? / Includes bibliographical references (leaves 246-258).

Abhandlung : Philos. : Zürich, Philosophische Fakultät : [1997]. / Bibliogr. p. 203-216.

The phenomenal expansion of church building during the eleventh, twelfth and thirteenth centuries can be noted in Lucca as elsewhere. The power of the Benedictine Order and the Bishopric, the increase in wealth because of the silk industry as well as a prime position on the trade route between Italy and North Europe, and rivalries with Florence and Pisa, all promoted a flourishing of the arts in Lucca during the Romanesque period. An attempt has been made in this paper to draw attention to the architectural background in Lucca during the Romanesque period. The architecture appears to be divided into two phases. The first phase demonstrates a classic simplicity that appears to relate to the Early Christian basilical church with the possible intrusion of Lombard ideas. The second phase demonstrates a noticeable change in the facade which becomes a decorative screen with blind arcading, doors and windows with splayed arches and free standing galleries with carving or intarsia in the structural components. The structural and decorative aspects of the facade appear to have been adopted from the school of architecture at Pisa but at Lucca they are stamped with a local exuberance which has a lively and plastic quality not seen at Pisa. There is an underlying classical tradition which appears to be a fundamental characteristic of Tuscan architecture. The use of arcading, intarsia and sculpture, all of classical heritage when adopted at Lucca, seem to find closer parallels in the Eastern tradition. Super-imposed levels of arches are used in Lombard and Saracenic architecture and appear at Lucca as a reflection of the facade of the cathedral at Pisa. The spandrel intarsia decoration varies from that at Pisa and seems to reflect the designs of Byzantine and Saracenic textiles, on the other hand, the columnar intarsia at Lucca appears to have parallels in the architectural decoration adopted by the Normans after their defeat of the Arabs in Sicily. The carved relief of the columns finds still other parallels in Lombard, Byzantine and Saracenic work. The decoration of the facades of San Martino and San Michele at Lucca indicates, however, that if the concept was of Eastern origin there was no direct adoption of any particular prototype but interpretation perhaps even second hand interpretation which resulted in a mode of expression that remained unique to Lucca. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

No description available.

Extrait de: Tesi di dott.--Linguistica--Lecce--Università degli studi. / Bibliogr. p. 293-305. Index.

Thesis (doctoral)--Rheinische Friedrich-Wilhelms Universität zu Bonn, 1903. / Vita. Appendix (p. 60-65): Die Literae deprecatoriae des Cesena und das Schreiben Kaiser Ludwigs an Aachen vom 12. Juni 1330. Includes bibliographical references.

Inaug.-diss.--Uppsala. / Thesis note on added t.p., laid in; issued also without thesis note. Translated by A.J.A. Poignant. Errata slip inserted at p. 217. "Literature references and notes": p. 243-258.

The following is a collection of personal essays exploring identity during the transformative period of the author's early adult life. It also examines themes of home, inheritance, grief, and loss of faith. It has elements of both humor and drama highlighted through unusual forms and elements of voice. It is about growing up and going home, mixing old traditions with new ones, bringing new insights to old problems, and about having faith, but always on one's own terms. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

Devotional and charitable confraternities were a characteristic feature of late medieval Florence. The popularity of the former, and particularly the laudesi and flagellants, stemmed from the fact that they enabled the layman to participate in areas of worship which had been previously the exclusive dcanain of the clergy. The laudesi specialised in singing lauds which during the fifteenth century came to be perfomed by professional singers and musicians. This helped the companies to maintain their devotion, but at the same tine removed the necessity for members to attend daily services. Moreover the'laudesi societies' acceptance of bequests meant that some became as concerned to provide services for the dead as for the living. In contrast flagellant canpanies retained their vitality by emphasizing a strict penitential devotion and refusing to become involved in the administration of property. ) The most important charitable cccpany was Or S. Michele, which was founded in the late thirteenth century to supervise the cult of the miraculous Madonna and to distribute the public's oblations to the poor. During the Black Death the conpany inherited a large fortune which changed the character of many of its activities. Successive governments sought to protect Or S. Michele from litigious heirs and corrupt carpany officials and then proceeded to borrow money to help cover its own debts and finance catrnunal construction projects including the oratory of Or S. Michele. After the Black Death alms were no longer distributed to a large number of paupers, but to a more exclusive clientele. By the end of the Trecento Or S. Michele had a tarnished reputation and the cult had lost much of its vitality except as a centre for public festivals. This decline was shared by the Misericordia, and Florence was thereby deprived of the services of any large private charities until the foundation of the Buonanini di S. Martino in the mid-fifteenth century.

Bibliography: leaves 246-258. / xxxi, 258 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of English, 1996?