This dissertation explores the connection between the sculpture of Modena Cathedral, with emphasis on the Porta della Pescheria, the Porta dei Principi, and the West Facade, and the historical and cultural conditions of its conception and creation.

Thesis (Ph. D.)--Ohio State University, 2003. / Title from first page of PDF file. Document formatted into pages; contains xxi, 298 p.; also includes graphics Includes bibliographical references (p. 275-298). Available online via OhioLINK's ETD Center

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Esta investigación aborda el uso de los aportes técnicos y creativos de la danza Contacto Improvisación en los procesos coreográficos en la danza contemporánea en Lima, específicamente en el trabajo de la coreógrafa Cristina Velarde. Los aportes de los principios técnicos y creativos de esta forma de danza se constituyen en herramientas para la creación y composición coreográfica a partir de las nociones de movimiento, como el toque físico, la escucha, la interacción y las afecciones que surgen en el diálogo entre dos o más cuerpos en relaciones de contacto. Dichos aportes se han constituido en medios para la investigación reflexiva en los campos educativo y escénico en danza. La coreógrafa Cristina Velarde toma elementos de esta forma de danza para desarrollar el lenguaje compositivo de sus piezas. La identificación de sus principios como elementos de composición, a su vez, abren rutas para la construcción de una singularidad en su discurso coreográfico personal. La pieza de danza La Superficie se destaca por el lenguaje desarrollado desde el contacto físico imprimiendo una particularidad en su propuesta estética.

Tese (doutorado)—Universidade de Brasília, Departamento de Artes Visuais, Programa de Pós-Graduação em Artes Visuais, 2014. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2015-01-15T13:33:47Z No. of bitstreams: 2 2014_CintiaMariaFalkenbachRosaBueno2.pdf: 4587301 bytes, checksum: 35109abe5b1514401a77c5ec506fc956 (MD5) 2014_CintiaMariaFalkenbachRosaBueno.pdf: 1023594 bytes, checksum: c7f9a93a0b4944e69dbac88069878bd8 (MD5) / Approved for entry into archive by Ruthléa Nascimento(ruthleanascimento@bce.unb.br) on 2015-02-10T15:51:32Z (GMT) No. of bitstreams: 2 2014_CintiaMariaFalkenbachRosaBueno2.pdf: 4587301 bytes, checksum: 35109abe5b1514401a77c5ec506fc956 (MD5) 2014_CintiaMariaFalkenbachRosaBueno.pdf: 1023594 bytes, checksum: c7f9a93a0b4944e69dbac88069878bd8 (MD5) / Made available in DSpace on 2015-02-10T15:51:32Z (GMT). No. of bitstreams: 2 2014_CintiaMariaFalkenbachRosaBueno2.pdf: 4587301 bytes, checksum: 35109abe5b1514401a77c5ec506fc956 (MD5) 2014_CintiaMariaFalkenbachRosaBueno.pdf: 1023594 bytes, checksum: c7f9a93a0b4944e69dbac88069878bd8 (MD5) / Partindo da Biblia Pauperum, incunábulo do séc. XV, esta análise percorre imagens da Adoração dos Magos, dos séculos XIV e XV, baseadas no Evangelho de Mateus (2:1-12). O Evangelho de Lucas e alguns textos apócrifos serviram de base comparativa para as questões relacionadas à Natividade do Cristo no que tange à Epifania. Comparações em busca das semelhanças e das diferenças foram estabelecidas com base nas informações encontradas nessas narrativas. A existência dos Reis Magos, sua identidade, seu número, sua origem e a existência da Estrela de Belém foram objeto de estudo iconográfico, auxiliado por um corpus de imagens selecionado, que contou com uma xilogravura da Epifania da Biblia Pauperum e com diversas representações, têmperas e afrescos da pintura italiana dos séculos XIV e XV. Atenção especial foi dedicada à pintura Adoração dos Magos de 1375, de Paolo da Modena, que compõe o acervo de pinturas do Museu de Arte de São Paulo Assis Chateaubriand. _________________________________________________________________________________ ABSTRACT / From the Bible Pauperum, incunabula of the fifteenth century, this analysis runs images of the Adoration of the Magi, the fourteenth and fifteenth centuries, based on the text of Matthew (2: 1-12). The Gospel of Luke and some apocryphal texts served as a comparative basis for issues related to the Nativity of Christ regarding the Epiphany. Comparisons in search of the similarities and differences were based on information found in these reports. The existence of the Magi, their identity, their number, their origin and existence of the Star of Bethlehem, were the subject of iconographic study, aided by a corpus of images selected, which included a woodcut of the Epiphany Bible Pauperum and various representations, tempers and frescoes of Italian painting of the fourteenth and fifteenth centuries. Special attention was devoted to painting of the Adoration of the Magi 1375 by Paolo da Modena, who compose the collection of paintings from the Art Museum of São Paulo Assis Chateaubriand.

This dissertation examines the literature of royal consorts in Stuart England. Critics and historians have devoted considerable attention to the creation of the monarch’s image during this tumultuous period, which witnessed two revolutions and the explosion of print. We know that the Stuart monarchs embraced different forms of visual media – including pageantry, portraiture and print – to disseminate their image within the court and to a broader public. However, the extensive literature about the royal consorts remains under-examined. My thesis makes an original contribution to scholarship by exploring what texts were written about the royal consorts, by whom, and how these writers constructed images of the royal consorts that participated in broader debates over the status of the monarchy. The dissertation is divided into two main parts. Part 1 comprises six chapters that analyse succession writing, when a new monarch came to the throne and established their iconography for the new reign. I draw on hundreds of texts that were printed about the Stuart consorts at these moments. These writings span a variety of genres, from poems and plays to sermons and political pamphlets. I investigate the literature of each succession in turn, analysing the main themes and motifs that emerged. This approach enables me to uncover a swathe of anonymous and under-utilised literature, but also re-interpret works by more canonical writers such as Aphra Behn. I ask how the royal consorts themselves, their spouses and members of the public could influence the creation of the royal consorts’ images at these moments. Critically, I also compare the conventions that were used to describe the consorts across the century. Part 2 analyses how writers re-constructed ideals for the royal consorts in Restoration England, as debates about the structure of the monarchy came to be more explicit. Chapter 7 concentrates on images of Henrietta Maria when she returned to England as Queen Mother. Chapter 8 asks how writers adapted former models of representation to praise Catherine, the infertile queen, when it became clear that she would not bear an heir. Finally, Chapter 9 examines the numerous secret histories and romances that were authored about Mary Beatrice’s purported behaviour during her exile in the 1690s. These chapters highlight the continued importance of these women and examines how writers constructed their legacies. As a whole, the literature about the royal consorts reveals a dynamic project as part of which authors engaged with and adapted earlier models of writing. This enabled them to address broader questions about changes in the nature of the Stuart monarchy and political life.

La thèse constitue la première étude d’ensemble de l’œuvre poétique yiddish d’Élia Lévita (1469-1549) qui cherche à définir sa place dans la littérature de la Renaissance en analysant les transferts esthétiques et culturels ayant présidé à sa production. Elle situe l’œuvre vernaculaire de ce savant hébraïste, proche des humanistes chrétiens, dans les traditions poétiques juives hébraïques et yiddish et dans la logique d’une affirmation du rôle de l’écrivain et de la langue vernaculaire dans la société juive. Elle analyse également la portée des modèles extérieurs, chrétiens, en insistant sur l’inscription des romans de chevalerie de Lévita dans l’évolution générale du genre chevaleresque en Italie, et met en évidence le rôle fondamental qu’a joué l’Arioste, et en particulier le Roland furieux, dans le raffinement progressif du projet esthétique de l’auteur. Enfin, elle propose la première analyse d’un certain nombre de textes de la littérature yiddish ancienne, conservés dans des manuscrits, et fournit des arguments pour l’attribution de nouvelles œuvres à Lévita, dont un long poème satirique sur les femmes. Par son ampleur et par sa variété, l’œuvre vernaculaire d’Élia Lévita constitue non seulement la première œuvre moderne de la littérature yiddish mais aussi un cas particulièrement éclairant sur la diffusion des modèles esthétiques de la Renaissance dans des catégories ethniques (les juifs) et sociales (les classes populaires) que l’on aurait pu croire éloignées de ces mutations culturelles. / This PhD dissertation is the first study entirely dedicated to the poetical creation of Elia Levita in Yiddish (1469-1549) and aims at defining its place in Renaissance literature by proposing a detailed analysis of the esthetical and cultural transfers this work illustrates. It locates the vernacular production of this renowned Hebraist, who was acquainted with numerous Christian Humanists, inside the Yiddish and Hebrew poetical traditions and sheds light on the new functions endorsed by the writer and the vernacular language in Jewish society at the beginning of the modern era. It also discusses the influence of external – i.e. Christian – models on the poet and insists on the participation of Levita’s chivalric romances to the global evolution of this genre in Italian literature, by underlying, in particular, the essential role played by Ariost, and his Orlando Furioso, in the progressive refinement of the author poetical practice. Finally, it analyses, for the first time, some texts of Old Yiddish literature which were still buried in manuscripts, and argues for the attribution of new works to Elia Levita, among them, a long satire about women. Elia Levita’s vernacular work not only constitutes, by its size and variety, the first modern work of Yiddish literature but it is also a rich and enlightening example of the diffusion of Renaissance esthetical models inside ethnic and social groups (the Jews and popular classes) which one might have thought untouched by such cultural transformations.

Between 1659 and 1689, northern Italy was generally at peace, having endured almost three decades of continuous war from the 1620s. The Peace of the Pyrenees of November 1659, between the French and Spanish crowns, seemed to offer the young Louis XIV an opportunity to gradually subvert Spanish influence over the small princely families of the Po valley. The Houses of Farnese, Este, and Gonzaga-Nevers, respective rulers of Parma, Modena, and Mantua-Monferrato, had all been allies of France at various points in the Franco-Spanish War (1635-1659), but had gained scant reward for their willingness to jeopardise their own relationships with the king of Spain and the Holy Roman Emperor, despite the promises of material and diplomatic support which Cardinals Richelieu and Mazarin had extended to them. As a consequence, they were reluctant to agree to again participate in alliances with France. This thesis examines how Louis XIV gradually came to lose the friendship of these three ruling families, through his arrogant disregard of their interests and their ambitions, and also by his contempt for their capabilities and usefulness. This disregard was frequently born out of the French monarch's unwillingness to jeopardise or to undermine his own interests in Italy – in particular, the permanent retention of the fortress of Pinerolo, in Piedmont, as a porte onto the Po plain. But although the principi padani comprehended the reasons for Louis's unwillingness to act as a benevolent patron, they resented his all-too-palpable distrust of them; his entrenched belief that they were unreliable; and his obvious love of war. The rulers and élites of the Italian states believed that Louis would undoubtedly seek, at some point in his reign, to attack Spain's possessions in Italy, and dwelt in perpetual dread of that day. This thesis provides the account of French policy towards the small Italian states after 1659 which is still absent from the historiography of Louis XIV's foreign policies.