Il lavoro inizia dedicando attenzione all'evoluzione dell'arte scenica nazionale nel secondo Ottocento, considerata sia sotto profilo estetico sia sotto quello organizzativo, gestionale e relativo ai rapporti intrattenuti con i Governi sovrani, prima, e con lo Stato unitario in seguito. Nella stessa sezione, spazio è lasciato altresì alla ricostruzione della biografia artistica di Alamanno Morelli che precede il suo ingresso nella Compagnia Lombarda come primo attore. Il nucleo dominante della tesi si concentra sul periodo che, dall'anno comico 1848 in '49 all'anno comico 1853 in '54, vede il capocomico lombardo alla guida della formazione creata da Battaglia. La ricostruzione del giro delle piazze e del repertorio proposto si sviluppa in parallelo all'analisi di progetti gestionali innovativi che Morelli tenta nel corso della sua carriera. Ampio spazio è dato allo studio degli spettacoli shakespeariani Macbeth e Amleto, portati per la prima volta al successo sui palchi nazionali dalla Compagnia Lombarda. Un intermezzo è dedicato all'incarico di Morelli di professore dell'Accademia dei Filodrammatici di Milano, nonché al suo impegno nella corrispondenza teatrale. Di seguito all'analisi della rifondazione della Compagnia Drammatica Lombarda, e degli undici anni di attività che la caratterizzano, un capitolo d'epilogo è riservato all'ultimo periodo di carriera di Morelli. / This work starts paying attention to the evolution of the national stage in the second Nineteenth century, which is analysed under the outline of its artistic and managerial aspects. In the same section, space is also given to the reconstruction of the artistic biography of Alamanno Morelli concerning the period before his entrance in the Compagnia Lombarda as first actor. The most important section of this work concerns the period between 1848 and 1854, when Morelli is at the head of the dramatic company created by Giacinto Battaglia. The reconstruction of tournées and repertory is developed side by side with the analysis of innovative managerial projects attempted by Morelli during his career. A big section in the third chapter concernes the analysis of two important Shakespearian performances, Macbeth and Amleto, carried to the success by the Drammatica Compagnia Lombarda itself. An intermezzo is dedicated to Morelli's didactic occupation at the Accademia dei Filodrammatici in Milan and to his job as theatrical agent. After the examination of the rebuilt Compagnia Lombarda and of its eleven years of activity, an epilogue is dedicated to the latest years of Morelli's career.

Thesis (Ed.D)--Teachers College, Columbia University, 1991. / Typescript; issued also on microfilm. Sponsor: Judith M. Burton. Dissertation Committee: Justin Schorr. Includes bibliographical references (leaves 199-206).

Das so genannte „Lange 19. Jahrhundert“ ist von ungewöhnlich häufigen, starken Umwertungen von epistemischen und politischen Begriffen gekennzeichnet. Beispielhaft für die Berührung von Wissenschafts- und Ideengeschichte ist der Begriff des „Konkreten“, dessen unterschiedliche Interpretation von Hegel über Marx, Kierkegaard und Cassirer die Gegensätze des 19. Jahrhunderts exemplarisch greifbar werden lässt. Bilder haben an dieser Wissenschafts- und Ideengeschichte des Konkreten einen substantiellen Anteil gehabt. Die vorliegende Studie geht dieser Bild- und Begriffsgeschichte des Konkreten im 19. Jahrhunderts anhand von Fallbeispielen der wissenschaftlichen Zeichnung nach. / Typical for the so called „long Nineteenth Century“ is an dynamic change of epistemic and political ideas. The notion “concrete” represents this change as a development in the history of science and the history of political thought, for instance in the work of great philosophers like Georg Wilhelm Friedrich Hegel, Karl Marx, Sören Kierkegaard or Ernst Cassirer. Pictures took part on this change in the history of the concrete. The study discuss the iconology and ivarious definitions of the concrete in the Nineteenth Century in connection with the scientific drawing.

The goal undertaken in this Bachelor´s thesis was to establish, and possibly audit, the assumed motif, provenance, dating and formal style regarding two Medieval wooden sculptures depicting Saint Martin of Tours and Saint George. Both are preserved in the art collection formerly owned by one of the great Swedish artists and art collectors of the nineteenth century: Anders Zorn (1860-1920). The purpose of the study was to account for the two sculptures using the Iconographic analysis developed by Erwin Panofsky (1892-1968), and the style critical method founded by Giovanni Morelli (1816-1891). The goal was furthermore to incorporate the sculptures into a broader art historical context and discuss in what way history has impacted the usage of and attitude towards the Medieval wooden sculptures i Sweden. The result of the study concluded that the majority of what had earlier been assumed about the sculptures in regards to their respective motif, geographical orgin, style and age had been correct. Some new contributions were however made concerning similar representations, local contextualizations and the mere act of researching an object to which no major research had yet been devoted. The study also concluded that the ever changing usage of and attitude towards the Middle Ages from the Reformation during the sixteenth and seventeenth century until the beginning of the twentieth century, has likewise affected the usage of and attitude towards the medieval wooden sculptures. The consequences for the sculptures were never unequivocally positive or negative.