Thesis (M.A.)--Ohio State University, 1970. / Includes bibliographical references (leaves 91-98). Available online via OhioLINK's ETD Center

Thesis (M.A.)--Michigan State University, 1983. / Typescript. Includes bibliographical references (p. 80-85).

Freiburg (Breisgau), Universiẗat, Diss., 2001. / Dateien im PDF-Format. - Enth.: Textbd. Abbildungsbd. - Erscheinungsjahr an der Haupttitelstelle: 2000.

Inaug.-diss.--Leipzig. / Cover-title. Lebenslauf.

Texte remanié de: Diss.--Bochum--Ruhr-Universität, 1987.

No description available.

Les documents retranscrits dans ce travail sont inédits. Il s’agit de 128 lettres manuscrites conservées à l’Archivio di Stato de Florence dans les fonds Signori, Dieci di Balia, Otto di Pratica, Cart. Legazioni e commissarie, missive e responsive 31, Dieci di Balia, Cart. Responsive 57 et 59 et Signori, Cart. Responsive 10 à 14. Piero Soderini et Cosimo dei Pazzi, envoyés en ambassade en France auprès de Louis XII, écrivent à la République du Lys entre le 16 juillet 1498 et le 8 octobre 1499. Le contenu de leurs plis a été retranscrit d’après des critères de modernisation précis. L’apparat critique permet de souligner d’éventuelles erreurs et offre une comparaison des différentes versions retrouvées, lorsque cela est le cas. Les notes explicatives apportent des éclaircissements d’ordre linguistique et des précisions sur l’identité des personnages dont il est question, sur les lieux mentionnés ou les événements auxquels il est fait référence. L’étude de ce recueil nous permet d’affirmer que l’écriture d’ambassade, outil de la République, est représentative du langage politique qui naît et se développe dès la chute des Médicis, en 1494. Elle est un moyen de dire la politique, dans le principal but de convaincre pour agir. Le langage diplomatique est l’expression d’une langue commune aux historiographes ou historiens contemporains, aux écrits de chancellerie ou encore aux œuvres théoriques de Machiavel. / Documents transcribed in this work are unpublished. They are 128 handwritten letters preserved in the Archivio di Stato of Florence in the funds Signori, Dieci di Balia, Otto di Pratica, Cart. Legazioni e commissarie, missive e responsive 31, Dieci di Balia, Cart. Responsive 57 and 59 and Signori, Cart. Responsive 10 to 14. Piero Soderini and Cosimo dei Pazzi, sent in embassy in France to Louis XIIth king of France, write to the Republic of Florence between the July 16, 1498 and theOctober 8, 1499. The content of their letters has been transcribed thanks to specific criteria of modernization. The critical apparatus helps to point out prospective errors and offers a comparison of the different versions found, when such is the case. The explanatory notes provide a clarification of language and details concerning the identity of the characters cited or on the places and events mentioned. Thanks to this study we can say that the embassy writing, tool of the Republic, is representative of the political language that was born and developed after the overthrow of the Medici dynasty in 1494. It is a way of saying policy, whose main purpose is to convince in order to act. The diplomatic language is the expression of a language shared by contemporary historians, the writings of Chancery and the theoretical works of Machiavelli.

Une terre exotique aux moeurs archaïques, peuplée de bandits et marquée par la vendetta : c'est ainsi qu'a principalement été représentée la Sardaigne, pendant de nombreuses années, par un cinéma dit “sarde” s‟inspirant des classiques de la littérature deleddienne et de certains faits divers, et le plus souvent réalisé par des non Sardes. L‟image de l'île et des ses habitants a été forgée par le recours à un grand nombre de stéréotypes, parfois perçus comme outranciers par les spectateurs sardes. À la fin des années 80 apparaissent les premiers signes significatifs d‟une “réappropriation” du cinéma sarde par les Sardes eux-mêmes. Progressivement (et surtout dans les années 2000), plusieurs réalisateurs proposent de nouvelles approches des représentations filmées de leur île, jusqu‟à la constitution plus ou moins consciente d‟un mouvement non officiel appelé “nouveau cinéma sarde” : G. Cabiddu, G. Columbu, P. Sanna, S. Mereu et E. Pau en sont les représentants. Cette étude se propose d‟analyser, par le traitement des oeuvres significatives et une approche sociologique du mouvement, le phénomène collectif du “nouveau cinéma sarde” et les démarches individuelles des auteurs qui le composent, plaçant l‟identité au coeur de la question. Partant du modèle imposé par la littérature et le cinéma relatifs à la Sardaigne, les “nouveaux” cinéastes sardes ont su créer une cinématographie sarde basée sur l‟interprétation et la ré-élaboration des stéréotypes, dans une démarche visant à offrir une nouvelle vision de l‟île, de ses habitants et de leurs pratiques, à une instance spectatorielle hétérogène, à travers les différentes formes de distribution de leurs oeuvres. / An exotic territory with archaic standards, populated by bandits and marked by vendetta : this is how has mainly been represented Sardinia for many years, by so called “Sardinian” movies inspired by the classics of deleddian literature and some news items, usually directed by non-Sardinians. The image of the island and its people was forged by using a large number of stereotypes, sometimes seen as outrageous by Sardinian spectators. In the late 80‟s had appeared the first significant signs of a Sardinian cinema “reappropriation” by the Sardinians themselves. Progressively (and especially in the 2000‟s), several directors propose new approaches to filmed representations of their island, until the more or less conscious constitution of an informal movement called “new Sardinian cinema” : G. Cabiddu, G. Columbu, P. Sanna, S. Mereu and E. Pau are its main representatives. This study aims to analyze, through the treatment of major works and a sociological approach to the movement, the collective phenomenon of “new Sardinian cinema” and the individual efforts of the authors who make it up, placing the identity to the heart of the matter. Leaving from the model imposed on Sardinia by literature and cinema, the “new” Sardinian directors have created a Sardinian film-making based on the interpretation and re-development of stereotypes, whose wants to offer a new vision of the island, its people and their practices, to a heterogeneous spectatorial instance, through the various forms of distribution of their works.

Art conservation and restoration on ancient works are continuously involving new types of technologies. These trends are mostly taking place in Europe, especially Florence because it is the foremost leading city of art restoration, and has the most capable and devoted fresco restorers in Italy. This study contributes to the scholarly discourse of advances in art restoration involving computers and nanotechnology, and promotes the use of technology in the field of art. The crux of the paper focuses on the Brancacci Chapel fresco cycle restoration throughout the span of several years. This project is important to the research of art restoration primarily because it has undergone several different methods of repair. This is probably due to the fact that the chapel was subject to a fire in 1771 t as well as the Florence flood of 1966. This thesis examines the different viewpoints of art scholars regarding the implementation of nanoscicence and computers in the field and sheds light on restorations done on recent works and the incorporation of nanotechnology in American museums.

Made available in DSpace on 2016-04-28T14:16:19Z (GMT). No. of bitstreams: 1 Vagner Rodrigues de Moraes.pdf: 3264561 bytes, checksum: c94e1e1b101048a8bbd1c6e85a879f95 (MD5) Previous issue date: 2014-03-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The study of the distortions created to represent three-dimensional figures in two-dimensional planes, as in paintings and frescoes, brought up the issue of how such distortions could be reduced from the optical, geometric and physiological points of view. Focusing on perspective as studied during the Renaissance by Piero della Francesca (c.1420 - 1492), this research aims to understand what the author meant by distortion and how he had solved it. Piero della Francesca was a painter and also an art theorist, who promoted changing in aesthetic principles. Besides, he conducted research on pictorial, geometric and architectural issues. Of all the treatises he had wrote, only three are conserved, on perspective (De Prospectiva Pingendi), on geometry (Libellus of Quinque Corporibus Regullaribus) and on arithmetic (Trattado d'Abaco). To achieve such responses we have used as documents, the critical edition made from Nicco-Fasola of De Prospectiva Pingendi and, as a secondary bibliography, books and articles about the society in which such theory was inserted, on the writings of optical and art developed in the fifteenth century, that Piero della Francesca, most likely, had accessed / O estudo sobre as distorções criadas ao se tentar representar figuras tridimensionais em planos bidimensionais, como em quadros e afrescos, trouxe a problemática de como se poderiam reduzir tais distorções do ponto de vista óptico, geométrico e fisiológico. Olhando para a perspectiva estudada durante o Renascimento por Piero della Francesca (c.1420 1492), pretendeu-se entender o que este autor compreendia por distorção e como a solucionou. Piero della Francesca foi pintor e destacou-se por apresentar uma postura revolucionária quanto aos princípios estéticos. Realizou investigações sobre questões pictóricas, geométricas e arquitetônicas. Dos tratados que escreveu, conservam-se apenas três, sobre perspectiva (De Prospectiva Pingendi), geometria (Libellus de Quinque Corporibus Regullaribus) e aritmética (Trattado d Abaco). Para alcançar as respostas à problemática citada no primeiro parágrafo foram usados como documentos a edição crítica aos cuidados de Nicco-Fasola de De Prospectiva Pingendi e, como bibliografia secundária, livros e artigos sobre a sociedade em que tal teoria estava inserida, sobre os escritos de óptica e de arte desenvolvidos e estudados no século XV, aos quais Piero della Francesca, muito provavelmente, teve acesso