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This thesis examines Pieter Bruegel the Elder's Fortitude, 1560, a print from the Seven Virtues series. Fortitude stands out as an anomaly within the cycle because it contains several allusions to the Book of Revelation. The linkage of Fortitude to the writings of St. John is important because it challenges previous iconographic and iconological analyses of the composition. Analysis of Fortitude's compositional elements is provided, along with an examination of the virtue tradition. Additionally, an exploration of sixteenth-century apocalypticism is included, as well as an examination of the artistic influences that may have inspired Bruegel. This thesis concludes that Fortitude's apocalyptic allusions do not seem unusual for an artist familiar with St. John's prophecies, influenced by Hieronymus Bosch, and living in an age of apocalypticism.

Heine Steenhagen erzählt die Geschichte von Aufstieg und Fall eines unehelichen Kindes, das in einem holsteinischen Dorf der Jahrhundertwende, dem fiktiven Vollstedt, aufwächst und als Ausgleich für die in der Jugend erlittenen Demütigungen eine militärische Karriere anstrebt, mit der er es seinem Heimatdorf zeigen will („Ik wöll ju dat woll wiesen!“). Als er beginnt, die Sprossen der sozialen Leiter zu erklimmen, wird sein Jugendfeind Jürgen Grootholm zu einem Hindernis auf dem Weg nach oben. Um ihn zu „überholen“, sich an den Vollstedtern zu rächen und die berechnende Margot Kandelhardt heiraten zu können, denunziert Heinrich Steinhagen den Konkurrenten wegen einer Urlaubsüberschreitung in der Hoffnung, dessen Beförderung zu vereiteln und leitet damit sein eigenes tragisches Ende ein.

[pt] Esta dissertação apresenta traduções comentadas de poemas de William Carlos Williams (1883-1963), um autor de destaque no cenário literário norte-americano, mas cuja obra ainda tem pouca circulação no Brasil. Levando em conta o interesse do poeta por artes visuais, optou-se por traduzir os poemas que Williams escreveu a partir de pinturas do mestre flamengo Pieter Brueghel (c. 1525-1569). O percurso proposto começa com um esboço da biografia de Williams, situando-o em relação a alguns de seus contemporâneos, como T. S. Eliot e Ezra Pound, para contextualizar o desenvolvimento de suas premissas artísticas. Em seguida, será abordada a trajetória de Pieter Brueghel — essa parte visa, principalmente, a descoberta de possíveis pontos de contato entre um pintor do período da Renascença e um escritor do início do século XX. No capítulo dedicado à fundamentação teórica, são elencados os critérios adotados no processo de leitura e tradução, tomando como base as ideias de Haroldo de Campos, Paulo Henriques Britto, Henri Meschonnic e Charles Hartman. Nas seções dedicadas a cada poema, discutem-se as especificidades do diálogo que se estabelece entre texto e imagem, além dos desafios e soluções encontrados ao longo do processo de tradução, especialmente no que diz respeito ao uso do enjambement. / [en] This master s thesis features annotated translations of poems by William Carlos Williams (1883-1963), a prominent author in the North American literary scene whose work is not widely available in Brazil. Prompted by Williams s interest in the visual arts, this thesis focuses on the translation of Williams s poems that were inspired by the paintings of Flemish master Pieter Brueghel (1525-1569). The research begins with a summary biography of Williams, describing his relationships with contemporaries such as T. S. Eliot and Ezra Pound, in order to contextualize the development of his artistic vision. Next, Brueghel s life and work are discussed, in part to discover possible commonalities between a Renaissance painter and an early 20th-century writer and poet. A chapter discussing the thesis s theoretical foundation lists the criteria used to analyze and translate Williams s poems, based on the ideas of Haroldo de Campos, Paulo Henriques Britto, Henri Meschonnic and Charles Hartman. Sections devoted to each poem discuss the various connections between image and text, as well as the challenges and their corresponding solutions throughout the translation process, particularly regarding Williams s use of enjambment.

This thesis offers a reassessment of Pieter Bruegel the Elder’s painting Children’s Games (1560, Kunsthistoriches Museum, Vienna). Addressing the lack of historically accurate interpretations of Bruegel’s panel, I use a wide range of sixteenth-century sources to develop fresh insights into how the work might have been understood by its original audience. The Introduction opens with a description of the painting’s iconography, provenance, current condition and conservation history. A review of previous literature relating to the panel sets Children’s Games within the trajectory of scholarship on Bruegel and other related works in his oeuvre and serves to highlight areas of scholarly difficulty and disagreement as well as current methodological trends. Considering the reception, rather than the inception, of Children’s Games, the third part of the Introduction outlines broader cultural developments which shaped habits of looking in the sixteenth century, including encyclopaedic texts, atlases, Wunderkammern and memory systems. Surmising that Bruegel’s viewers would have been adept at searching for arguments within abundant collections of material, I then introduce a number of sixteenth-century sources which detail contemporary attitudes towards game-playing. The Introduction ends with an outline of the structure and methodological approach of the thesis. Chapter 1, 'Artistic Precedents: Illuminated Manuscripts', considers the panel in relation to the iconography of popular games found in the borders of illuminated manuscripts produced in France and the Netherlands in the late fifteenth and early sixteenth century. After highlighting areas of shared iconography, I discuss how Children’s Games differs from illuminated manuscripts, concluding that Bruegel rejected the 'game of the month' tradition found in the calendar borders and instead amalgamated a variety of children’s games and festive customs to create a humanistic encyclopaedia of children’s culture. A second sixteenth-century source which details popular games is François Rabelais’s book Gargantua (1532). Chapter 2 presents my research into why Rabelais’s writing is relevant to Bruegel scholarship, including archival evidence that Rabelais’s books were available in Antwerp and an analysis of the Songes drolatiques de Pantagruel (1565), a collection of woodcuts which combined Rabelais’s name with Bruegelian imagery. I then compare Children's Games with the list of 217 popular games played by Gargantua and discuss how these fictional lists related to the factual compilations of the period. Gargantua’s game-list occurs in the context of his humanist education, a context which is also relevant to Bruegel’s panel. During the sixteenth century a wealth of material on children’s play and deportment emerged in the form of humanist school colloquies and treatises. A number of these were closely related to the education system in Antwerp and were penned by members of Bruegel’s circle of associates. These have never been brought to bear on Children’s Games, and are used in chapter 3 to develop a new, historically-accurate reading of the painting. The pedagogical texts suggest that during the sixteenth century children’s play was viewed positively and was closely bound to education, and so challenge the canonical view arising chiefly from c.17th emblem books and paintings that Children’s Games makes moral points about adult behaviour. Appendix 1 - Enumerates Bruegel’s games and records comparable depictions found in manuscripts, printed images and paintings from the fifteenth, sixteenth and seventeenth centuries. Appendix 2 - Presents versions of Gargantua’s game-list from original editions of Rabelais’s text alongside standard translations and modern critical editions.

Professor Pieter Marais, Executive Dean of the Tshwane University Technology’s (TUT) Faculty of Science, received a special award from the Director-General of the Department of Science and Technology, Dr Phil Mjwara, at a breakfast meeting of the South African Council for Professional Natural Scientists (SACNASP) recently

Zugl.: Zürich, Univ., Diss., 2008

Diss.--Philosophische Fakultät--Universität zu Köln, 1987. / Bibliogr. p.178-259.

Thesis (doctoral)--Universiteit Leiden, 2000. / "Stellingen": [2] p. inserted. Includes bibliographical references (p. 406-436) and index.

abstract: Bruegel is a four movement composition inspired by the paintings and engravings of Flemish artist Pieter Bruegel the Elder (1525-1569). It is scored for Bass Clarinet in Bb, Electric Guitar, One Percussionist (Glockenspiel, Woodblock, Snare, Kick Drum, and Brake Drums), Piano and String Quartet. Each movement explores a painting or engraving from Bruegel’s catalog of works and attempts to embody each piece of art through the use of certain compositional techniques. The Cripples (Movement I) explores layered rhythms and disjunct melodic fragments which play on the idea of Bruegel’s painting of crippled men trampling over each other and stumbling. Small moments of balance are found throughout only to be lost. Patience (Movement II) is based on an early engraving of Bruegel, which depicts a lone woman who represents a virtue, in this case patience, surrounded by sin and vices. Juxtaposed textures are presented with patience eventually finding itself victorious to temptation. Children’s Games (Movement III) explores a painting which depicts a large number of children playing a plethora of different games. The movement uses graphic notation and plays with the idea of games to create a compositional “game” for the ensemble. Big Fish Eat Little Fish (Movement IV) depicts a large fish eating several smaller fish. A process is introduced which plays on the idea of increasing density and lasts for the bulk of the movement. / Dissertation/Thesis / Masters Thesis Music 2016