This thesis is concerned with the discernment of rhetorical technique within the eighteenth-century opera seria. An oration and an opera seria are both carefully planned word strategies which are vocally performed before an audience with the aim both to entertain and to persuade. As the audience is led through a succession of events and emotional responses to these events, a climax is reached where the audience is suddenly aware of the message of the oration or drama, and the conclusion strongly reinforces this before the curtain drops. The audience is therefore obj ectively convinced as to the moral of the drama through the libretto and is similarly emotionally convinced through the use of music and gesture. This is the method of opera seria. The libretto, the music, and the acting all work towards the same rhetorical ideal of a moral lesson through persuasive presentation. It is truly an exercise in rhetoric from its smallest component to its overall structure. Pietro Metastasio (1698-1782) wrote his first opera seria libretto in 1724 -- Didone abbandonata (set by Domenico Sarro) -- and from this point on, he became the century's chief librettist for opera seria. Anxious to continue the earlier reforms in operatic libretti, Metastasio required an ideal model on which to base his reforms. Given his strong knowledge and ready skill in the art of oration, this thesis proposes that it is upon this model that he formulated his many opera seria libretti. Although the original 1724 production of Didone abbandonata was a great success, most eighteenth-century critics of opera maintained that the drama was best presented in the Rome production (1726) as set to music by Leonardo Vinci (1690-1730), and it is this setting which will be the focus of the thesis. Chapter I examines and defines the art of rhetoric. Proof is provided to illustrate that both music and rhetoric share the same means, procedures, and goals, and as seen through the words of musicians and writers of rhetoric, it is shown that they themselves borrowed extensively from each other. In Chapter II, the libretto of Didone abbandonata is analyzed as a rhetorical exercise using the rhetorical framework discussed in the previous chapter as a guide. Chapter III examines the persuasive functions of the aria and the accompanied recitative for, although the libretto alone is a persuasive argument, it grows more powerful when underlined and punctuated with music as a direct appeal to the emotions of the audience. Finally, Chapter IV concludes with a discussion of the abuse of the aria by virtuoso singers and the unchanging opera seria format whose principles did not adapt to changing tastes of the audience. As a result, the opera seria remains a genre of the early eighteenth-century. / Graduate / 0413

Regensburg, Univ., Diss., 2010.

Thesis--Northwestern University. / Includes bibliographical references (leaves 342-352).

No description available.

Cardinal Pietro Bembo's accomplishments as a poet, linguist, philologist, and historian are well known, but his activities as an art collector have been comparatively little studied. In his writing, he directed his attention to the past via texts--Ciceronean Latin and Petrarchan Italian--for their potential to transform present and future ideas. His assembly of antiquities and contemporary art served an intermediary function parallel to his study of texts. In this dissertation I investigate Bembo as an agent of cultural exchange by offering a reconstruction of his art collection and, in so doing, access his thinking in a way not yet accomplished in previous work on this writer. Chapter One offers a historiographic overview of my topic and collecting as a subject of art historical study. Chapter Two maps the competition and overlapping interests of collectors who bought from Bembo's heirs. Chapter Three calls upon anthropological methodology for treating the study of material culture and applies it to Bembo's mission as a collector. Chapter Four concludes with a statistical analysis of subjects and object types to which Bembo was drawn. In the extensive Object Catalog individual works are examined in conjunction with one another and considered for what they reveal about Bembo's theoretical strategy. Appendix A is a timeline outlining Bembo's life. Appendix B is a chronologically ordered selection of accounts describing Bembo as a collector and descriptions of his collection and his properties. Appendix C is a Bembo family tree. Appendix D presents by location known repositories for traced objects that can be connected to Bembo's collection. The recovery of Pietro Bembo as a collector illustrates that his wide-ranging ambitions were intertwined. His museum was not a place fixed in geography but, rather, a dynamic mechanism for transmitting the analytic power and poetic potential he located in the visual. / Art History

Thesis (doctoral) - Universität, Hamburg, 2004. / Includes bibliographical references (p. 529-539) and index.

Thesis (Ph. D.)--Yale University, 1981. / Typescript. Includes bibliographical references (leaves [395]-438).

Dissertação apresentada ao Programa de Pós- Graduação Interdisciplinar em Estudos Latino- Americanos da Universidade Federal da Integração Latino-Americana, como requisito parcial à obtenção do título de Mestre em Estudos Latino-Americanos. Orientador: Prof. Dr. Andrea Ciacchi / Submitted by Hugo de Carvalho Quinta (quintahugo@hotmail.com) on 2017-05-08T15:32:27Z No. of bitstreams: 1 DISSERTACAO_HUGO_VERSAOFINAL_MAIO2017_1.pdf: 24282822 bytes, checksum: 059d446ffbbc26fbd7d583d798e54106 (MD5) / Made available in DSpace on 2017-05-08T15:32:27Z (GMT). No. of bitstreams: 1 DISSERTACAO_HUGO_VERSAOFINAL_MAIO2017_1.pdf: 24282822 bytes, checksum: 059d446ffbbc26fbd7d583d798e54106 (MD5) Previous issue date: 2017-05-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) e Fundação Araucária / Este estudio tiene como objetivo presentar la trayectoria intelectual del Italiano Pietro Gori (1865-1911), durante el período que él vivió en Buenos Aires, entre 1898 y 1902. Gori fue abogado, anarquista, criminólogo, dramaturgo y poeta. La investigación trae la discusión sobre su estada en la capital argentina, donde desarrolló actividades intelectuales en los círculos anarquistas del país y en el círculo positivista-criminológico creado a partir de la revista que él fundó y dirigió en Buenos Aires, Criminalogía Moderna, entre noviembre de 1898 y enero de 1901, y en las innúmeras iniciativas en los países sur-americanos. Buscase, primero, el análisis de la actuación de Gori en Buenos Aires, para, después, recorrer y problematizar las andanzas del italiano por la América del Sur y, al cabo, presentar el proyecto intelectual de su autoría, la revista Criminalogía Moderna. El objetivo de este trabajo es reconstruir la trayectoria intelectual de Pietro Gori, entre 1898 y 1902, con el fin de objetivar las realizaciones, las relaciones establecidas y las idiosincrasias de sus actividades en Buenos Aires y en la región sur-americana. Este estudio manifiesta, en conjunto, las múltiples facetas de Gori, de modo a enseñar a su fructífera actuación en el entre siglos. / Este trabalho examina a trajetória intelectual do italiano Pietro Gori (1865-1911), durante o período que ele residiu em Buenos Aires, entre 1898 e 1902. Gori foi advogado, militante político, criminólogo, conferencista, dramaturgo e poeta. A pesquisa traz à baila a sua estada na capital argentina, onde desenvolveu atividades intelectuais nos círculos anarquistas, no círculo positivista-criminológico criado a partir da revista que ele fundou e dirigiu em Buenos Aires, Criminalogía Moderna, publicada entre novembro de 1898 e janeiro de 1901, e nas numerosas iniciativas realizadas em outros países sul-americanos. Busca-se, primeiro, analisar a atuação de Gori em Buenos Aires, para, em seguida, percorrer e problematizar as andanças do italiano pela América do Sul e, por cabo, apresentar o projeto intelectual de sua autoria, a revista Criminalogía Moderna. O objetivo deste trabalho é reconstruir a trajetória intelectual de Pietro Gori, entre 1898 e 1902, com o fim de objetivar as realizações, as relações estabelecidas e as idiossincrasias de suas atividades em Buenos Aires e na região sul-americana. Esta dissertação revela, em conjunto, as múltiplas facetas de Gori, de modo a demonstrar a sua frutífera atuação no entre-séculos.

Thesis (Ph. D.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references. Available also from UMI Company.

Diss. Univ. Montreal, Diss., 2006.