Submitted by Marta Toyoda (1144061@mackenzie.br) on 2016-12-05T23:32:55Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Débora Gigli Buonano.pdf: 3732862 bytes, checksum: 667a4d9313801b8d967e1629c46019c8 (MD5) / Approved for entry into archive by Paola Damato (repositorio@mackenzie.br) on 2016-12-06T11:40:56Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Débora Gigli Buonano.pdf: 3732862 bytes, checksum: 667a4d9313801b8d967e1629c46019c8 (MD5) / Made available in DSpace on 2016-12-06T11:40:56Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Débora Gigli Buonano.pdf: 3732862 bytes, checksum: 667a4d9313801b8d967e1629c46019c8 (MD5) Previous issue date: 2016-02-05 / This doctoral research project is a study of the critical texts of Pietro Maria Bardi on design exhibitions that took place at MASP, Museu de Arte de São Paulo Assis Chateaubriand, the period in which he was director. The study was conducted from exhibition files and they have served as a source : newspapers, magazines, books and catalogs. The research has sought to understand the importance of Bardi and his avant-garde conception of design in Brazil. The work also intends to review, through the speeches of Bardi, questions about art, craft and design and how these connections have been articulated by him in museum shows and their rehearsals. / Este trabalho de pesquisa de doutorado trata de um estudo dos textos críticos de Pietro Maria Bardi sobre as exposições de design que ocorreram no MASP, Museu de Arte de São Paulo Assis Chateaubriand, no período em que foi diretor. O trabalho foi realizado a partir dos arquivos das exposições e serviram como fonte jornais, revistas, livros e catálogos. A pesquisa tem buscado entender a importância de Bardi e sua concepção vanguardista acerca do design no Brasil. O trabalho pretende também rever, através dos discursos de Bardi, as questões sobre arte, artesanato e design e como estas conexões foram por ele articuladas nas mostras do museu e em seus ensaios.

This dissertation examines the Liber consolationis phisonomie by Pietro d'Abano (c. 1250-1316) and places the work both in the context of medieval psychological theories and of scholastic culture. Physiognomy, the practice of studying a person's physical appearance in order to discern his or her emotions, personality, moral character, and intellectual capacities, rests on the assumption that the physical body is somehow connected to the spiritual self. This study explores how medieval people conceived of that relationship through a broader examination of theories about emotion, personality, and intelligence. Pietro d'Abano was an unusual figure who bridged the occupational identities of physician and philosopher, just as the study of psychology bridged the disciplines of medicine and philosophy. Pietro was highly materialist in his conception of human nature. While scholars of Pietro's work have noticed this tendency in his more mature thought, especially his medical text the Conciliator, his Liber consolationis phisonomie, his earliest known work, has been largely overlooked. This is understandable, as it is largely an aphoristic summary of what physical traits indicate what mental ones. However, it provides valuable insights into the development of Pietro's thought as well as the role of physiognomy in medieval learned and popular culture. This study concludes with an examination of Pietro's legacy, namely the reputation he obtained in the Renaissance for being a magician. It examines medieval theories about magic, the role of spurious attributions in creating textual authority, and how Pietro's own materialist conception of the universe and human nature may have contributed to his constructed posthumous identity.

No description available.

In her diploma thesis "The Holy See and the fascist Italy on the way to solving Roman question in the 20s of the 20th Century", the author shall address the relation between the Holy See and the fascist Italy within the period of 1922-1929. She shall undertake an analysis of the development and transformation of this relation from Benito Mussolini's rise to power until the adoption of the Lateran Treaties. Simultaneously, the author shall focus on political- religious circumstances affecting this relationship, such as the assassination of a socialist parliamentarian Giacomo Matteotti in 1924 contextualized within the then development of Italy. The thesis shall primarily draw on the studies of selected sources (editions, press) as well as foreign scholarly literature.

No description available.

This thesis examines the production and reception of Pietro Mascagni’s opera Cavalleria Rusticana in Stockholm in December 1890. The opera had been successfully premiered in Rome in May 1890. The first performance outside Italy took place at the Royal Opera House in Stockholm seven months after the premiere.  The aim of the thesis is to increase the understanding of opera as a cultural phenomenon in Stockholm at the end of the 19th century. William Sewell’s ideas about the different meanings of the word ‘culture’ are used to give content to the concept of ‘cultural phenomenon’. Culture is seen as a category of social life with both a system of symbols and a sphere of practice.   The primary sources are documents from the Archive of the Royal Theatres and Swedish newspapers in the database ‘Svenska Dagstidningar’ at the National Library of Sweden. The study shows that Cavalleria Rusticana was staged unusually quickly in Stockholm and seems to have become a role model for future short staging processes. The thesis describes and analyses parts of the production process and identifies the factors that made the rapid process possible. Ticket sales and the number of performances are examined to describe and analyse audience reception. The Swedish press coverage of Cavalleria Rusticana was extensive before and after the Stockholm premiere. The thesis describes and analyses the content of the newspaper reports. Finally, some suggestions for further research are made.

La critique littéraire et théâtrale a indiqué que le changement de la scène comique vénitienne de la moitié du XVIIIe siècle est le résultat de la réforme goldonienne. Cependant, sans rien ôter au rôle essentiel de Goldoni, le rapport pourrait être renversé : les bouleversements dans l’équilibre concurrentiel de la comédie vénitienne entre 1748 et 1753 provoquent la naissance d’exigences bien précises de la parte des directeurs de la troupe ou des propriétaires des théâtres ainsi que la capacité des poètes de s’affirmer comme « auteurs de comédies », de réagir et de réaliser sur le champ des dramaturgies nouvelles. Ce contexte produit un changement profond du genre dramatique, par rapport à la tradition du répertoire, sans une rupture véritable, mais à travers une régénération progressive. Il faut également souligner que ce contexte dérive du roman moderne, à travers des adaptations directes ou l’adoption de mécanismes du roman. La recherche désire comprendre le «pourquoi» de la naissance du goût romanesque dans la comédie vénitienne pendant les années plus significatives du renouvèlement comique (1748-1753) et préciser quelles ont été les impulsions essentielles qui ont su forger la proposition dramatique de Carlo Goldoni et de Pietro Chiari. Dans la première partie de la Thèse (Le contexte d’entreprise) nous avons examiné les principaux évènements des entreprises théâtrales comiques vénitiennes, c’est-à-dire de l’entreprise Medebach-Goldoni au Sant’Angelo, de celle de Vendramin au San Luca, pour terminer avec celle de Grimani au San Samuele et San Giovanni Grisostomo. La deuxième partie (Le texte romanesque) propose l’analyse et la comparaison de l’élément romanesque dans quelques œuvres de Chiari (La dilogie de Marianne) et de Goldoni (Pamela, I due gemelli veneziani, L’incognita, L’avventuriere onorato et Il bugiardo). / In the Venetian scene of the mid-eighteenth Century and therein theatrical picture in its complete transformation, a new repertorial proposition catches on, sealed it by critics as ''The outcome of the Italian Comic Reform''. The upheaval in the competitive balance between 1748 and 1753 has raised specific enterpreneurship necessities as also the right for poets to assert themselves as ''Authors of Comedies''. In this context takes place a profound dramatic renewal, which finds new strenght from the rampant model of the modern novel alongside the repertorial tradition, in order not to mark a rupture, but instead, a progressive regeneration from the inside. The primary concern of this research is to determine the reason why romance comedy emerged right in the years of the most significance of the comic renewal (1748-1753) and secondly to state what were the essential pressures of whom forged the dramatic proposal of Carlo Goldoni and Pietro Chiari. The first part of this research (The Business Context) is analysing the main vicissitudes of Comical theatrical Venetian Companies, such as:Medebach-Goldoni in Sant'Angelo, Vendramin in San Luca, Grimani in San Samuele and San Giovanni Grisostomo. The second part (the Romance text) depicts the analysis and comparison between the romance element in some works of Chiari (Il dittico di Marianna) and Goldoni (Pamela, I due gemelli veneziani, L'incognita, l'Avventuriere onorato e Il bugiardo).

Thesis--Catholic University of America. / "Appendix of documents": p. 368-432. Bibilography: p. 436-451.

Setting a very famous Metastasio's libreto Semiramide riconosciuta to music in Prague in 1752, Giovanni Marco Rutini has ranked among the best composers of his time. The aim of this thesis is to explore the process of this production coming to light: the influence of changes in the original libretto in the beginning to the impact of music later. Researching the context of the Prague theatre productions in the 1750s, we were further able to make some suggestions about the reasons of these changes/interpretations. Studying the dramaturgical level of this composition in the first place, we were using comparison and stylistic analytical methods which showed Rutini as a very creative composer with a sense of dramatical situations and a characterization skills. Key words: Giovanni Marco Rutini, Semiramide riconosciuta, Pietro Metastasio, Giovanni Battista Locatelli, Christoph Willibald Gluck, dramaturgy of opera, musical analysis

Die vorliegende Arbeit hat es sich zum Ziel gesetzt, einen Überblick über die Verwendung der beiden Arzneipflanzen Zingiber officinale ROSCOE und Alpinia officinarum HANCE in der Geschichte der europäischen Phytotherapie zu geben. Dazu wurden insgesamt fast 90 Texte untersucht und verglichen, wobei nicht nur Standardwerke, sondern auch eher unbekannte Schriften und Zeugnisse der Volkskunde und populärwissenschaftliche Bücher berücksichtigt wurden. Bereits den antiken Autoren war der Ingwer als Arzneipflanze bekannt, und er wurde für unterschiedliche Indikationsgebiete verwendet. Im Mittelalter genoss das Gewürz ebenfalls ein hohes Ansehen und findet sich bei fast allen der untersuchten Autoren wieder. Diese Tatsache ist erstaunlich, wenn man die damaligen langen und kostspieligen Transportwege von den Ursprungsländern in Südostasien bis nach Europa bedenkt. Nach dem System der Humoralpathologie wurde dem Ingwer als wärmender Arzneipflanze die Fähigkeit zugeschrieben, Krankheiten zu heilen, die durch kaltes Phlegma hervorgerufen werden. Vielfältige Indikationen, angefangen vom Einsatz bei Erkrankungen des Kopfes, der Lunge, des Magen-Darm-Traktes, von Herz und Blutgefäßen, der Leber und Milz, der Harnwege, bis hin zu Haut- und Gelenkerkrankungen sowie der Einsatz als Aphrodisiakum belegen die unterschiedlichen Nutzungsmöglichkeiten des Ingwers. Über viele Indikationen herrscht eine erstaunliche Konstanz über die Jahrhunderte, und vor allem im Bereich des Magen-Darm-Traktes gibt es auch nach modernen wissenschaftlichen Methoden nachgewiesene Wirkungen. Während der Galgant bei den griechischen und römischen Ärzten nicht bekannt war, kam die Pflanze durch den arabischen Fernhandel nach Europa und war hier erst seit dem 9. Jahrhundert verbreitet. Von den arabischen Ärzten tradiertes Wissen trug dazu bei, dass der Galgant als Heilpflanze Bedeutung erlangte und im gesamten Mittelalter bis in die Neuzeit eine sehr geschätzte Pflanze mit vielfältigen Indikationen war. Auch hier sind es vor allem die Anwendungen im Gastrointestinaltrakt, die nach modernen Forschungsergebnissen bestätigt werden. Die moderne Phytotherapie ist eine medizinische Behandlungsmethode, in der als Arzneimittel Phytopharmaka angewendet werden. Nicht zur Phytotherapie zählen die Homöopathie oder die Antroposophie. In der Phytotherapie werden Pflanzen oder Pflanzenteile als stoffliche Einheit betrachet, isolierte Stoffe werden nicht zu den Phytopharmaka gerechnet. Ebenso wie andere Arzneimittel müssen Phytopharmaka durch zuständige Behörden nach Nachweis von Qualität, Wirksamkeit und Unbedenklichkeit zugelassen werden, in Deutschland vom Bundesinstitut für Arzneimittel und Medizinalprodukte. / This work will give an overview of the use of two medicinal plants Zingiber Officinale ROSCOE and Alpinia Officinarum HANCE in the history of European phytotherapy. As such almost 90 texts were analysed and compared, not only standard writings, but also unknown ones and those of folklore and of popular science. Even in the times of the ancient authors ginger was known as a medicinal plant and used in a variety of indications. In the Middle Ages the spice was very popular and almost all the authors analysed describe it. This is amazing when one considers the difficulties in transporting the plant from the countries of origin in Southeast Asia to Europe. Due to the system of humoral pathology, ginger as a warming plant is able to cure diseases such as those caused by cold phlegm. There were many known indications ranging from use in disorders of the head, of the lungs, of the gastrointestinal system, heart and blood vessels, liver and spleen, urinary tract, to skin and joint disease and use as an aphrodisiac that demonstrate the many different uses of ginger. Many indications have shown a surprising constancy over the centuries, especially in the gastrointestinal tract where there have been recent scientifically proved effects. While galangal wasn’t known to the ancient Greek and Roman physicians, it came to Europe by way of long-distance trading and was known from the 9th century. The traditional knowledge of the Arabic physicians contributed to the importance galangal acquired as a medicinal plant from the Middle Ages to modern times with a variety of indications. Again, it is above all the applications in the gastrointestinal tract, which have been confirmed by modern research. Modern phytotherapy is a science where phytotherapeutics are used. Isolated extracts of plants or homeopathic or anthroposophic drugs are not included in this definition. Like other medicines, phytotherapeutics must be approved by competent authorities to demonstrate their quality, efficacy and safety in Germany by the Federal Institute for Drugs & Medical Products.