Thesis (Ph. D.)--Rutgers University, 2008. / "Graduate Program in Art History." Includes bibliographical references (p. 152-163).

Thesis advisor: Donald Hafner / Thesis advisor: Timothy Crawford / This Scholar of the College senior honors thesis moves beyond moral pronouncements and the vague excuse of international "lack of will" for genocide intervention to introduce an inductive typology identifying practical, specific factors responsible for the world's repeated unwillingness to intervene during genocide under the obligations of the 1948 Genocide Convention. Drawing on original, classified documents contained in the UN Office at Geneva, the thesis proposes methods of mitigating the influence of these factors and evaluates the degree to which the Responsibility to Protect, a new humanitarian intervention norm, attenuates or exacerbates the causes of non-intervention. The project was awarded the John McCarthy S.J. Award for the most distinguished Scholar of the College senior thesis in the Social Sciences at Boston College. / Thesis (BA) — Boston College, 2011. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: College Honors Program. / Discipline: Political Science Honors Program. / Discipline: Political Science.

This dissertation examines Raphael's Galatea (1512-13), located in the Villa Farnesina in Rome, and the role of viral transmission in relation to the iconic status and exclusivity of this fresco, and how its meaning and reception was shaped over time by its subsequent dissemination through print. The approach considers how human motivations and sensibilities drive and shape response, proposing that printed image and text participated in and amplified a process of social transmission. As such, prints can be examined, along with the objects they seek to interpret or mediate, using the contemporary notion of going viral. Printed images and text leave us traces of how ideas traversed time, place, audience, and culture, decontextualizing and then re-contextualizing works of art for distant audiences. Along the way, they shaped thoughts about those works as creators and consumers pursued agendas of their own. These portable objects offer us artifacts of the nuanced process of viral transmission that often includes a response to the original space and the insider discourses concealed on the larger market. As many details fell away, others solidified and remain with us today. Itself a response to predecessors in both literature and art, Raphael's Galatea inspired interpretations by others and became a work apart. After exploring the stories that evolved about the Villa Farnesina, its patron Agostino Chigi, and Raphael, this case study then turns to the creation and experience of the frescoes in the Loggia of Galatea. It sheds new light upon Raphael's fresco as a remarkable response to the holistic experience of Agostino Chigis villa and the intertextual and intermedial dialogue taking place amongst the various works. The final content chapter offers a re-evaluation of related engravings by Marcantonio Raimondi, Marco Dente, Hendrick Goltzius, and others, from the more familiar to the more obscure. This examination reveals an insider dialogue lost over time, illuminating how viral transmission shaped attitudes about art and artists, ultimately contributing to the formation of a canon. / Art History

In this study, I argue that the cult of the artist centered on memorial making. From the Quattrocento through the Seicento, the growth in the size and number of memorials for artists parallels the changes that took place regarding the social class, professional position, and economic privilege of practitioners of the three main visual arts, painting, sculpture, and architecture. Similar to portraits, self-portraits, personal emblems, and signatures, tomb effigies and epigraphs were a type of construction of identity that articulated similar notions, serving as a form of popular praise and as a way to preserve one's memory for posterity. Moreover, tombs for artists existed in the public sphere on a grand scale, reaching larger audiences and thus having a greater cultural impact. Additionally, in tandem with contemporary art theory, tomb making became a tangible outlet for the paragon of the arts and for comparison against each other. The funeral ceremony functioned not only as a communal display of local pride but it also served as a vehicle for constructing artist-patron relationships and a way to promote the profession. The faculty to fashion artistic ties through the public spectacle of the funeral and the permanent medium of the memorial proved to be particularly essential for the newly formed art academies in regard to group identity and professional bonding. Publicizing the unification of the three arts was a key concern for the academies, especially in regard to decorating communal burial sites and devising group insignia. The display of emblematic imagery in addition to the erection of inscriptions that link the artist to his master on the tomb memorial became a palpable way to formulate an artistic pedigree for that particular artist and for that associated community of artists. The early art companies in central Italy--I Virtuosi al Pantheon in the 1540s in Rome, the Accademia del Disegno in the 1560s in Florence, and the Accademia di San Luca in the 1590s in Rome--were founded with the intention to properly bury their members. Moreover, for members, establishing ties to Raphael and Michelangelo, who received unprecedented burials, were hailed as symbolic figureheads for the academies, and were venerated as "artistic saints," lies at the center of sixteenth-century memorial making for artists. For some in the profession, as was the case for the followers of Raphael, being buried near their capomaestro solidified real or desired connections. The display of what was believed to be Raphael's skull in the seventeenth-century Roman Academy exhibits the new regard for the artist. The physical being of the artist came to be an object charged with meaning, similar to a holy relic, bringing new meaning to the concept of the "divine artist." For others, viewing the miracle of the unmarred corpse of Michelangelo, their padre delle tre arti, upon the opening of his coffin after it arrived in Florence, left a lasting impression. By exploring the panegyric following of Raphael and Michelangelo with a focus on tomb memorials, this dissertation explores what is meant by the phrase the "cult of the artist," especially in relation to these two masters. In doing so, this study synthesizes and weaves together otherwise disparate sources in order to elucidate a better understanding of the idea of the artist during the Early Modern period in Italy. As it proves, honoring the artist through the creation of memorials was the principal way to publicly pay tribute to those in the trade and provided a new type of artistic camaraderie. / Art History

My dissertation studies the typological juxtaposition and syncretic incorporation of classical and Christian elements-subjects, motifs, and forms-in the art of the Italian Renaissance and the significant meaning of classical subjects and figures in such contexts. In this study, I analyze the interpretative modes applied to extra-Biblical and secular literature in the Italian Tre- and Quattrocento and the syncretic philosophies of the later Quattro- and early Cinquecento and reevaluate selected works of art from the Italian Renaissance in light of the period claims and beliefs that are evident from such a study. In summary, my dissertation considers the use of classical subjects, motifs, and forms in the art of the Italian Renaissance as a means to gloss or reveal aspects of Christian doctrine. In chapter 1, I respond to the paradigm proposed by Erwin Panofsky (Renaissance and Renascences) and establish a new criteria for understanding the difference between medieval and Renaissance perceptions of classical antiquity. Chapter 2 includes a study of the mythological scenes painted in the Cappella Nova of Orvieto Cathedral, which are here shown to gloss and reveal aspects of the developing Christian doctrine of Purgatory. In chapter 3, I study the Renaissance use of representational ambiguity as a means of signifying the propriety of pursuing an allegorical interpretation of a work and specifically address the typological significance of figures in Botticelli's Primavera. In chapter 4, I examine the philosophical concepts of prisci theologii and theologicae poetae and their significance in relation to the representation of classical figures in medieval and Renaissance works of art. This study provides the necessary background for a reevaluation of syncretic themes in Raphael's Stanza della Segnatura, which is the subject of the final chapter. In chapter 5, I identify classical figures in the frescoes of the Stanza della Segnatura-among them, Orpheus in the Parnassus and Plato and Aristotle in the Disputa-and offer a new interpretation of the iconographic program of the Stanza della Segnatura frescoes as a representation of the means by which participants in the Christian tradition, broadly conceived, approach God through the parallel paths of dialectic and moral philosophy. / Art History

Freie Univ., Diss.--Berlin, 2002. / Literaturverz. S. 267 - 286.

[pt] O presente trabalho propõe uma investigação de algumas das condições de possibilidade quanto ao conceito de Genocídio. Buscando entender alguns dos limites políticos e sociais na utilização do termo Genocídio – no Internacional ou não -, estabelece-se uma análise que tenta conciliar as bases que tornam possível a invenção do conceito em 1944 pelo jurista polonês Raphael Lemkin, bem como sua recepção, abordagem, e disputas quanto ao que o conceito deve(ria) significar entre 1944 e dezembro de 1948, quando a Convenção para a Prevenção e a Repressão do Crime de Genocídio foi aprovada pela Assembleia Geral das Nações Unidas. Mais do que apenas determinar a politização (Politisierung) do Conceito, argumenta-se que um entendimento sobre o que Genocídio é ou deveria ser, seja no recorte temporal proposto, seja nos debates que se seguem no Campo de Estudos sobre Genocídio, requer uma abordagem que reflita as múltiplas temporalidades que cada reinvindicação de significado do Conceito traz em si. / [en] This work seeks to investigate a few of the conditions of possibility for a concept of Genocide. By establishing an analysis that tries to reconcile the basis under which the creation of the concept in 1944, as well as its reception, take and dispute of what the concept must (have) mean(t) between 1944 and December 1948, when the Convention on the Prevention and Punishment of the Crime of Genocide was approved by the United Nations General Assembly, this work aims for an understanding of a few of the political and social limits on the employment of the term Genocide. More than just considering the politicisation (Politisierung), it is argued that a certain understanding of what Genocide is or ought to be, be it through the proposed temporal frame or through the debates that follow in the Field of Genocide Studies, requires an approach that reflects on the multiple temporalities that each claim for a certain meaning that is brought within the Concept.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Thesis (M.A.)--West Virginia University, 2002. / Title from document title page. Document formatted into pages; contains v, 91, li p. Includes abstract. Includes bibliographical references (p. 89-90).

This work examines the relationship between moral philosophy and literature. I start by exploring a dialectic that exists between “prevalent view” theorists (i.e., D. D. Raphael and Onora O'Neill), who argue that the moral interest of literature lies in explicit deliberative arguments modeled in literary texts, and Diamondian realist theorists (i.e., Alice Crary, Cora Diamond and Iris Murdoch), who argue that the “prevalent view” is too narrow. Rather, the ways in which literature affects us emotionally can make ineliminable contributions to fully rational moral thought. In Chapter Two, I explore potential challenges to this position, drawn from the works of Simon Blackburn. He argues that there are epistemological concerns (it relies upon a faulty view of language), and moral concerns (specifically relativism) with Diamondian realism. I respond to these challenges in Chapter Three and conclude that Crary, Diamond, and Murdoch have given us a better picture of literature's moral value.