This dissertation is a comprehensive and analytical study of drawings and prints produced by artists and architects between the fifteenth and early seventeenth centuries showing Roman ruins. The unprecedented interest in classical antiquity that emerged in the fifteenth century, which came to define the artistic, architectural, and cultural evolution of the Renaissance, was the catalyst for the production of such ruin-based images, of which thousands of examples survive. Because these drawings and prints were all inspired by and depict Roman ruins, they have often been treated as a single, cohesive genre of image. In this dissertation, however, these ruin-based images are categorized as architectural or archaeological studies, vedute of ruinous land- or cityscapes, architectural treatise and guidebook illustrations, topographical maps, and imaginative reconstructions of antique monuments. They are examined according to distinct criteria such as media, methods of representation, and the different purposes for the creation of said works. As a result, a better understanding of the complexities of early modern antiquarian interests is revealed, especially in regards to the contributions of artists and architects to the early study of ancient architecture. This dissertation addresses how artists and architects were innately fascinated with the architectural remains of ancient Rome, and how the medium of drawing proved to be the ideal method for studying, understanding, and interpreting ruins. The reciprocal relationship between artists, architects, and antiquarians is also addressed with the result that many extant ruin-based images found in museums and art collections throughout the world can now be understood as an integral part of a widespread antiquarian movement that shaped the Renaissance and early Baroque periods, especially in Rome. / Thesis (Ph.D, Art History) -- Queen's University, 2013-04-29 15:23:15.07

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My dissertation, Jinxed, developed out of my interest in the movement between the comic and the tragic by tracing the evolution of a romantic relationship. While employing biblical, classical, literary, and pop-cultural traditions, my manuscript has its most clear affinities with Renaissance poetry that navigates between the erotic and the spiritual. The sequence of poems recreates the character of Petrarch's Laura in the Little Redhead Girl, Charlie Brown's first love. My Laura, however, is a feisty secular Irish woman who simultaneously frustrates and attracts a religious narrator. To explore the multifaceted nature of their love, I employ a variety of poetic techniques, such as the repetition inherent in the villanelle to express the powerlessness of the narrator as he begins to fall in love. In "To a Young Philosopher," a sestina, one of the repeated words ("ephemeral") triggers a philosophical discussion that is a proposal of marriage. The manuscript also uses other forms such as the sonnet, Spenserian stanza, terza rima, couplets, and blank verse. Narratively, it ends with Charlie Brown after he has missed kicking Lucy's football, falling to earth literally and symbolically. Poems in the manuscript have appeared in journals such as The Wallace Stevens Journal, Talking River Review, and Passages North.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Thesis (Ph.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / The problem of the dissertation is to formulate the relationship of John Colet (1467? -1519), Dean of St. Paul's Cathedral, London, to the resurgent study of "humane letters" in the fifteenth and sixteenth centuries. More specifically, the purpose is to indicate what Colet thought humanism to be, what in it appealed to him, and how much of it he took for his own. Further, it is hoped that it may have a more general value in suggesting some of the reasons humanism held the interest it did in ecclesiastical and theological circles, and some of the results to which the pursuit of that interest led. The method of the dissertation is descriptive and historical. The plan of the dissertation is first to discover the kind of humanism which Colet actually encountered in England, France, and Italy--what it was saying and doing, the audience to which it was addressed, and the motives which directed it. Thus a wide variety of contemporary writings and of analytical studies in the Renaissance in general and in humanism in particular are used. Second, the study asks what Colet himself really understood the new "humane letters" to be, what the nature of their appeal was -- personally and ecclesiastically. This latter step has demanded that the bulk of the work be done in Colet's own writings and in other relevant primary sources. Out of the first part of the study the thesis emerges that Renaissance humanism was primarily a literary and linguistic phenomenon, not a philosophical, nor even an aesthetic one. Humanists were craftsmen above all else, skilled in the arts of letter and document composition, who found employment chiefly as personal or municipal secretaries, diplomats, and teachers of the skills basic to their work--grammar, rhetoric, "poetry," and somewhat later, history and moral philosophy. Classical literature and style were increasingly seen to furnish nearly unlimited resources and actual models for the development of these skills. The characteristics of this humanism are then used as the criteria of comparison by which Colet is examined. In exploring the significance of Colet's academic program, both at Oxford and on the continent, we discover that he exhibited a rather definite order in the importance he attributed to his various studies: Christian teaching, humanistic techniques of criticism, platonic studies. Further, his Latin style and even his handwriting suggest that among the current academic schools and fads, it was the humanists with whom he wished to be identified. More revealing than these inferences is the assortment of writers he used in his own studies. They were not the great figures of the previous three or four centuries, but the "poets" of the classical world, especially of Rome, and of the early Church--the latter were significantly viewed not simply as the Church Fathers, but as the "Christian classics." Indeed, for Colet it was only after one had received the teaching of the Scriptures and these Christian classics that he could make proper use of the pagan classics. This seems clearly to reinforce the order of preference already noted in connection with his academic career. It was also the reason why Colet was so careful in defining the ancient authors who should be read by the 153 scholars in his St. Paul's School. Though Colet is often not entirely successful in maintaining this order in his use of the two "classics," both his attempt to do so and the particular historical-textual approach he made to much of the ancient literature--Scriptural, patristic, and pagan classical--all tend to justify the label "Christian humanist" which has been applied to him. / 2031-01-01

Thesis advisor: Laurie Shepard / "Rhetoric of Imagination and of Sprezzatura in Louise Labé and Isabella Andreini" redefines the relationship between gender and imagination in the act of writing. The goal is not to argue that women write in a different manner than men, rather, by reading their texts together with male contemporaries, this work illustrates how writers engaged in various strategies, and in particular the rhetoric of imagination and of sprezzatura, to establish themselves within the literary culture of the period. Labé (c.1520-1566) and Andreini (1562-1604), grant themselves the authority to write by modeling their needs on the examples set by their male counterparts. The Introductory Chapter consists of a statement of the purpose of the study, its significance, and an outline of the work; it also includes biographies of Louise Labé and Isabella Andreini and contextualizes their socio-economical status. Chapter 1: Prefaces in Louise Labé and Isabella Andreini, A Means to Self-Promotion, analyzes the prefaces of Labé and Andreini, in which they solicit patronage. This practice is an important tool for those seeking social mobility, security, and recognition by others. Chapter 2: Rhetoric of Imagination in Louise Labé and Isabella Andreini, elaborates the role and essential androgyny of imagination. By focusing on the fundamental characteristics of this faculty, its "power of sensory representation," this dissertation argues that Petrarca and Montaigne's idea of imagination is intimately related to man's desire to transform reality, to produce images and, ultimately, to engage in the act of writing, and both Labé and Andreini self-consciously reflect on this function in their words. Both writers develop a rhetoric of imagination that permits them to surpass the very question of gender by taking a position of power with respect to their writing and their rights as authors. Chapter 3: Rhetoric of sprezzatura in Louise Labé and Isabella Andreini, examines how Labé and Andreini use sprezzatura as a rhetorical strategy that allows them to identify with their male ounterparts and cross the boundaries of society while seeking "fame." From my analysis of imagination and sprezzatura I have observed that these are two conditions that create tension between their private and public spheres of Labé and Andreini. On the one hand, imagination is a mental effort, and belongs to the realm of the private; and, on the other, sprezzatura is tied to the rules of eloquence, thus belongs to the realm of the public. In their texts this duality manifests itself through the interplay of the androgynous "I" which masks their identity. In conclusion, this study shows how Labé and Andreini manipulate the existing dominating structure of society to fit gender expectations. / Thesis (PhD) — Boston College, 2013. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Romance Languages and Literatures.

This thesis reveals a culturally sophisticated Cypriot elite that moved with ease between Cyprus and Venice, between Orthodox and Latin devotions, between icon painting and up-to-date Italian artworks. Arranged in the form of microhistories, the present work discusses how the insular nobles negotiated their identity between the two centres during the early modern period. In Renaissance Venice, where they strove to be associated with the upper echelons of patrician society, the Cypriot elite followed the latest metropolitan trends, while on the island, where they were subject to a different set of social pressures, they opted for works in the traditional Byzantine style. At the heart of this study are three noble Cypriot lineages - the Podocataro, Costanzo, and Synglitico - that were well established in both Cyprus and the lagoon. Contrary to the prevailing perception of Cyprus as a distant colony where Renaissance culture found faint echoes only in the major urban centres, these families engineered and exploited opportunities for economic and social advancement that the shared political space of the stato da mar afforded them. Through the recovery of previously overlooked archival documents, the business and the domestic worlds of the three Cypriot families is reconstructed, while these sources shed new light on a series of significant paintings by leading Venetian masters.

Review of Ingratiation from the Renaissance to the Present: The Art and Ethics of Gaining Favor. By Jeff Diamond. Lanham, MD: Lexington Books, 2017. Pp. xviii+216. $100.00 (cloth); $95.00 (e-book).

La présente étude examine la construction et plus particulièrement les mécanismes de la paraphrase chez le poète et réformateur français Théodore de Bèze, et ce, à partir de quatre paraphrases psalmiques. Tous les Psaumes bibliques ont été traduits de l’hébreu en prose française en 1551 par Louis Budé, fils du grand humaniste Guillaume Budé (1480-1540) qui avait été directeur d’une bibliothèque royale consacrée à la collection de manuscrits de textes anciens. Théodore de Bèze, poète ayant écrit au début en latin et s’étant converti au calvinisme, s’est réfugié à Genève en 1548, et est devenu professeur de grec ancien à Lausanne. Placé dans un milieu de théologiens, dont Jean Calvin, Bèze a été poussé à réécrire les Psaumes en vers. Pourtant, il n’a pas fait cette réécriture mot à mot, mais a plutôt paraphrasé la prose. Il a terminé ce travail en 1562. Le premier chapitre de cette thèse a pour but de développer une méthodologie pour analyser la paraphrase biblique, méthodologie basée sur l’état présent de la recherche. Il s’agira des processus fondamentaux de la paraphrase biblique, ses fonctionnements. Le deuxième chapitre est consacré à l’analyse des quatre psaumes paraphrasés au moyen de nos fonctionnements, ayant pour objectif de déchiffrer les intentions paraphrastiques de Bèze.

Diss.--Kunst--Jena, 1998. / Bibliogr. p. 573-599. Index.