A partir del examen de documentos inéditos, este artículo muestra que Blas Valera (1545-1597) fue autor de un Arte de la lengua índica, que circulaba en Sevilla en 1595. Sostiene también que Valera puede ser identificado como el director detrás del Arte y vocabulario en la lengua general del Perú, publicado anónimamente en 1586. El estudio reconstruye, además, el contexto intelectual que hizo posible la circulación de la obra de Valera y los criterios filológicos que permitieron insertar su obra en las discusiones sobre las reliquias y libros del Sacro Monte de Granada y sus implicaciones sobre la historia de la iglesia primitiva española.Palabras clave: Blas Valera, Sacro Monte de Granada, Inca Garcilaso de la Vega, Tercer Concilio de LimaAbstractRelying on unpublished documents, this article maintains that Blas Valera (1545-1597) authored an unknown Arte de la lengua índica that circulated in Seville in 1595. It also argues that Valera can be identified as the single director behind the Arte y vocabulario en la lengua general del Perú that was published anonymously in 1586. In addition, this study reconstructs the intellectual milieu that made the circulation of Valera’s grammar possible and the philological criteria that laid the groundwork for its insertion in the debate regarding the relics and leaden books recently discovered at Granada’s Sacro Monte, and their implications for the history of Spain’s early Church.Keywords: Blas Valera, Sacro Monte de Granada, Inca Garcilaso de la Vega, Lima’s Third Council

Submitted by Giovanna Brasil (1154060@mackenzie.br) on 2018-04-26T20:25:41Z No. of bitstreams: 2 Katia Sugawara.pdf: 13149838 bytes, checksum: 8709c3dee46eadc932a66a8b3a4ecd99 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Paola Damato (repositorio@mackenzie.br) on 2018-04-28T16:06:44Z (GMT) No. of bitstreams: 2 Katia Sugawara.pdf: 13149838 bytes, checksum: 8709c3dee46eadc932a66a8b3a4ecd99 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-04-28T16:06:44Z (GMT). No. of bitstreams: 2 Katia Sugawara.pdf: 13149838 bytes, checksum: 8709c3dee46eadc932a66a8b3a4ecd99 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-02-02 / Religious production is a recurrent and constant theme of architectural production. The buildings dedicated to the cult are protagonists when talking about Western architecture, are icons or references of historical periods. Generally of remarkable and majestic architecture, the religious temples are loaded with symbols, forms and concepts of the temporal space in which they were produced. In Brazil, however, this architectural production also became relevant to history, however, initially, it presented itself in smaller proportions. This small space dedicated to religious rites, here defined as "chapel", was present in the history of Brazil from the Portuguese colonization, a society mostly Catholic at the time. The chapels, however, presented themselves as annexes to the buildings of a country estate or a college. After five centuries, the permanence of these small religious buildings as annexes is still constant in architecture. Thus, guided by this context, the work presented consists of the study of the sacred space in chapels annexed to buildings in Brazil, through the graphic analysis and contextualization of five chapels designed and built between 1985 and 2015. The purpose is to reflect and discuss the architecture of these spaces, the territory in which they are inserted, the materials used, the formal project and the rescue of the liturgical elements, in order to identify the composition and character of the sacred space produced in the referred period. It is also important to observe the architectural characteristics of these spaces today in relation to the colonial era chapels and to identify which elements or sacred signs were kept or eliminated. / A produção religiosa é tema recorrente e constante da produção arquitetônica. Os edifícios dedicados ao culto são protagonistas quando se fala de arquitetura ocidental, são ícones ou referências dos períodos históricos. Geralmente de arquitetura notável e majestosa, os templos religiosos se apresentam carregados de símbolos, formas e conceitos do espaço temporal em que foram produzidos. No Brasil, não obstante, essa produção arquitetônica também se fez relevante à história, todavia, inicialmente, apresentou-se em proporções menores. Este espaço de pequena dimensão dedicado a ritos religiosos, aqui definidos como “capela”, esteve presente na história do Brasil a partir da colonização portuguesa, sociedade majoritariamente católica na época. As capelas, no entanto, apresentavam-se como anexos às edificações de uma propriedade rural ou de um colégio. Passados cinco séculos, a permanência destes pequenos edifícios religiosos como anexos ainda é constante na arquitetura. Assim, guiados por esse contexto, o trabalho apresentado consiste no estudo do espaço sacro em capelas anexas a edificações no Brasil, através da análise gráfica e contextualização de cinco capelas projetadas e construídas entre 1985 e 2015. O propósito é refletir e discutir a arquitetura desses espaços, o território em que estão inseridos, os materiais utilizados, o projeto formal e o resgate dos elementos litúrgicos, a fim de identificar a composição e o caráter do espaço sacro produzido no período referido. Cabe ainda observar as características arquitetônicas desses espaços atuais em relação às capelas da época colonial e identificar quais elementos ou sinais sacros foram mantidos ou eliminados.

The result of the rendered image obtained after the restoration has been and is a complex and controversial issue. It has been treated throughout history by many specialists, who have built their theories in the shelter of the cultural sensitivity of its time. Especially important for current experts of the Mediterranean area are the premises that Cesare Brandi formulated in the middle of the last century, although, nowadays, the concept of heritage on which he built his treatise has changed. Cultural properties are not only those that are relevant for their historic or artistic quality. The symbolic value of the work of art is a fundamental aspect to take into account also, therefore, the classical theories may not be valid. The current premises say that the authenticity of an artistic property lies in the sum of the values that characterize that object in the present and that, therefore, it is not something that comes because of the past. That is why the terms of the cultural property ceases to be, in some works, the main thing, because not only is restored this aspect. Both values have to be preserved, the immaterial and the material ones. From this perspective, since the subjects bring values, it is essential for the intervention take into account the needs of the users of the works. But this, in the workshops seems to be not accepted. The influence of positivism at the base of the formation of the majority of the technicians and the advances in technology make the intangible information stays relegate to the background. It is not assumed that science provides only part of the information and that it does not have all the answers. You need to search, in the restoration of the lost image, aims to recover the aesthetic experience of those who provide consideration of heritage to that cultural property. For this reason it is essential to judge the problem from the consensus and shared dialogue, which have to be involved both, specialists and users. And in this intersubjective space it is where there are the answers that better they will answer to the horizon of expectations of all the involved parts. To understand how to apply to the praxis all these new current theoretical concepts, there are exhibited thirteen cases of works of sacred art with different problems. The selected works are of religious themes because, in them, the symbolism plays an essential role and makes the critical judgment more complex. / El resultado de la imagen representada que se obtiene tras la restauración ha sido y es un tema complejo y polémico. Ha sido tratado a lo largo de la historia por numerosos especialistas, que han construido sus teorías al abrigo de la sensibilidad cultural de su época. Especialmente importantes para los técnicos actuales del ámbito mediterráneo son las premisas que enunció Cesare Brandi a mediados del siglo pasado, aunque, hoy en día, el concepto de patrimonio sobre el que edificó su tratado ha cambiado. Los bienes culturales no son sólo aquellos que son relevantes por su calidad artística o histórica. El valor simbólico de la obra es un aspecto fundamental a tener en cuenta también, por ello, las teorías clásicas pueden no resultar válidas. Las premisas actuales dicen que la autenticidad de un bien reside en la suma de los valores que caracterizan a ese objeto en el presente y que, por tanto, no es algo que venga dado del pasado. De ahí que la materia del bien cultural deja de ser, en algunas obras, lo prioritario, porque ya no sólo se restaura esta. Se tienen que conservar tanto los valores materiales como los inmateriales. Desde esta perspectiva, y dado que los sujetos aportan los valores, es imprescindible que en la intervención se tenga muy en cuenta las necesidades de los usuarios de las obras. Pero esto, en los talleres parece no ser aceptado. La influencia del positivismo en la base de la formación de la mayoría de los técnicos y los avances de la tecnología hacen que la información intangible se quede renegada a un segundo plano. No se asume que la ciencia aporta sólo parte de la información y que no tiene todas las respuestas. El objetivo que se tiene que buscar, en la restauración de la imagen perdida, es recuperar la experiencia estética de los que aportan la consideración de patrimonio a ese bien. Por ello es imprescindible enjuiciar el problema desde el consenso y el diálogo compartido, en el que tienen que participar tanto los especialistas como los usuarios. Y en ese espacio intersubjetivo es donde se encuentran las respuestas que mejor responderán al horizonte de expectativas de todas las partes involucradas. Para entender cómo aplicar a la praxis todos estos nuevos conceptos teóricos actuales, se exponen trece casos de obras de carácter sacro con diferente problemática. Las obras seleccionadas son de temática religiosa debido a que en ellas el simbolismo juega un papel esencial y hace que el juicio crítico sea más complejo. / El resultat de la imatge representada que s'obté després d'una restauració ha sigut i és un tema complex i polèmic. Ha estat tractat al llarg de la història per nombrosos especialistes, que han construït les seues teories a l'empara de la sensibilitat cultural de la seua època. Especialment important per als tècnics actuals de l'àmbit mediterrani són les premisses que va enunciar Cesare Brandi a mitjan segle passat, encara que, avui dia, el concepte de patrimoni sobre el qual va edificar el seu tractat ha canviat. Els béns culturals no són només aquells que són rellevants per la seua qualitat artística o històrica. El valor simbòlic de l'obra és un aspecte fonamental a tenir en compte també, per això, les teories clàssiques poden no resultar vàlides Les premisses actuals diuen que l'autenticitat d'un bé resideix en la suma dels valors que caracteritzen a aquest objecte en el present i que, per tant, no pot vindre establert del passat. Per aquest motiu la matèria del ben cultural deixa de ser, en algunes obres, el prioritari, perquè ja no només s'hi restaura aquesta. S'han de conservar tant els valors materials com els immaterials. Des d'aquesta perspectiva, i atès que els subjectes aporten els valors, és imprescindible que en la intervenció es tinga molt en compte les necessitats dels usuaris de les obres. Però açò als tallers sembla no estar acceptat. La influència del positivisme a la base de la formació de la majoria dels tècnics i els avanços de la tecnologia fan que la informació intangible es quede renegada a un segon pla. No s'assumeix que la ciència aporta sols part de la informació i que no té totes les respostes. L'objectiu que s'ha de buscar, en la restauració de la imatge perduda, és recuperar l'experiència estètica dels quals aporten la consideració de patrimoni a aquest bé. Per això és imprescindible enjudiciar el problema des del consens i el diàleg compartit, en el qual han de participar tant els especialistes com els usuaris. I en aquest espai intersubjetiu és on es troben les respostes que millor respondran a l'horitzó d'expectatives de totes les parts involucrades Per entendre com aplicar a la praxi tots aquests nous conceptes teòrics actuals, s'exposen tretze casos d'obres de caràcter sacre amb diferent problemàtica. Les obres seleccionades són de temàtica religiosa a causa que en elles el simbolisme juga un paper essencial i fa que el judici crític siga més complex. / Navarro Bayarri, JL. (2017). Arte Sacro y Restauración: Entre la ortodoxia teórica y la subjetividad [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/86180 / TESIS

This dissertation analyzes fifteenth-century representations of the Last Supper that were painted on the walls of monastic refectories located in and around the city of Florence, with a focus on the viewer’s multi-sensory experience of the paintings in their spaces of reception and in relation to theatrical performance. The project explores Domenico Ghirlandaio’s innovative approach to the composition and its relationship with the refectory (or dining hall) through compositional changes, particularly with his Last Supper at the convent of Ognissanti (c. 1480-1481), that marked an important pivot in the presentation of this familiar iconography by demonstrating a greater awareness of and engagement with the viewer. These pictorial innovations relate to the performance of devotional plays (sacre rappresentazioni) in fifteenth-century Florence and inspired the construction of sacred mountain sanctuaries (sacri monti) composed of multi-media sculptural groups arranged in devotional chapels. My dissertation illustrates how each of these modes of representation—painting, performance, and multi-media sculpture—reacted to and altered their spaces of reception, involving their viewers as active participants in immersive, sensorial experiences. The first chapter explores the origins and development of the monumental Last Supper frescoes in Florence’s monastic refectories, a tradition known as i cenacoli fiorentini. I discuss the iconography, provide a brief catalogue of the paintings, and observe how Ghirlandaio moved the standard composition from reinforcing the two-dimensionality of the refectory wall and toward an immersive experience that encouraged a sense of association between the painted scene and the space of reception. In the second chapter, I argue that, in addition to quattrocento techniques of pictorial illusionism, the dynamic performances of sacre rappresentazioni informed the interest in activating the viewer’s emotional engagement with the Last Supper fresco. Chapter three more directly involves the space of the refectory in my analysis, as I explore how the various functions and multi-sensory conditions of the refectory environment enhanced the performative and immersive qualities of the cenacolo painting. Finally, the fourth chapter extends my discussion to the sacri monti pilgrimage sites located in San Vivaldo and Varallo, Italy. I draw comparisons between the three-dimensional chapel environments and the Last Supper refectory frescoes. By placing these works in dialogue with one another, I observe new insights in the canonical cenacoli images and engage the sacri monti with the broader field of Renaissance art history. / 2024-06-24T00:00:00Z

Oggetto della tesi è l'attività scientifica e didattica di Aristide Calderini (1883-1968), studioso di antichità classiche, papirologo, epigrafista, archeologo, fondatore e direttore di associazioni culturali e riviste, divulgatore della cultura classica. Sulla base del copioso archivio personale, del quale si è operato il riordinamento e si forniscono l'inventario e l'indice della corrispondenza, si ricostruisce un intenso e fecondo percorso culturale, sottolineandone i valori ispiratori e gli obiettivi raggiunti. Le molteplici relazioni dello studioso con importanti personalità e istituzioni contemporanee permettono di tracciare un affresco della realtà culturale lombarda durante sei decadi del Novecento. / This thesis is devoted to the scientific and didactic work of Aristide Calderini (1883-1968). Calderini was a scholar of the Classics, namely papyrologist, archaeologist and epigraphist. He was the founder and director of many cultural societies and journals and a populariser of ancient Roman and Greek culture. The main source of material for this research was Calderini's own copious personal archive, which has been reorganized by the author of this dissertation, resulting in a detailed inventory and the index of his letters. From these documents it is possible to follow the intense and fruitful cultural route of Calderini, perceive his inspiring principles and appreciate the results of his work. Moreover, from the study of his letters, it is possible to reconstruct Calderini's multiple connections with important personages and institutions of his time, disclosing an interesting overview, spanning six full decades of the 20th century, of the cultural milieu in Lombardy.

Nossa tese pretende analisar a história do conceito de Honor imperii no reinado de Friedrich I Barbarossa. Para tanto, estudamos as formas de legitimidade real entre os séculos X e XII buscando entender os pesos relativos dos elementos militares e sacros; as especificidades de Friedrich Barbarossa e as transformações estruturais por ele patrocinadas no regnum Teutonicorum. Depois realizamos o estudo quantitativo e o estudo crítico do Honor imperii na documentação produzida pela chancelaria imperial (diplomas e constituições) e na Gesta Friderici de Otto de Freising e Rahewin, principal fonte para o reinado de Friedrich. Também estudamos os significados do termo honra no contexto cultural germânico do século XII. O Honor imperii está ligado à projeção de poder do monarca devido a uma estrutura jurídica (os direitos Romano e Feudal) que o liga ao exercício militar através da doutrina da Guerra Justa e à punição pela quebra das Landfrieden. / Our thesis intends to analyze the history of the Honor imperii concept in Frederick I Barbarossas reign. For this we had to study the ways political legitimacy was obtained between the Tenth and Twelfth centuries seeking to understand the relative weights of military and sacred elements, Frederick Barbarossas singularities and the structural transformations sponsored by him in the regnum Teutonicorum After that we stablished a critical analysis of the Honor imperii in the documentation produced by the imperial Chancellery (charters and constitutions) and in Otto of Freising & Rahewins Gesta Friderici, the most important narrative source for Fredericks reign. We also studied the meanings of honor in the german cultural context of the Twelfth century. The Honor imperii was bound to the monarchs power projection by a proper legal structure (Roman and Feudal Laws) connecting it to the military exercise through the Just War Doctrine and the punishment of breaking the Landfrieden.

Made available in DSpace on 2016-03-15T19:47:30Z (GMT). No. of bitstreams: 1 Marcia Helena dos Santos.pdf: 16231604 bytes, checksum: 1aee77f68b27f47439544e7f800f787f (MD5) Previous issue date: 2013-09-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Based on the principle that the effective argumentation results in the assent of the audience and in its predisposition for action, the theme of our work is guided by the demonstration that the argumentative process in Sexagesima Sermon is an essential procedure in father Antonio Vieira`s oratory, and can serve as a teaching for the preachers of the divine word. Therefore, based on the theoretical perspective that considers the text as a place of interaction of active, dialogically constituted subjects which reconstruct the senses using linguistic clues and also based in the studies of Theory of Argumentation by Perelman and Obbrechts-Tyteca (1996) and in the Enunciation by Benveniste (1995), I argue that these reflections presume that the exploitation of those constituent processes of argumentation and of rhetorical figures in the speech of this sacred and exceptional orator are essential and effective strategies for the construction of religious speech, capable of convincing and persuading the community to live Gospel`s words much more than just explaining Them. As object of study, we have chosen randomly some chapters from this work whose theme is expressed by a metaphor, preaching is sowing. The analysis of some topics like the discursive parts, the audience importance, the rhetorical figures and the linguistic resources has enabled us to check the use of argumentative strategies by the orator in order to produce sense effects for persuasive purposes. Besides contributing to religious people concerning the preparation of their speeches, we also hope to add our reflections about the studies of Rhetoric Argumentation to the already existing ones. / A partir do princípio de que uma argumentação eficaz resulta no assentimento do auditório, na sua predisposição para a ação, o tema do nosso trabalho tem como questão norteadora demonstrar que o processo argumentativo no Sermão da Sexagésima é um procedimento fundamental da oratória de Padre António Vieira, e pode servir de ensinamento para os pregadores da palavra divina. Assim, ancorada na perspectiva teórica que considera o texto lugar de interação de sujeitos dialogicamente constituídos, ativos, que (re) constroem os sentidos a partir das pistas linguísticas e nos estudos da Teoria da Argumentação abordados por Perelman e Olbrechts-Tyteca (1996) e nos da Enunciação abordados por Benveniste (1995), estas reflexões têm como pressuposto que a exploração desses processos constituintes de argumentação e das figuras de retórica, que povoam o discurso desse pregador sacro singular, são estratégias fundamentais e eficazes para a construção do discurso religioso, capaz de muito mais que explicar o Evangelho convencer e persuadir a comunidade a viver a palavra proferida Nele. Como objeto de estudo, escolhemos aleatoriamente alguns capítulos que compõem essa obra cujo tema é expresso por uma metáfora: Pregar é semear. A análise das partes discursivas, da relevância do auditório, das figuras retóricas e dos recursos linguísticos possibilitou verificar o uso de estratégias argumentativas do orador para a produção de efeitos de sentido com o objetivo de exercer um fazer persuasivo no auditório. Além de contribuir com os estudiosos do discurso religioso, esperamos também somar as nossas reflexões às já existentes sobre os estudos da Argumentação Retórica.

Nossa tese pretende analisar a história do conceito de Honor imperii no reinado de Friedrich I Barbarossa. Para tanto, estudamos as formas de legitimidade real entre os séculos X e XII buscando entender os pesos relativos dos elementos militares e sacros; as especificidades de Friedrich Barbarossa e as transformações estruturais por ele patrocinadas no regnum Teutonicorum. Depois realizamos o estudo quantitativo e o estudo crítico do Honor imperii na documentação produzida pela chancelaria imperial (diplomas e constituições) e na Gesta Friderici de Otto de Freising e Rahewin, principal fonte para o reinado de Friedrich. Também estudamos os significados do termo honra no contexto cultural germânico do século XII. O Honor imperii está ligado à projeção de poder do monarca devido a uma estrutura jurídica (os direitos Romano e Feudal) que o liga ao exercício militar através da doutrina da Guerra Justa e à punição pela quebra das Landfrieden. / Our thesis intends to analyze the history of the Honor imperii concept in Frederick I Barbarossas reign. For this we had to study the ways political legitimacy was obtained between the Tenth and Twelfth centuries seeking to understand the relative weights of military and sacred elements, Frederick Barbarossas singularities and the structural transformations sponsored by him in the regnum Teutonicorum After that we stablished a critical analysis of the Honor imperii in the documentation produced by the imperial Chancellery (charters and constitutions) and in Otto of Freising & Rahewins Gesta Friderici, the most important narrative source for Fredericks reign. We also studied the meanings of honor in the german cultural context of the Twelfth century. The Honor imperii was bound to the monarchs power projection by a proper legal structure (Roman and Feudal Laws) connecting it to the military exercise through the Just War Doctrine and the punishment of breaking the Landfrieden.

Notre travail, qui centre la représentation symbolique des quatre éléments (terre, eau, air, feu), part de l' « imagination matérielle » de Bachelard en vue d'établir une réflexion équilibrée autour de dynamiques dramaturgiques et littéraires (particulièrement Hugo et Shakespeare) en amont des opéras de Verdi pou r déboucher sur l'analyse de ces derniers, d'un point de vue littéraire et musical. À partir de la mythographie des quatre éléments, diverses figures du temps émergent des livrets verdiens et livrent un parcours symbologique thématique. Ainsi, l'héroïne de La Traviata est confrontée au temps qui fuit, rendu évident par la frénésie musicale du rythme. Au carpe diem impatient s'oppose alors l'émergence de l'amour inévitablement lié à la linéarité du temps de la destinée. Les feux de la passion se distinguent d'une image aérienne de Violetta, qui glisse d'une joie à l'autre en développant un rapport à plusieurs éléments. De manière similaire, une reconstruction analytique de Un ballo in maschera prouve que les personnages demeurent impuissants et superflus face à l'inflexible destin. Le temps accélère ensuite de façon soudainedans Rigoletto au sein d'une image aquatique. Dans cette œuvre, un chronotope de la crise d'empreinte bakhtinien entre en jeu, provoquant un renversement de la direction temporelle et une précipitation du temps imagée dans le rythme hippique du galop. Le temps cristallisé dans Don Carlos dérive pour sa part de l'expérience amoureuse des protagonistes qui se réfugient dans un temps réitérable par le biais du souvenir tandis qu'un autre souvenir igné annonce un retour du temps destructeur dans Il Trovatore. Mais un deuxième régime temporel linéaire où le feu est dévorant prend également forme dans cette œuvre sombre, débouchant sur un mouvement aérien qui est une fuite à la condition terrestre révolue des personnages amoureux. Enfin, les symboles d'un temps dévastateur porteur de mort, dégagés par les ténèbres, sont observables dans Macbeth et Otello, sous-tendus par un même substrat shakespearien. Lemoment de la chute ultime du héros est venu. Comme si l'insoluble tragédie de la source shakespearienne rencontrait par ce biais le pessimisme et le doute artistique d'un Verdi arrivé désormais à maturité. / Our work focuses on the symbolic representation of the four elements (earth, water, air, fire) startingfrom Bachelard’s “material imagination” and leading us to reflect upon the dramatic and literary dynamics(from Hugo and Shakespeare especially) upstream of Verdi’s operas in order to analyze them from a bothliterary and musical point of view. From the mythography of the four elements different figurations oftime emerge from the Verdian libretti and allow a symbologic thematic reading.Thus, the Traviata’s heroin is confronted with tempus fugit epitomized by the frenetic musicalrhythm. The impatient carpe diem then contrasts with the advent of love inevitably linked to time’s fatefullinearity. Fires of passion distinguish themselves from the ethereal image of Violetta gliding from one joyto the other playing on a palette of several elements. Similarly, an analytical reconstruction of theBallo in mascherawill prove that the characters are powerless and superfluous in front of inflexible fate. Timethen suddenly speeds up in Rigolettoin the midst of water imagery.In this work, Bakhtin’s “chronotope ofcrisis” comes into play, causing a reversal of the temporal direction and a precipitation of the passing oftime embodied in the horse’ gallop-like concluding rhythm. The crystallized time inDon Carlosoriginatesfrom the lovers’ experience, who find refuge in the repeatable time of memory whereas another memory,infused with fire symbols heralds a return of the devastating time ofIl Trovatore. But a second temporalsystem, linear, where fire is devouring, takes shape in this darker work, leading eventually to an etherealmovement of the lovers’ escape from their already-gone terrestrial condition. Finally, the devastating timebrings forth death inMacbethandOtello, which share an underlying Shakespearean substrate. Thencomes the final fall of the hero. As if the insoluble tragedy of the Shakespearean source met the intimatepessimism and artistic doubts of the mature Giuseppe Verdi. / Il nostro lavoro, che s'incentra sulla rappresentazione simbolica dei quattro elementi (terra, acqua, aria,fuoco), parte dall' «immaginazione materiale» di Bachelard in vista di stabilire una riflessione bilanciataintorno a dinamiche drammaturgiche e letterarie (in particolare Hugo e Shakespeare) a monte delle operein musica di Verdi per giungere all'analisi di queste da un punto di vista letterario e musicale. Partendodalla mitografia dei quattro elementi, diverse figure del tempo emergono dai libretti verdiani, svelando unpercorso simbolico tematico. Premesso ciò, l'eroina dellaTraviataè condannata da un tempo che fugge,reso evidente dalla frenesia musicale del ritmo. Alcarpe diemimpaziente si oppone allora l'emergeredell'amore inevitabilmente legato alla linearità del tempo e del destino. I fuochi della passione sicontraddistinguono dall'immagine aerea di Violetta, che scivola da una gioia all'altra sviluppando unrapporto con più elementi. Una ricostruzione analitica delBallo in mascheraprova che i personaggi sonodi fatto impotenti e superflui di fronte all'inflessibile destino. Il tempo accelera poi in modo repentino inRigolettoin seno ad un'immagine acquatica. In questa opera, un cronotopo della crisi d'improntabakhtiniana entra in gioco, provocando un ribaltamento della direzione temporale e una precipitazione deltempo resa nota dal ritmo ippico del galoppo. Il tempo cristallizzato diDon Carlosderiva, dal canto suo,dall'esperienza amorosa dei protagonisti che si rifugiano in un tempo reiterabile per via del ricordo mentreun altro ricordo igneo annuncia un ritorno del tempo distruttore nelTrovatore. Ma un secondo regimetemporale lineare dove il fuoco è insaziabile prende ugualmente vita in questa opera cupa, sfociando in unmovimento aereo che rappresenta una fuga dalla condizione terrestre dei personaggi innamorati. Infine, isimboli di un tempo devastatore messaggero della morte, liberati dalla tenebre, sono riscontrabili inMacbeth e Otello, supportati da uno stesso sostrato shakespeariano. È allora giunto il momento dellacaduta finale dell'eroe. Come se l'insolubile tragedia shakespeariana incontrasse il pessimismo e i dubbiartistici di un Giuseppe Verdi giunto ormai a maturità

Il Sacro Bosco in Bomarzo is an experience in Lessons on Love. The statues are a constant repetition of the paradox of Eros. The exoteric meaning of the statues will be given through the- narratives that influenced them. Then, the esoteric meaning behind the narratives and the statues will be given with the help of Ficino's Commentary on Plato's Symposium on Love. Because the garden exists in the space of desire, it is able to speak to us today. This thesis is a walk through the garden. It is only through the experience of the garden that architectural meaning is conveyed. The garden is a journey that will heal the body and the soul through the spirit. Il Sacro Bosco leads to a better understanding of the self and, in the Renaissance, its connection to the One.