Thesis (Ph.D.)--University of North Carolina at Chapel Hill, 1973. / Bibliography: leaves [558]-577.

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Giorgio Vasari naît le 30 juillet 1511 ; il s'éteint le 27 juin 1574. À la fin de l'année 1554, il entre au service de Cosme Ier de Médicis, duc de Florence, et se voit rapidement confier la responsabilité des travaux de transformation du Palais de la Seigneurie en Palais Ducal. L'artiste livre les clefs de lecture du cycle pictural déployé sur les plafonds et les murs du célèbre monument florentin, connu sous le nom de Palazzo Vecchio, dans une oeuvre peu étudiée : Ragionamenti del Sig. Cavaliere Giorgio Vasari, pittore et architetto aretino, sopra le invenzioni da lui dipinte in Firenze nel Palazzo di loro Altezze Serenissime. Rédigé entre 1558 et 1567, mais publié à titre posthume seulement en 1588, ce texte met en scène Giorgio Vasari et le prince François Ier de Médicis, fils aîné de Cosme Ier et d'Éléonore de Tolède. Sous une plume ekphrastique, au sein de laquelle le mot et l'image s'unissent, l'artiste compose un dialogue distribué sur trois journées et conduit dans trois lieux emblématiques du palais : le Quartier des Éléments, le Quartier de Léon X et la Salle des Cinquecento. L'intérêt de cet ouvrage réside dans les différents niveaux de lecture comme dans les différents "dialogues" qu'il suppose. Si la réécriture de certains épisodes mythologiques, mis en relation directe avec l'histoire de la dynastie médicéenne, participe du dessein officiel de l'oeuvre, à savoir la glorification ducale, le mythe prélude, en raison de son appartenance à un univers ésotérique, à une lecture dérobée du texte vasarien qui, au-delà de servir le règne médicéen, révèle une aura mémorielle nous invitant à appréhender I Ragionamenti de Giorgio Vasari comme un édifice de la Mémoire. / Giorgio Vasari was born on 30 July 1511 ; he died on 27 June 1574. At the end of 1554, he starts to be on the service of Cosimo I de' Medici, the Duke of Florence and he quickly sees himself entrusted with the transformation works of the seigneurial palace into a ducal one. The artist delivers the reading guides of the pictorial cycle deployed on the ceilings and the walls of the famous Florentine monument known as Palazzo Vecchio, in Ragionamenti del Sig. Cavaliere Giorgio Vasari, pittore e architetto aretino, sopra le invenzioni da lui dipinte in Firenze nel Palazzo di loro Altezze Serenissime, a little-known and little-studied work. Written between 1558 and 1567, but only posthumous published in 1588, this text stages Giorgio Vasari and Prince Francesco I de' Medici, the elder son of Cosimo I and Eleonora di Toledo. Under a descriptive hand, in which the word and the image unite, the artist composes a dialogue spread over three days and lead in three emblematic places of the palace: the Elements Area, the Leo X Quarter and the Cinquecento Room. The interest of this work lies in the different reading levels as in the different "dialogues" that it means to suggest. If the rewriting of some mythological episodes, directly viewed in relation to the history of the Medici dysnasty, contributes to the official aim of the work - namely the ducal glorification - the myth preludes, owing to its belonging to an esoteric world, a hidden reading of the Vasarian text that, beyond serving the Medici reign, reveals a memory aura inviting us to comprehend Giorgio Vasari's Ragionamenti as an edifice of Memory.

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Made available in DSpace on 2016-04-26T20:25:15Z (GMT). No. of bitstreams: 1 DIR - Angelo Patricio Stacchini.pdf: 1346530 bytes, checksum: 9e5f29db14c6511a4523d2387b306176 (MD5) Previous issue date: 2006-11-14 / The present work has the objective of studying the Italian Law philosopher Giorgio Del Vecchio s (1878-1970) thought about the Natural Law. The discourse is to verify if Del Vecchio actually defends the existence of Natural Law and, positive the answer, the analysis of jusnaturalism characteristics. Before reaching the work core, a historical-biographical profile of Del Vecchio is introduced, along with an analysis of the general characteristics of his philosophical-juridical thoughts, and their main points. Being certain the influence of Emmanuel Kant over Del Vecchio, the main features of the Kantian Knowledge Theory are presented. From the premise that the jurist s gnosiological position influences his way to conceive and explain the juridical reality, a brief gnosiology analysis is carried out, exposing the main gnosiological chains and the effect on the Philosophy of Law and Jurisprudence. Being this stage overcome, the discourse also contains an overview of the jusnaturalist thought throughout the history, and a presentation of the Natural Law s definition and characteristics. At last, a comparison of Del Vecchio s jusnaturalistic thought and the Natural Law characteristics written on the work is made. In conclusive synthesis, it is stated that Giorgio Del Vecchio accepts the Natural Law, but he does not discharge the Kantian influences of rationalistic bias, which are mainly enlightened in the logical and gnosiological aspects of Del Vecchio s work and in the terminology used by him / O presente trabalho tem por finalidade o estudo do pensamento do filósofo do Direito italiano Giorgio Del Vecchio (1878-1970) sobre o Direito Natural. Na dissertação busca-se verificar se Del Vecchio realmente defende a existência do Direito Natural e, positiva a resposta, são também analisadas as características de seu jusnaturalismo. Antes de se atingir o cerne do trabalho, são apresentados um perfil histórico-biográfico de Del Vecchio e uma análise das características gerais de seu pensamento filosófico-jurídico e dos principais pontos deste. Sendo certa a influência de Emmanuel Kant sobre Del Vecchio, são apresentadas as principais características da Teoria do Conhecimento kantiana. Partindo-se da premissa de que o posicionamento gnosiológico do jurista influi no seu modo de conceber e de explicar a realidade jurídica, é feita uma breve análise da Gnosiologia, com a exposição das principais correntes gnosiológicas e de sua repercussão na Filosofia e na Ciência do Direito. Vencida essa etapa, consta também da dissertação um panorama do pensamento jusnaturalista ao longo da história, e uma apresentação da definição e das características do Direito Natural. Por fim, realiza-se uma comparação do pensamento jusnaturalista de Del Vecchio com as características do Direito Natural traçadas ao longo do trabalho. Em síntese conclusiva, afirma-se que Giorgio Del Vecchio aceita o Direito Natural, mas sem se libertar das influências kantianas, de viés racionalista, que se evidenciam principalmente nos aspectos lógicos e gnosiológicos da obra de Del Vecchio, e na terminologia por ele utilizada

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Gegenstand der Arbeit sind Darstellungen, die dem Umfeld zweier Heiligenkulte in Florenz angehören und auf Bestellungen der Medici, ihrer Freunde und Verbündeten zurückzuführen sind. Den ursprünglich römischen Kult seiner Namenspatrone, der hll. Cosmas und Damian hat erst Cosimo de’ Medici in Florenz bekannt gemacht. Dabei erwies sich das Fehlen einer nennenswerten Florentinischen Tradition als maßgeblicher Faktor seiner Wirkkraft. Fra’ Angelico, Filippo Lippi und andere Künstler konnten formal neuartige Bildlösungen entwickeln, deren Inhalte sich als Projektionsflächen der politischen und geistigen Florentiner Eliten eigneten. Cosimo etablierte auf diese Weise ein Netzwerk persönlicher Repräsentation, das nicht allein die Barriere zwischen privatem und öffentlichem Raum zu durchdringen vermochte, sondern auch demonstrativ über die in Florenz herkömmliche Beschränkung auf das eigene Stadtviertel hinausgriff. Mit dem Generationswechsel nach Cosimos Tod erforderten die veränderten Machtverhältnisse auch einen Wechsel in der Strategie des Kults. In der zweiten Hälfte des 15. Jahrhunderts tritt ein anderer Kult, jener der hll. Drei Könige in den Vordergrund. Dieser besaß im Gegensatz zur Verehrung von Cosmas und Damian in Florenz eine eigenständige, spezifisch republikanische Tradition. Unter deren Schutz konnte eine kontinuierliche Politisierung althergebrachter Rituale und die Übernahme der Kontrolle durch die Medici stattfinden. Auch in diesem Fall zeigt die Analyse der erhaltenen Darstellungen, dass sie den Auftraggebern als Loyalitätsnachweis dienten und die Zugehörigkeit zum Klientel der Medici und damit der städtischen Eliten markierten. Noch in der Mitte des 16. Jahrhunderts griff Herzog Cosimo I. auf strategische Elemente und Motive des Kults zurück, nun zunehmend aus dem sakralen Kontext gelöst und Bestandteil höfischer Panegyrik. / The Images observed here are mainly of two religious cults commissioned by members, friends and allies of the Medici family. In the early 15th century Cosimo de’ Medici following the example of his father introduced his patron saints, Cosmas and Damian into his native city of Florence. Prior to this the cult of these saints was of no vital importance outside Rome. Thus there was no eminent pictorial tradition of their images which proved an important factor in the cult’s success. Fra’ Angelico, Filippo Lippi and other artists were able to develop a new imagery that allowed members of Florence’s political and humanistic circles to identify with. Cosimo established a network of personal representation which did not only penetrate the barriers between private and public space but ostentatiously reached beyond the customary boundaries of a family’s home quarter. After Cosimo’s death in 1464 political instability resulted in a change of strategy. In the second half of the 15th century a different cult, that of the Three Magi, moves into the center of medicean interest. Contrary to Saints Cosmas and Damian the cult of the Magi had an ancient and marked republican tradition in Florence. Under cover of this tradition the Medici party managed to take over control of the confraternity of the Magi and wield its influential instruments to their own benefit. As with images of Saints Cosmas and Damian those depicting the Adoration of the Magi were used as a confirmation of loyalty to the Medici and their faction. Even in the 16th century Duke Cosimo I. went back to elements and motifs of his predecessors’ strategy. Rather than reviving the cult of Saints Cosmas and Damian however they are used to give evidence of political and dynastical continuity.