This dissertation regards the medieval French literary tradition’s presence in Northern Italy in the late Middle Ages. This phenomenon produced a corpus of texts copied or composed by Northern Italian scribes and authors in the French language. The Italian authors’ command of French verse was, in some cases, imperfect; in others, they consciously manipulated the French language for creative purposes. Whatever the case, what resulted was a body of work ostensibly written in French but with a distinctly Northern Italian flavour. Every work within this corpus presents unique linguistic features and a distinct blend of French and Northern Italian vernaculars. This cultural phenomenon, which is commonly referred to as “Franco-Italian,” was no doubt born from the linguistic proximity of the Northern Italian vernaculars to the languages of France in the late Middle Ages: absent an autochthonous Italian literary tradition, Northern Italian literati adapted the languages of France, which had already developed vernacular literary traditions, as a means for their own literary expression. Northern Italy constituted, in this sense, a peripheral region of a medieval “Francophonie.” This dissertation first surveys the nature and function of the Franco-Italian “language” and then presents a critical historiography of the scholarship surrounding the most important manuscript collection of French and Franco-Italian works in Italy, that of the Biblioteca Marciana in Venice. This includes a discussion of all known catalogues and inventories of the corpus dating back to 1407 and an analysis of two others, until now largely unstudied, that shed new light on the history of the collection. What follows is an investigation into one little-known manuscript in the collection, Codex XIV, which recounts the adventures of Beuve de Hanstone. Codex XIV is unique in the collection insofar as it was not written in the hybrid Franco-Italian idiom, rather a pure Old French; consequently, it has received little attention from scholars. This dissertation revisits the text and its importance in the study of the influence of French literature in medieval Italy. The dissertation concludes with a series of appendices that display and compare unpublished inventories of the collection that support the arguments advanced herein.

This dissertation regards the medieval French literary tradition’s presence in Northern Italy in the late Middle Ages. This phenomenon produced a corpus of texts copied or composed by Northern Italian scribes and authors in the French language. The Italian authors’ command of French verse was, in some cases, imperfect; in others, they consciously manipulated the French language for creative purposes. Whatever the case, what resulted was a body of work ostensibly written in French but with a distinctly Northern Italian flavour. Every work within this corpus presents unique linguistic features and a distinct blend of French and Northern Italian vernaculars. This cultural phenomenon, which is commonly referred to as “Franco-Italian,” was no doubt born from the linguistic proximity of the Northern Italian vernaculars to the languages of France in the late Middle Ages: absent an autochthonous Italian literary tradition, Northern Italian literati adapted the languages of France, which had already developed vernacular literary traditions, as a means for their own literary expression. Northern Italy constituted, in this sense, a peripheral region of a medieval “Francophonie.” This dissertation first surveys the nature and function of the Franco-Italian “language” and then presents a critical historiography of the scholarship surrounding the most important manuscript collection of French and Franco-Italian works in Italy, that of the Biblioteca Marciana in Venice. This includes a discussion of all known catalogues and inventories of the corpus dating back to 1407 and an analysis of two others, until now largely unstudied, that shed new light on the history of the collection. What follows is an investigation into one little-known manuscript in the collection, Codex XIV, which recounts the adventures of Beuve de Hanstone. Codex XIV is unique in the collection insofar as it was not written in the hybrid Franco-Italian idiom, rather a pure Old French; consequently, it has received little attention from scholars. This dissertation revisits the text and its importance in the study of the influence of French literature in medieval Italy. The dissertation concludes with a series of appendices that display and compare unpublished inventories of the collection that support the arguments advanced herein.

abstract: An acute and crucial societal problem is the energy consumed in existing commercial buildings. There are 1.5 million commercial buildings in the U.S. with only about 3% being built each year. Hence, existing buildings need to be properly operated and maintained for several decades. Application of integrated centralized control systems in buildings could lead to more than 50% energy savings. This research work demonstrates an innovative adaptive integrated lighting control approach which could achieve significant energy savings and increase indoor comfort in high performance office buildings. In the first phase of the study, a predictive algorithm was developed and validated through experiments in an actual test room. The objective was to regulate daylight on a specified work plane by controlling the blind slat angles. Furthermore, a sensor-based integrated adaptive lighting controller was designed in Simulink which included an innovative sensor optimization approach based on genetic algorithm to minimize the number of sensors and efficiently place them in the office. The controller was designed based on simple integral controllers. The objective of developed control algorithm was to improve the illuminance situation in the office through controlling the daylight and electrical lighting. To evaluate the performance of the system, the controller was applied on experimental office model in Lee et al.’s research study in 1998. The result of the developed control approach indicate a significantly improvement in lighting situation and 1-23% and 50-78% monthly electrical energy savings in the office model, compared to two static strategies when the blinds were left open and closed during the whole year respectively. / Dissertation/Thesis / Doctoral Dissertation Architecture 2015

The demand for automated home solutions is growing and it has created a market for automated blinds. For now most of these solutions seem to focus on fully opening and closing, either rolling blinds or slat blinds, with different electronic solutions. There doesn’t seem to be many solutions for continuously regulating light inlet based on ambient light. This project examined the possibilities of continuously regulating the amount of natural light let through a window. This was tested by measuring ambient light on one side of the blind with light dependant resistors (LDR’s) and regulating a Venetian blind based on measured light intensity. A feed-forward controller was implemented, programmed on an Arduino Uno board, to control sensors and actuators that regulate the blind. A prototype unit was built on a window-resembling wooden frame to evaluate the performance of the controller. The light sensitivity of LDR’s were sufficient for measuring differences in ambient light in different conditions where an automated blind could be used. The final prototype could be set to adjust light inlet in increments for changes in ambient light, thereby opening up to uses beyond simply closing and opening a light inlet. Future improvements could be to implement a feedback controller (e.g. a PID controller). The controller could be set to a certain reference as preferred ambient lighting in a room, thereby letting the controller adjust the blinds towards that reference value while conditions outside and inside change during the day. This could also be implemented in already existing smart home solutions. / Efterfrågan på automatiserade hemmalöningar är växande och det har skapat en marknad för automatiserade persienner. För nuvarande verkar det de flesta lösningarna fokusera på att helt öppna eller stänga, antingen rullgardiner eller persienner, med olika elektriska lösningar. Det verkar inte finnas många lösningar med kontinuerlig justering av inkommande omgivningsljus. Detta projekt utforskar möjligheterna för kontinuerlig justering av mängden naturligt ljus som släpps igenom ett fönster. Detta gjordes genom att mäta omgivande ljus på ena sidan av persiennen med fotoresistorer och reglera persiennen baserat på den uppmätta ljusintensiteten. Framkopplad styrning implementerades, programmerad på en Arduino Uno, för att styra sensorer och ställdon som reglerar persiennen. En prototypenhet byggdes på en fönsterliknande träram för att utvärdera prestandan av styrenheten.  Ljuskänsligheten i fotoresistorerna var tillräcklig för att mäta skillnader i omgivningsljus för de olika förhållanden där automatiserade persienner skulle kunna användas. Den slutgiltiga prototypen kunde ställas in att justera ljusinsläppet stegvis för skillnader i omgivningsljus, vari nya användningsområden öppnas upp utöver att endast stänga och öppna ett ljusinsläpp.  Framtida förbättringar skulle kunna vara att implementera en återkopplande styrning (t.ex. PID-styrning). Styrenheten skulle kunna ställas in till ett specifikt referensvärde på önskat omgivande ljus i ett rum, vari kontrollern justerar persiennerna för att hålla det önskade referensvärdet medan förhållanden utomhus och inomhus varierar under dagen. Detta skulle även kunna implementeras i redan befintliga smarta lösningar för hemmet.

This final work is focused on the space and light and its screening by the medium of the venetian blinds which are used to separate inner and outer space. This instalation made with 5 Venetian blinds is a parallel to the book. The object is in a form of the hexagon space. It mirrors surrounding story and closes it in the pages by the mirror film. The text is called Chronicle of the melancholy and indicates the intimite of the space of book. Between lines there is a penetration of the space and light behind the pages.

Esta pesquisa tem por objetivo investigar alguns aspectos que permitam sistematizar uma teoria da arte na Veneza do século XVI, a partir de dois tratados artísticos: o Dialogo di Pittura, de Paolo Pino (1548) e o Dialogo della Pittura intitolato LAretino, de Lodovico Dolce (1557). Para isto, enfoca cinco problemas: o conceito de mimesis; a estrutura dos tratados em sua relação com a Arte Retórica; Pino e Dolce como representantes da doutrina do ut pictura poesis; o ideal de beleza e a disputa pela primazia da cor sobre o desenho. / This research deals with some aspects that enable to systematize an artistic theory in Venice from sixteenth century, from two artistic treatises: Paolo Pinos Dialogo di Pittura (1548) and Lodovico Dolces Dialogo della Pittura intitolato LAretino (1557). In order to get over this objective we will discuss five problems: mimesis notion; the treatises structure in your relation with Rhetoric; Pino and Dolce as ut pictura poesis doctrine members; the ideal of beauty and the debate for the primacy of colour over design.

Les rôles des vieilles comiques appartiennent aux conventions dramaturgiques établies par les nouvelles règles de l’opéra vénitien payant du Seicento. Entre 1638, date de la première apparition d’un râle de vieille comique sur les scènes vénitiennes, et la fin du siècle, cent quatorze personnages de cette typologie ont habité les trames crées par les librettistes vénitiens. La typologie à laquelle cette étude s’intéresse se caractérise par un comique poussé et ironique, par un fort appétit sexuel, par des idées proto-féministes sur la vie amoureuse mais également par un discours moral sur la caducité de la vie avec un fond extrêmement optimiste qui reprend la maxime horatienne du carpe diem. D’un point de vue purement dramaturgique, ces rôles, en tant que doubles des serviteurs, sont responsables des liaisons entre les scènes, des commentaires sur les évènements de l’intrigue ainsi que du comic relief. Dans un premier temps, il s’agit d’établir une généalogie de ces rôles, et de déterminer quelles caractéristiques les vieilles nourrices de l’opéra italien ont hérité de leurs prédécesseurs du théâtre improvisé et savant, ainsi que de la littérature. Une fois établies les particularités littéraires et musicales les plus récurrentes, celles-ci sont prises en examen par rapport à la trame d’une part, et en tant que topoi isolés d’autre part. L’intention de cette étude est de mener une réflexion globale qui ne soit ni étroitement musicologique, ni spécifiquement littéraire. Celle-ci veut interroger les rapports intimes bien souvent masqués entre culture populaire et culture savante, entre place publique et théâtre, entre improvisation et écriture / The role of the old comic nurse pertains to the dramaturgic conventions established in the new rules of the Venetian Seicento public opera. Between 1683, when the first old comic nurse appears on Venetian scenes, and the end of the century, one hundred and fourteen characters of this kind have thickened the plots created by the Venetian librettists. The character at the core of this research presents an exaggerated and ironic humor, a great sexual appetite, some proto-feminist ideas on love, but also a moral discourse on the caducity of life which usually has a very optimistic side to it and finds its main argument in the Horatian motto of the carpe diem. From a purely dramaturgic point of view these roles work as doubles to those of the servants, are used to connect successive scenes, to comment on the plot and to offer some comic relief. It is important to establish a genealogy of these robes, and to determine what characteristics the old nurses of Italian opera have inherited from their predecessors in the improvised and written theatre, and also in literature. After having determined the most recurring textual and musical elements, these are examined against the plot but also as isolated topoi. The aim of this study is to carry out a general reflection which is neither narrowly musicological, nor specifically literary, and to inspect die intimate and often concealed relationships between popular and high culture, public square and theatre, improvisation and writing / I ruoli di vecchie donne comiche appartengono alle convenzioni drammaturgiche stabilite fra le nuove regole dell’pera commerciale veneziana del Seicento. Fra 1638, data della prima apparizione di un ruolo di vecchia comica sulle scene veneziane, e la fine del secolo, cento quattordici personaggi di questa tipologia hanno abitato gli intrecci creati dai librettisti veneziani. La tipologia alla quale questo studio s’interessa si caratterizza per una comicità spinta e ironica, un forte appetito sessuale, idee proto-feministe sulla vita amorosa ma anche per un discorso morale sulla caducità della vita con uno sfondo estremamente ottimista che riprende la massima oraziana del carpe diem. Da un punto di vista puramente drammaturgico, questi ruoli, in quanto doppi dei servi, svolgono funzioni di legame fra le scene, commento sugli eventi dell’intreccio e offrono momenti di comic relief. In un primo tempo abbiamo cercato di stabilire una genealogia di questi ruoli e di determinare quali sono le caratteristiche che le vecchie nuttici dell’opera veneziana hanno ereditato dalle loro precorritrici del teatro improvvisato ed erudito, e dalla letteratura. Una volta stabilite le particolarità letterarie e musicali più ricorrenti le abbiamo analizzate in rapporto agli intrecci ed in quanto topoi a parte. Lo scopo di questo studio è di realizzare una riflessione globale non strettamente musicologica, né specificamente letteraria al fine di interrogarsi sui rapporti intimi e spesso nascosti tra culture popolari ed erudite, piazza pubblica e teatro, improvvisazione e scrittura

Esta pesquisa tem por objetivo investigar alguns aspectos que permitam sistematizar uma teoria da arte na Veneza do século XVI, a partir de dois tratados artísticos: o Dialogo di Pittura, de Paolo Pino (1548) e o Dialogo della Pittura intitolato LAretino, de Lodovico Dolce (1557). Para isto, enfoca cinco problemas: o conceito de mimesis; a estrutura dos tratados em sua relação com a Arte Retórica; Pino e Dolce como representantes da doutrina do ut pictura poesis; o ideal de beleza e a disputa pela primazia da cor sobre o desenho. / This research deals with some aspects that enable to systematize an artistic theory in Venice from sixteenth century, from two artistic treatises: Paolo Pinos Dialogo di Pittura (1548) and Lodovico Dolces Dialogo della Pittura intitolato LAretino (1557). In order to get over this objective we will discuss five problems: mimesis notion; the treatises structure in your relation with Rhetoric; Pino and Dolce as ut pictura poesis doctrine members; the ideal of beauty and the debate for the primacy of colour over design.

Cette thèse est un travail historiographique qui découle d’une étude des textes consacrés à la peinture vénitienne, publiés en français entre 1800 et 1914. Tout en considérant ces documents dans leur diversité (ouvrages savants ou de vulgarisation, récits de voyages), il s’agit de les replacer dans un contexte de formation de l’histoire de l’art comme champ autonome de connaissances. Car du fait de son statut encore incertain au XIXe siècle, la discipline se nourrit d’une littérature variée, et jette dans le même temps les fondements d’un savoir institutionnalisé. La notion d’école de peinture apparaît comme une catégorie de ce savoir et permet de concevoir la peinture vénitienne comme un phénomène singulier et cohérent. Envisagée pour son coloris, cette école est perçue comme le lieu d’une sensualité qui nie les exigences d’une doctrine héritée du classicisme. Les historiens de l’art du XIXe siècle mettent en place un appareil argumentatif et rhétorique visant à donner à leur discours une légitimité scientifique. Dès la moitié du siècle, l’usage d’une méthode scientiste permet d’expliquer la peinture vénitienne par des justifications sociales, climatiques ou raciales. Au sein du raisonnement qui démontre la nature anticlassique de l’école vénitienne, il convient aussi de considérer les arguments fournis par l’Orientalisme et par l’histoire de l’art flamand et hollandais, qui par un rapprochement avec Venise, éloignent encore sa peinture du modèle classique. Mais il importe par ailleurs de relever les ouvertures du discours qui infléchissent cette pensée dominante. La confrontation de la peinture vénitienne avec les nouvelles formes d’art contemporain – Romantisme, Impressionnisme, Symbolisme – permet d’en faire un lieu d’identification pour la modernité picturale. Enfin, les revendications identitaires qui parcourent une Italie en quête d’indépendance et une France hostile à la Prusse après la guerre de 1870, participent autour de 1900 à caractériser l’école vénitienne comme un lieu d’ancrage d’une identité classique, latine et/ou chrétienne résistant à la menace germanique. / This thesis is a historiographical work which ensues from a study of texts dedicated to Venetian painting, published in French between1800 and 1914. While considering these documents in their diversity (learned works, popularized works and travel stories), its main concern is replacing them in a context of establishment of art history as an independent field of knowledge. Thus, because of its still uncertain status in the 19th century, this discipline feeds on varied literature, and establishes itself at the same time as an institutionalized knowledge. The notion of school of painting appears as a category of this knowledge and allows one to conceive Venetian painting as a singular and coherent phenomenon. Considered for its colour, this school is perceived as a place of sensuality which denies requirements of a doctrine descended from classicism. The art historians of the 19th century set up an argumentative and rhetoric device in order to give to their speech a scientific legitimacy. Beginning in the second half of the century, the use of a scientistic method allows one to explain Venetian painting by social, climatic or racial justifications. Through this reasoning, which demonstrates the anticlassical nature of the Venetian school, it is also advisable to consider the arguments provided by Orientalism and by Flemish and Dutch art history, and which by establishing a parallel with Venice, push it's painting further still from a classical model. However it is further more important to discover the widening of speech bending this dominant thought. The confrontation of Venetian painting with new forms of contemporary art - Romanticism, Impressionism, Symbolism - allows one to create an identification space for pictorial modernity. Finally, the identical demands in Italy in its search of independence and French hostility to Prussia after the 1870 war, take part, around 1900, to the characterization of the Venetian school as a place of anchorage, for a classical, Latin and/or Christian identity resisting to a Germanic threat.

disertační práce v anglickém jazyce ALICE BARTŮŠKOVÁ MONASTIC RULES AND MUSES. THE CAPUCHIN FRIARS IN THE SERVICE OF THE ART IN EARLY BAROQUE BOHEMIA VEDOUCÍ PRÁCE: DOC. PHDR. MARTIN ZLATOHLÁVEK, PHD. Dissertation entitled Monastic rules and muses. The capuchin friars in the service of the art in early Baroque Bohemia set out for the purpose of research to the neglected theme of the Capuchin brothers - painters on the border between Mannerism and the Baroque era. This phenomenon in painting, which is not only characteristic for the order of the Capuchins, but also of other ecclesiastical orders, has never been more comprehensive. The Capuchin brother Paolo Piazza came to the Czech lands with first capuchin brothers; in his paintings he is inspired of the Venetian school of the 16th century. He was a versatile painter, he created not only painting on canvases, but also made wall paintings and his painting manuscript was not uniformly defined. Paolo Piazza worked in the capuchin monasteries in Prague and Brno during the reign of Rudolph II, for the emperor himself he created several artworks. Piazza's work has also been preserved in the engravings of the Sadeler family. Thanks to these engravings, several Piazza's compositions with a set iconographic type have spread to European fine arts. From the...