Thesis (M.Mus.)--University of Akron, School of Music, 2009. / "August, 2009." Title from electronic thesis title page (viewed 11/11/2009) Advisor, Brooks A. Toliver; Faculty Reader, Galen S. Karriker; School Director, William K. Guegold; Dean of the College, James M. Lynn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.

<p>This dissertation examines the contributions of apothecary craftsmen and their medicinal retailing practices to emerging cultures of scientific investigation and experimental practice in the Italian port city of Venice between 1565 and 1730. During this important period in Europe’s history, efforts to ground traditional philosophical investigations of nature in a new material culture of empirical and experimental practice elicited significant debate in scholarly communities. Leading the way in advancing the authority of “experience” were Europe’s medical practitioners divided between university-trained physicians and guild-regulated apothecaries and surgeons. In Italy, humanist praise for the practical arts and new techniques of analyzing inherited texts influenced sixteenth-century university physicians to redefine the medical discipline in terms of its practical aims to intervene in nature and achieve useful effects. This led to an important revival in northern Italian universities at Ferrara and Padua of the classical Greek writings on the empirical disciplines of anatomy and pharmacy. In the sixteenth century the university at Padua, under the patronage of the Republic of Venice, was the site of Europe’s first public botanical garden, anatomical theater and clinical demonstrations. The university also hosted important experimental practitioners such as Andreas Vesalius, Galileo Galilei and William Harvey, and remained a leading center of medical investigation attracting an international faculty of students and professors until the eighteenth century. At the same time, the study of Aristotelian natural philosophy in original Greek texts was largely emancipated from the faculty of theology at Padua, nurturing innovative discourses on experimental method by figures such as Giacomo Zabarella and the anatomist Fabricius Aquapendente. </p><p>The unique intellectual climate at Padua has thus attracted significant scholarly attention in the history and philosophy of early modern science. However, the university’s important relationships with the thriving world of artisan guilds and their commercial practices in the nearby city of Venice have not received due attention in historical scholarship. To address this issue, this dissertation focuses upon a unique group of guild-trained medical practitioners in Venice – apothecaries – to trace the circulations of materials, skills, and expertise between Padua and the Venetian marketplace. Drawing on the methods of urban history, medical anthropology, literary studies and intellectual history, I conceptualize Venice as an important “contact zone,” or space of dialogue between scholarly and artisanal modes of investigating and representing nature between the latter sixteenth and early eighteenth centuries. In particular, I focus upon emerging apothecary strategies for retailing nature to public audiences through their medicinal creations, printed books, licensing petitions, and their pharmacy shops. Through these practices, apothecaries not only marketed commercial remedies during a period of growing interest in pharmaceutical matters, but also fashioned their own expertise as learned medical practitioners linking both theory and practice; head and hand; natural philosophy and practiced skill. In 1565 Venice’s apothecaries made their first effort to define their trade as a liberal profession in establishing a College of Apothecaries that lasted until 1804. Already by the turn of the eighteenth century, however, Venice’s apothecaries had adopted the moniker as “Public Professors” and engaged in dialogue with leading professors at Padua for plans to institute a new school of “experimental medical chemistry” with the prior of the apothecary college proposed as its first public demonstrator. Looking to a wide variety of statements on the urban pharmacy in Venice in published medical books, pharmacopeias, trade manuals, literary works, civic rituals and archival licensing and regulatory decrees, I trace the evolution of the public apothecary trade in Venice, paying particular attention to the pharmacy’s early modern materialization as a site of cultural and intellectual exchanges between the artisan workshop and the university world inhabited by scholars. </p><p>My readings of these sources lead to three important conclusions regarding the significance of apothecary retailing to the scientific culture of early modern Italy. First, the urban terrain of artisan practice in a merchant republic must be placed alongside the traditionally studied princely courts and universities as a fertile ground for dialogue between artisans and scholars in the study of nature. Second, apothecary investments in processing and retailing nature during this period made significant contributions to the material culture of early modern science in both mediating a growing pharmacopeia of exotic materials imported from around the globe, and in fashioning workshop models for the first university chemical laboratories instituted at Padua in the eighteenth century. And third, apothecary marketing strategies expressing their own medical expertise over nature’s materials articulated a fusion of textual learning and manual skill that offered some of the earliest profiles of the experimental practitioner that was eventually adopted in the public discourse of the experimental New Sciences by the latter seventeenth century.</p> / Dissertation

Cette thèse confronte les deux figures féminines de la prostituée et de la femme adultère dans la société vénitienne du XVIe siècle. Elle aborde ces topoi dans une approche pluridisciplinaire qui mêle la lecture de textes littéraires tant publiés qu'inédits à l'étude des sources judiciaires de la Sérénissime. Loin de se contenter d'opposer une pulsion de liberté individuelle aux velléités de contrôle de l'appareil répressif, cette recherche entend préciser l'origine des tensions sexuelles dans les contradictions économiques, politiques et sociales qui régissent les rapports de genre dans la République de Venise. Dans un premier temps est définie la norme sexuelle et amoureuse de la société moderne, puis est précisée l'existence de plusieurs zones grises au sein desquelles amours licites et illicites se superposent, en particulier au moment de la séduction. Cette réflexion permet d'éclairer les spécificités de l'adultère féminin et de la prostitution comme formes de sexualité extra-conjugale. Nous pouvons ainsi tracer une histoire de la gestion de la prostitution par le gouvernement vénitien, qui reconnaît aux amours vénales un statut légal dont la classe dirigeante peut tirer profit, tout en montrant la complémentarité à son égard de la poésie antiputtanesca, souvent expression des préoccupations de cette même classe sociale. L'adultère est de la même manière envisagé comme une pratique contradictoire, violemment combattue par la loi mais partie intégrante du processus de formation des jeunes hommes avant leur mariage. Un aspect important du travail de recherche effectué consiste également dans la présentation de poèmes antiputtaneschi inédits, souvent anonymes, dont nous cherchons à reconstruire la riche intertextualité. / This dissertation aims to confront the two archetypes of the prostitute and the adulterous woman in the XVIth century Venetian society. Taking a multidisciplinary approach, this text examines literary works – well known and unpublished – and the legal sources of the Serenissima. Looking beyond binary oppositions between individual desires for freedom and the repressive control apparatus by the State, this study works to clarify the ways in which the sexual tensions come from the economical, political and social contradictions which governed gender relationships in the republic of Venice. It first analyzes sexual and sentimental norms of the early-modern society. It will then define the ways in which licit and illicit love overlap, especially during the key moment of seduction. This will allow us to elucidate the specificities of female adultery and prostitution as forms of extra-conjugal sexuality. It will then be possible to trace the history of prostitution's management by the Venetian government. The latter recognized thea legal status of venal love, from which the ruling class could benefit. But we will also show how antiputtanesca poetry reflects the concerns of that social class. Adultery may similarly be seen as a contradictory practice, violently condemned by the law but part of young men's socialization before their wedding. Finally, one important aspect of this research stands in the presentation of various unpublished antiputtaneschi poems, often anonymous: we will display their rich intertextuality.

The thesis deals with the description and analysis of the various forms of relations between the Republic of Venice and the Kingdom of Cilicia in the period 1199-1175, during the existence of the kingdom. In introduction it provides a brief overview of the historical development of both states, with emphasis on common developmental stages in the mentioned period. The core analyzes primary sources of narrative and official character which reflect the relations of both states.

The topic of this diploma thesis is European Commission for Democracy through Law, i.e. Venice Commission, and its work. The Venice Commission is an advisory body on constitutional matters of the Council of Europe. The Commission provides legal advice to its member states in the fields of democracy, human rights and the rule of law. The goal of this thesis is to determine whether Venice Commission's human rights agenda makes a substantial contribution to the human rights protection and if it does, then in what ways, i.e. what means it uses and to what extent are they effective. This diploma thesis is divided into seven parts, which are then further subdivided into chapters. In Part 1, the Venice Commission is introduced - with an emphasis on its structure and members. The following part continues to describe the different types of Venice Commission's activities and authored documents. In these documents, the Venice Commission provides states with legal advice on how to unify their legislation with the European standards of human rights protection. Part 3 records the 30-year development of this international body. In the next parts, the work focuses on the Venice Commission's activity in Europe and other regions. The text analyzes which systems of human rights protection are deployed in different...

Consumer segmentation based on expenditure are usually done by using observedcharacteristics, such as age and income. This thesis highlights the problem with negativeexternalities which Venice suffers from, due to mass tourism. This thesis aims to assesswhether unobservable heterogeneity can be used to detect latent classes within tourismexpenditure. Segmenting the tourism market using this approach is valuable for policy making.Segmenting is also useful for the actors in the market to identify and attract high spenders. Inthat way, a destination may uphold a sustainable level of tourism instead of increasing touristnumbers. The method used for this approach is finite mixture modelling (FMM), which is notmuch used within consumer markets and therefore this thesis also contributes to tourismexpenditure methodology. This thesis adds to the literature by increasing the knowledge aboutthe importance of unobserved factors when segmenting visitors.The results show that four latent classes are found in tourism expenditure. Some of thevariables, which are significant in determining tourism expenditure, are shown to affectexpenditure differently in different classes while some are shown not to be significant. Theconclusions are that segmenting tourism expenditure, using unobserved heterogeneity, issignificant and that variables, which are barely significant in determining the expenditure ofthe population, can be strongly significant in determining the expenditure for a certain class.

This thesis discusses the function and perception of the Venetian (or Venetan) tongue from a sociolinguistic diachronic perspective.   Venetian, spoken by over 6 million people in 7 countries, in an Italian context is referred to as an Italian dialect. Though defined as language in Brazil, by the Veneto region in Italy and by several international organizations (amongst them UN and UNESCO), the Italian State does not confirm its status.   Venetian appeared as a written language in the XII century, anticipating the earliest texts in Italian itself in the Florentine form. From the ninth century it was spread by Venetian merchants and by the Venetian Republic itself to the eastern coast of the Adriatic Sea, from Istria down to modern day Albania, and later on even further, to the Greek archipelagos and the ports of the Holy land. The expansion of the "Serenissima" in the Italian hinterland led to the homogenisation of the language in the area that forms the base of the modern "Veneto" spoken today.   Venetian was the spoken language in all contexts in the Republic, and was used in official acts, such as the Statuti Veneti, the Mariegole and within the diplomacy. Though the official use of written Venetian was gradually out conquered by Italian from the sixteenth century, it remained the sole spoken language in all state organs until the fall of the Republic in 1797 and was used by the diplomacy of the Ottoman Empire in its contacts with European countries.    After the annexation of Veneto to Italy in 1866, the Italian State has actively combated the use of Venetian (and even forbidden it during the fascist regime), but nevertheless, today Venetian is one the most vigorous of the Italian "dialects": at least 72% of the inhabitants in the Veneto region use the language actively and a recent study demonstrates that as many as 65% of the foreigners living in the region learn the language because of professional or social necessity.   In a diachronic perspective the Venetian tongue can hardly be considered an Italian dialect, not only because of its autonomous development from Vulgar Latin or its different grammar and morphosyntax, but also because of its function and perception: used as an official language not only by the Serenissima, but also by other states, and because of its literacy that for centuries has invented and followed autonomous traditions and created notable works in poetry, theatre, prose and science.

This dissertation offers a social history of the Jews of Candia, Venetian Crete's capital, by investigating how these Jews related to their colonial sovereign, their Latin and Greek Christian neighbors, and their diverse co-religionists in the fourteenth and fifteenth centuries. Latin ducal court records, Hebrew communal ordinances, and notarial materials reveal the unique circumstances of Venetian colonial rule on Crete, including the formalized social hierarchy dividing Latin and Greek Christians, ready access to the Venetian justice system, and Venetian accommodation of pre-colonial legal precedents. Together, these elements enabled and encouraged Jews--individuals and community alike--to invest deeply in the institutions of colonial society. Their investment fostered sustained, meaningful interactions with the Latin and Greeks populations. It even shaped the ways in which Jews engaged with one another, particularly as they brought their quotidian and intracommunal disputes before Venice's secular judiciaries. Though contemporary religious authorities frowned upon litigating against co-religionists in secular courts, people from across the spectrum of Candiote Jewry, from community leaders to unhappily married women, sought Venetian judicial intervention at times. / History

Cette thèse étudie 2067 artisans de Venise, tous orfèvres mais pour autant très différents. Le regroupement et l’étude de tous ces individus nous permet de connaître, dans sa diversité, le fonctionnement d’une fraction de la classe artisanale. De la production sérielle d’objets anonymes et modestes à la vente de pièces d’exception, ces hommes constituent une chaîne économique, où la place de chacun est déterminée par ses origines, ses moyens, ses aptitudes et ses objectifs. Tour à tour, ils s’accommodent de leur position ou au contraire essayent d’évoluer, au gré du fonctionnement du marché et des possibilités ouvertes par leur réseau. L’orfèvrerie vénitienne apparaît ainsi en évolution constante. Tous ces hommes sont ensuite inclus dans une famille, dans un réseau et dans un espace. Par les choix qu’ils font dans leur famille, la manière dont ils gèrent leur capital et leur réseau, ils révèlent le fonctionnement et les agissements de la classe populaire, ses préoccupations et ses modes de vie. Suivre leurs déplacements permet de comprendre le fonctionnement de l’espace vénitien. Le grand avantage de cette étude est de pouvoir raisonner sur un groupe défini, qui étudie à la fois les pleins et les creux, les hommes mentionnés dans les archives et les autres, ceux qui ne sont jamais nommés mais qui existent malgré tout. De plus, cette étude permet également d’établir des liens entre les sources de différentes natures et donc de mettre en relation les choix professionnels avec la situation familiale d’un homme, par exemple, ou inversement. / This PhD study deals with 2067 Venetian craftsmen, all of them goldsmiths and nevertheless quite different from one another. Reconstructing these various careers side by side enables us to grasp the different manners in which a proportion of the working class really functioned. From the standard production of impersonal basic essentials to the sale of special items, these men form an economic network in which everyone’s position depends on origins, means, gifts and objectives.Sometimes they accept their position and sometimes they try to evolve, according to the market trends and to the possibilities available in their background. The Venetian goldsmith’s trade thus appears to change constantly. Besides, all these men are part of a family, a background and an area. The decisions they take in their family, the way they manage their financial affairs and their private and professional connections, give insights on how the working class functions, about their way of life, their concerns. Following their trips across the city enables us to grasp how the Venetian background operated.This study has the advantage of looking closely at the ups and hollows, at the men frequently mentioned in the archives and as well at those who seldom appear but exist nevertheless. Moreover, this study allows us to set up links between files of different kinds and to connect a man’s professional choices and his marital status for example, or vice versa.

Mariano Fortuny y Madrazo (1871-1949) was a Spanish-born polymath who, though mostly remembered for his historically inspired fashion designs, was first trained as a painter in Paris and would become a lighting and set designer, photographer, costume designer, and inventor. Working in Venice at the turn of the 20th century with an insatiable appetite for the historic, the notoriously secretive artist was often called a magician. Fortuny was able to produce a realistic night sky using his own electric stage lighting system. He inverted traditional photographic processes by printing horizontally with natural light from the window in his darkroom. And his most enigmatic creation is a series of rarely seen photographic prints made in a lightless process where mounds of damp fabric were pressed onto sensitized paper to form an abstract multiplicity of wrinkles. Despite being an inventor who relied on technological advancements and experiments, Fortuny’s deeply historical temperament is evident in his own declaration: ‘Nothing is new in this world, so I do not pretend to bring new ideas’.He invented a machine for permanently pressing the Classical pleats of his delicate silk Delphos gown and with painted stencilling he re-created the glittering patterns of woven brocades and damasks from the Italian Renaissance – often copied from 16th-century painting. Marcel Proust utilized these garments, which remained largely unchanged over forty years of production, as Venetian emblems of memory in À la recherche du temps perdu, where they conjure Carpaccio’s exquisitely painted velvet robes. Inspired by classical Greece and Renaissance Italy, amongst other eras, Fortuny was wildly historic in the way he brought together forms and patterns from disparate times and places. Invoking Michel Serres’ illustration of multitemporality as a crumpled handkerchief, ‘Reviving Fortuny’s Phantasmagorias’ argues that Fortuny’s sense of time (like Proustian time) is pleated time – where the past touches the present. This thesis utilizes the concept of phantasmagoria in multiple ways. The antique-filled Gothic palazzo in which Fortuny lived and worked, which like the 19th-century interiors that Walter Benjamin describes, manifests a phantasmagoric layering of past upon present. ‘Reviving Fortuny’s Phantasmagorias’ also employs Theodor Adorno’s writing on Wagnerian opera and Marina Warner’s historicised account of phantasmagoria to apply the term to Fortuny’s stage lighting designs, clothing, and photography. The thesis follows Fortuny’s self-assessment that he was ‘first and foremost a painter’ to argue that it was ‘as a painter’ that he thought of light throughout his work across various media. Though he is often relegated to footnotes in the large bodies of scholarship on Proust and Wagner, ‘Reviving Fortuny’s Phantasmagorias’ centres on Fortuny and his work in Venice (a pivotal point of intersection for all three): the watery city of both memory and desire, of flickering golden light and dark, damp shadows. This thesis argues that Fortuny, as a revivalist, accessed the past through art objects and material visual culture, in his personal collection and from reproductions, to re-create them in the early 20th century. His work is phantasmagoric because of the way it uses light and darkness, shadows and projections, and movement and colour to bring historical images to life, bringing together a multiplicity of times. Though these themes are easily identifiable in Fortuny’s work, they have yet to be traced throughout his oeuvre in any major piece of writing.