Orientador: Luiz Cesar Marques Filho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-22T18:03:34Z (GMT). No. of bitstreams: 1 Carvalho_LarissaSousade_M.pdf: 23224889 bytes, checksum: 87808a1fa3818c985298723245553554 (MD5) Previous issue date: 2013 / Resumo: A pesquisa apresenta como principal objeto de análise a obra De gli habiti antichi, et moderni di diuerse parti del mondo (1590), do italiano Cesare Vecellio (c.1521-1601). Uma segunda edição foi publicada sob o título Habiti antichi et moderni di tutto il mondo em 1598. Essa apresenta um projeto diverso da primeira, tendo seu conteúdo iconográfico ampliado, ao contrário dos comentários do autor, omitidos ou simplesmente reduzidos. O surgimento deste gênero de publicação, os chamados "livros de vestuário", ocorreram durante o século XVI, juntamente ao interesse cartográfico e enciclopédico. A época do autor presenciou a rápida expansão da imprensa em Veneza, dos studioli, os cabinets de curiosité e os Wunderkämmern, além de acompanhar a criação de uma rede interligada de publicações que firmavam um repertório de "tipos sociais" repetidos ao longo desses anos e que auxiliava na visão que, sobretudo os venezianos, tinham do restante do mundo. O teor da obra, grosso modo, permeia os costumes - em um sentido bastante amplo - aliados à representação de uma série de trajes. Vecellio não apenas representa a vestimenta europeia, como também inclui exemplares asiáticos, africanos e americanos. Essa antologia do vestuário mundial também é considera por alguns autores como a primeira história moderna do vestuário, já que são concebidas imagens comentadas de povos da Antiguidade até o século do autor, em um amplo espectro geográfico. No presente trabalho intenta-se perceber, portanto, o projeto da obra vecelliana. A partir de três ensaios discutiremos a respeito da ruína de valores antigos e da mutação (a veste aliada ao mito veneziano, a questão da boa governança e prosperidade das cidades, a relação entre antigo e moderno etc.); em seguida, problematizaremos a postura de Veneza ao projetar uma imagem positiva da cidade em meio a um contexto conturbado, bem como o modo vecelliano de dialogar com essa questão mediante a apresentação de "tipos sociais" (doge, virgem veneziana, cortesã...) associados à auto-imagem do Estado; e, por fim, apresentamos um panorama de sua obra, cujo objetivo será compreender a postura e o discurso de nosso autor frente à alteridade, discutindo, assim, algumas noções e a problemática do "Eu" que se define a partir do "Outro". Em correlato, propõe-se a tradução parcial do conteúdo da obra para uma versão portuguesa (inédita e comentada), no intuito de contribuir para as discussões teóricas - ínfimas em nossa realidade brasileira -, sem abandonar, entretanto, o escopo aqui descrito / Abstract: This research presents as main object of analysis the book De gli habiti antichi, et moderni di diuerse parti del mondo (1590), by the Italian author Cesare Vecellio (c.1521-1601). A second edition was published with the title Habiti antichi et moderni di tutto il mondo in 1598. This edition presents a project different from the first one. Its iconographic content is expanded, whereas the author's comments are either reduced or even omitted. The emergence of this type of publication, called costume books, occurred during the Sixteenth Century, along with the cartographic and encyclopedic interest. The period in which the author lived, witnessed the rapid expansion of the printing press in Venice, as well as of the studioli, the cabinets de curiosité and Wunderkammern. Apart from that, those years followed the creation of an interconnected network of publications that established a repertoire of "social types", repeated throughout the years, and helped in the idea that, especially the Venetians, had about the rest of the world. The content of the work covers the habits - in a very broad sense - combined with the representation of a variety of costumes. Vecellio does not only represent European clothing, but he also includes Asian, African and American costumes. This anthology of world clothing is also considered, by some authors, as the first modern history of costume, since it covers commented images from Antiquity until the time of the author, in a broad geographical spectrum. In this text we aim to understand the project of the Vecellian work. Starting with three essays of the current study, we will discuss the ruin of the old values and the mutation (clothing associated with the Venetian myth, the issue of good governance and prosperity of cities, the relationship between ancient and modern etc.); then we will problematize the posture of Venice, which projects a positive image of the city within a turbulent context, as well as the Vecellian way of discussing this subject while presenting the "social types" (doge, Venetian virgin, courtesan...), associated with the State's self-image; finally, we will present an overview of his work, whose purpose will be to understand the author's posture and the discourse towards otherness, discussing some problematic notions of the "I", which is defined from the confrontation with the "Other". Furthermore, together with this, we propose a partial translation of the content of the book into a Portuguese version (unpublished and commented), with the intention of contributing to the theoretical debate - very restricted in our Brazilian reality -, without abandoning, however, the scope described herein / Mestrado / Historia da Arte / Mestra em História

Denna Kandidatuppsats kommer ta upp det ständigt växande fenomenet massturism och hur den påverkar turister både när de är ute och reser och i deras vardagliga liv. För att få en generell bild av hur fenomenet påverkar turister har vi gjort en enkätundersökning som besvarats av ett hundratal personer som fått beskriva om och hur de upplevt massturism. För att få en djupare förståelse av hur massturism påverkar en destination specifikt har intervjuer utförts med tio personer som alla besökt Venedig, som är staden som vi har utfört en fallstudie om. I inledningen presenters och förklaras massturism. I metod och teori förklaras de metoder som kommer att användas samt en förklaring varför vi tror att de passar vår undersökning. Tidigare forskning tar upp forskning som redan gjorts om massturism generellt och massturismen i Venedig. I ramverk för fortsatt forskning förklaras de begrepp som sedan analyserats i resultat. I resultatet kommer empirin läggas fram och analyseras utifrån vår enkätundersökning och intervjuer. Diskussionskapitlet diskuterar våra resultat för att slutligen leda fram till vår slutsats. Våra frågeställningar har varit: På vilka sätt anser turister generellt att massturismen har påverkat deras besök på en destination? Och Hur upplever besökare i Venedig dess massturism och på vilket sätt har fenomenet påverkat deras besök? / This bachelor thesis will present the ever-growing phenomenon, mass tourism and what impact it has on tourists when they are traveling and in their everyday life. To get a general picture of how the phenomenon affects tourists, we have done a survey answered by a hundred people who got to describe whether and how they experienced mass tourism. To get a better understanding of how mass tourism affects a specific destination, we have made interviews with ten people who all visited Venice, which is the city that we have made a case study about. In the introductory part we will present mass tourism and explain the phenomenon. In the methodology part, we explain the methods we will use and why we think they fit our thesis. Previous research includes research already done about mass tourism in general and mass tourism in Venice. In the framework for further research, we will explain the concepts which we then are going to analyse our results from. In the result, we present and analyse the empirical findings that we have collected through our survey and interviews. The discussion part will discuss our results and ultimately lead to our conclusion. Our research questions are: In what way do tourists generally think that mass tourism have affected their visits to a destination? And How do visitors in Venice see its mass tourism and in what way does the phenomenon affect their visit?

De la prise de Constantinople en 1453 à la conquête ottomane des territoires mamelouks en 1517, l’ordre géopolitique de la Méditerranée orientale connaît une reconfiguration rapide. Face à l’expansion ottomane accélérée dans le sud des Balkans, le Stato da Mar vénitien se renforce et croît légèrement. Il en résulte la constitution de frontières et de zones de contact nombreuses entre ces deux puissances inégales mais que réunissent des intérêts économiques ainsi que le souci politique d’administrer des provinces voisines. Étudier les contacts entre ces deux puissances dans ces décennies de transition ne signifie donc pas observer les rapports entre des blocs politiques homogènes, mais au contraire comprendre comment s’organisent les échanges et les circulations entre des territoires où l’autorité impériale s’exerce de façon différenciée.Cette recherche navigue entre capitales et provinces. De la Dalmatie jusqu’à l’est de la mer Égée, on repère en effet des formes de diplomatie frontalière, permises par la relative autonomie des autorités et des sociétés locales, ainsi que l’existence de stratégies pour s’adapter à la présence croissante des marchands ottomans. Derrière les promesses des capitulations se dessine ainsi une histoire politique et sociale des contacts dont la gestion se met en place à différentes échelles, par un système de co-administration appelé à une certaine pérennité, ce qui permet d’évaluer à quel point les connexions impériales transforment aussi les sociétés qu’elles concernent. / From the capture of Constantinople in 1453 to the Ottoman conquest of Mamluk territories in 1517, the geopolitical order of the Eastern Mediterranean was quickly reconfigurated. Facing the accelerated Ottoman expansion in the South Balkans, Venice consolidated its power on the Stato da Mar and slightly extended its maritimes territories. As a result, large borders and contact zones were created between these two unequal powers who nonetheless shared economic interests as well as a political concerns for governing provinces often in neighbouring positions. Studying the contacts between these two powers in the years of transition is not a monolithic attempt to examine the relations between two homogeneous political bodies, but rather to understand how exchanges and circulations worked between territories where Imperial authority was unequally effective on the ground.This research navigates between the capital-cities and the provinces. The various forms of border diplomacy spread from Dalmatia to the East of the Aegean were enabled by the relative autonomy of local authorities and societies, while institutions were also adapting to the growing presence of Ottoman merchants. Behind the promises of the peace treaties emerges therefore a political and social history of contacts governed simultaneously at several levels, which fostered a long-lasting system of co-administration. This leads us to examine to what point Imperial connexions had an impact on the very societies they connected.

The plague raged in Venice from 1348 to 1797, striking in successive deadly waves. Countless votive images produced as "spiritual remedies" brought solace to the faithful terrified of the ongoing scourge. However, in the retables directly related to the plague, we observe the frequent presence of dark clouds. This pattern, which has gone largely unnoticed, is studied here for the first time in detail and associated with contemporary medical theories regarding the aerial spread of the disease. The dark cloud is first examined as an iconographic motif and placed in the context of Venice's health and sanitary situation in the 15th and 16th centuries, as well as the ancient literature on the plague that influenced the humanist thought of the Venetian Renaissance. Furthermore, we examine the theoretical function of the dark cloud, as a "figure" (E. Auerbach and L. Marin), as a "pictorial graph" (H. Damisch) and as a "detail" (D. Arasse). The use of these different theoretical models allows us to reconsider the presence and possible meanings of the dark cloud as a metaphor for the plague. The thesis concludes with a typology test of the plague cloud. / La peste sévit à Venise de 1348 à 1797, frappant par vagues mortelles successives. D'innombrables images votives produites comme « remèdes spirituels » participaient au réconfort des fidèles terrifiés par le fléau. Or, dans les retables directement liés à la peste, on observe la présence fréquente de nuages sombres. Ce motif passé à peu près inaperçu est étudié ici pour la première fois en détail et associé aux théories médicales contemporaines concernant la propagation aérienne de la maladie. Le nuage sombre est d'abord examiné comme motif iconographique et replacé dans le contexte de la situation sanitaire de Venise au XVe et au XVIe siècle et de la littérature antique sur la peste ayant influencé la pensée humaniste de la Renaissance vénitienne. Dans un deuxième temps, nous examinons la fonction théorique du nuage sombre, comme « figure » (E. Auerbach et L. Marin), comme « graphe pictural » (H. Damisch) et comme « détail » (D. Arasse). L'usage de ces différents modèles théoriques permet de reconsidérer la présence et les significations possibles du nuage sombre comme métaphore de la peste. Le mémoire se conclut par un essai de typologie du nuage de peste.

Poststructuralism may be broadly characterized as a move away from traditional Western foundationalist thinking. Such thinking is exemplified by post-enlightenment transcendentalism, humanism and subject-centredness. This study aims to contribute to the poststructuralist decentering of the subject by means of the application of the critical practice of deconstruction – a type of analysis named and popularized by Jacques Derrida, who is himself frequently classified as a poststructuralist, in which the ruling logic of the text is undermined and the meaning of the text is therefore shown not to be fully present within it – to four texts by a writer who is arguably among the most prominent within the English literary canon: William Shakespeare. The first deconstructive reading centres around the court scene at the climax of the bond story in The Merchant of Venice. Here the apparent contrast between the restrictive law – which views Shylock’s claim of a pound of Antonio’s flesh as valid – and justice and mercy – which regard adherence to this bond as contrary to the spirit of the law – is collapsed, and justice is shown to be capable of being as restrictive as the law, while mercy becomes embroiled in all the trading that occurs in The Merchant of Venice, and demonstrates the capacity to be mercenary. The Tempest is examined next: the starting point is the apparent Nature/Culture distinction within the play. The reading is influenced by Derrida’s use of the notion of supplementarity in his examination in “… That Dangerous Supplement …” of the Nature/Culture distinction in Rousseau. Particular attention is given first to the wedding masque, where the central figure of Ceres, who is goddess of agriculture and marriage, and also the source of seasonal changes, is shown to problematize any absolute distinctions between Nature and Culture. Such distinctions are further collapsed with reference to Prospero and Miranda’s teaching of language to Caliban, as the latter, who supposedly is representative of natural man, is shown to have had his thought supplemented by language before Prospero’s arrival on the island. Hamlet is approached with a reading that again draws from Derrida – this time his exploration of Mallarmé’s “Mimique” in “The Double Session”. Plato’s theory of forms also becomes involved as this chapter plays with the distinction between Being and imitation, destabilizing this distinction within Hamlet and problematizing Hamlet’s question: “To be, or not to be”. And finally, the chapter on Measure for Measure is concerned with the ideas of restraint and freedom, inspecting Lucio’s suggestion that his restraint arises from “too much liberty”, as well as many other instances in the play where restraint, as well as freedom – which seems at times to function in the same way as restraint – seems significant. The reading draws attention to its own impulse to restrain the reader with the truisms it presents by being written in the form of thirty-four aphorisms, and thus alludes to Derrida’s “Aphorism Countertime”. / Dissertation (MA (English))--University of Pretoria, 2005. / Modern European Languages / unrestricted

Peggy Guggenheim belongs to the essential collectible figures of the 20th century art. She has created a unique art collection during her lifetime and she has opened up new artistic movements (in particular Abstract art) by organizing exhibitions, debates and by publishing catalogues in which she participated. She was active in many art projects and she had friendship among many after-war modern artists. Her collection included front works of Cubism, Futurism, Metaphysical art, Abstract art, Surrealism and Avantgard sculpture. Peggy moved to the Venetian palace Venier dei Leoni in 1949, where she was living following thirty years. Today her extensive collection is opened to public under the patronage of Solomon R. Guggenheim Foundation. The Diploma thesis "Peggy Guggenheim in a Cultural-Political Picture of her Time" will outline Peggy Guggenheim's life in context of emerging modern art (particularly American art) and her diverse activities which were connected with it. Furthermore it will focus on culture-political context of post-war time and finally it will evaluate her contribution to evolution of abstract art and its approach to the general public.

The Venetian veduta or view, became popular in the Settecento when Venice had turned into a regular stop on the Grand Tour. The foreign market’s interest in vedute, prompted Venetian artists to follow in Canaletto’s path. Francesco Guardi (1712-1793) is today famous for such views, and his paintings hang in museums around the world. One of his vedute, Piazza San Marco, Venice, was bought by the Nationalmuseum in Stockholm in 1964. In 1990, however, the Nationalmuseum changed the attribution of the painting. What prompted such a change? This thesis critically discusses the difficulty of attribution and dating of vedute in the Eighteenth century, specifically of paintings by the artist Francesco Guardi. Moreover, it presents and examines the strengths and weaknesses of the different attributional methods based on documentary, stylistic, topographic and technical approach, and with what success scholars have used them to establish a chronology of Francesco Guardi's oeuvre. Due to its well documented history, the painting, Piazza San Marco, Venice, will serve as a case study for the difficulties of attributing and dating Francesco Guard’s vedute, and the thesis will present evidence to Piazza San Marco, Venice,’s authenticity as a Francesco Guardi autograph.

This thesis examines the preservation challenges heritage cities face because of climate change, with Venice as a case study and references to Rhodes Town, Edinburgh Castle, and Old San Juan. Dominant literature and scholarship on Venice compete with one another, restricting opportunities for interdisciplinary collaboration and dialogue in producing a more efficient preservation approach to the city. Through a study of the brief history of Venice, the materials, and past and present approaches to preservation, this research signifies the need to understand and preserve building materials. Following an analysis of the scholarship on Venice, this paper reveals the role of building materials in discourse on the city, as materials can bridge the gap among competing literature. Therefore, this thesis makes a key contribution to the understanding of urban history and preserving historic cities. In exploring preservation techniques and considering how the discourse can more effectively address the challenges of sea level rise of historic cities, this thesis argues the history of materials is key to a cohesive preservation approach for Venice's built heritage. The building materials are at the center of the preservation issue, and by serving as the core of dialogue and interdisciplinary collaboration, a more efficient approach to preserving the city's local and global heritage will occur. This thesis shows historic building materials can become central to Venice's preservation approach with increased vocal concerns about the building materials from restorers/conservators, non-governing residents, art historians, scientists, and global onlookers to Venice's local government, the Italian government, and international preservation bodies. In exploring preservation techniques and considering how the discourse can develop to address the challenges of sea level rise more effectively on historic cities, this thesis argues the history of materials is key to a cohesive preservation approach for Venice's built heritage. The building materials are at the center of the preservation issue, and by serving as the core of dialogue and interdisciplinary collaboration, a more efficient approach to preserving the city's local and global heritage will occur. This thesis shows historic building materials can become central to Venice's preservation approach with increased vocal concerns about the building materials from restorers/conservators, non-governing residents, art historians, scientists, and global on-lookers to Venice's local government, the Italian government, and international preservation bodies. / Master of Arts / This thesis examines the preservation challenges heritage cities face because of climate change, with Venice as a case study and references to Rhodes Town, Edinburgh Castle, and Old San Juan. Literature on Venice compete with one another, restricting opportunities for conversation on producing an efficient preservation approach to the city. Through a study of the brief history of Venice, the materials, and past and present approaches to preservation, this research signifies the need to understand and preserve the building materials. The role of building materials in discussions and debates on the city is necessary as materials can bridge the gap among competing literature. With building materials at the center of the preservation issue and the core of conversation among different disciplines, a more efficient approach to preserving the city's local and global heritage will occur.

<p>Tema ovog rada je istraživanje savremenih arhitektonskih praksi formiranih u Novom Sadu u periodu od 1980. do 2010. godine. Na osnovu teorijskog polazišta, proučavanja savremenih međunarodnih kretanja - Venecijanskog bijenala arhitekture kao referentnog događaja, kao i istraživanja lokalnog konteksta &ndash; Novog Sada, metodom ankete izvršena je detaljna analiza praksi 145 novosadskih arhitekata. Sintezom dobijenih rezultata sagledan je proces tranformacije osnovnih oblika delovanja, kao i formiranja savremenih arhitektonskih praksi.</p> / <p>The topic of this PhD thesis are contemporary architectural practices, founded in<br />Novi Sad in the period between 1980 and 2010. Based on theoretical stance, the<br />study of contemporary international trends- Architecture Biennale in Venice as a<br />reference event, and the research of the local context- Novi Sad, by applying survey<br />as a method, a detailed analysis of practices of 145 architects from Novi Sad has<br />been conducted.Through a synthesis of the results, it was possible to assess the<br />transformation process of the elementary forms of activities, as well as formation of<br />contemporary architectural practices.</p>

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.