This thesis explores prescriptive literature and conduct books, specifically The Book of Homilies, and how these prescriptions manifest in Shakespeare’s work. This text examines the depictions of marital relationships and argues that the actions of husbands in two of Shakespeare’s comedies, The Taming of the Shrew and The Merchant of Venice, deviate from prescriptive ideals that homilies deem proper for the husband-and-wife relationship. Through the combination of new historicism and gender criticism, this thesis suggests that Katherine and Portia use submission to gain agency in moments when they seem to have none while showing that the men do not fulfill their husbandly duties. This dynamic demonstrates that submission did not mean subordination, and men in these plays do not totally recognize the agency women have despite the larger scheme of patriarchal power still existing.

Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / Este trabalho busca compreender os problemas enfrentados pelo artista burguês para o cultivo de sua alma sem diante do problema da crise da modernidade. Entre os séculos XIX e XX a autonomização do mundo e a fragmentação da cultura em duas esferas distintas objetiva e subjetiva tornaram a vida cotidiana uma perspectiva problemática para aqueles que desejavam atingir um nível elevado de suas almas. Nesse sentido, a obra Morte em Veneza (1912) de Thomas Mann conta a história de um artista Gustav Aschenbach que rejeita o mundo e seus sentimentos no intuito de explorar um ideal estético clássico e impossível de se articular com a realidade. A história narra a trajetória desse artista do momento em que decide deixar a Alemanha, seu país natal, rumo à Veneza, no intuito de recuperar-se da exaustão que o exercício do trabalho vocacionado lhe impõe. Mostraremos que Veneza assume, sob tal perspectiva, um papel de grande relevância, pois se relaciona de maneira direta ao ideal de vida do artista. E será em Veneza que Aschenbach encontrará na figura de um garoto a manifestação real de seus anseios idealísticos do belo. Tal encontro produzirá, no artista, um descontrole e uma anarquia de sentimentos que o levará diretamente ao abismo.

Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / Este trabalho busca compreender os problemas enfrentados pelo artista burguês para o cultivo de sua alma sem diante do problema da crise da modernidade. Entre os séculos XIX e XX a autonomização do mundo e a fragmentação da cultura em duas esferas distintas objetiva e subjetiva tornaram a vida cotidiana uma perspectiva problemática para aqueles que desejavam atingir um nível elevado de suas almas. Nesse sentido, a obra Morte em Veneza (1912) de Thomas Mann conta a história de um artista Gustav Aschenbach que rejeita o mundo e seus sentimentos no intuito de explorar um ideal estético clássico e impossível de se articular com a realidade. A história narra a trajetória desse artista do momento em que decide deixar a Alemanha, seu país natal, rumo à Veneza, no intuito de recuperar-se da exaustão que o exercício do trabalho vocacionado lhe impõe. Mostraremos que Veneza assume, sob tal perspectiva, um papel de grande relevância, pois se relaciona de maneira direta ao ideal de vida do artista. E será em Veneza que Aschenbach encontrará na figura de um garoto a manifestação real de seus anseios idealísticos do belo. Tal encontro produzirá, no artista, um descontrole e uma anarquia de sentimentos que o levará diretamente ao abismo.

Interrogeant les rapports entre création et restauration des Monuments historiques après la publication, en 1964, du texte de la Charte de Venise, le travail de recherche s’attache à en observer les conséquences sur la pratique en France. Il repose sur le postulat qu’un tournant est à l’œuvre dans les pratiques, les statuts et la formation des architectes en lien avec les questions patrimoniales. L’appropriation, revendiquée, d’un langage contemporain appuyée par les principes de la Charte de Venise, par des Architectes en Chef des Monuments Historiques (ACMH) après-guerre montre une volonté de lier création et restauration et de faire entrer cette dernière dans la sphère architecturale. Les polémiques suscitées par certaines interventions montrent un intérêt pour la fin de cette césure des pratiques. Cette réflexion se base sur l’étude de projets contemporains dans des monuments historiques pour lesquels les architectes revendiquent l’application des principes de la Charte de Venise. Ce texte théorique entre en conflit avec la doctrine française de la restauration stylistique alors en vigueur et sa diffusion par la pratique a suscité des polémiques. La première intervention étudiée, la restauration de l’ancienne abbatiale de Toussaint par Pierre Prunet, qui représente une première revendication de l’application des principes de la Charte et n’a pas engendré de polémique. Le second cas étudié est la restauration du château de Falaise de Bruno Decaris, avec ce projet éclate une première polémique, suivie de réformes ayant modifié le cadre des Monuments Historiques. Le troisième et dernier cas examiné est celui de la restauration des arènes de Fréjus de Francesco Flavigny, il illustre une étape récente de l’évolution de la situation dans ce domaine. L’étude se développe en trois volets complémentaires : Une histoire institutionnelle du service des monuments Historiques après 1960, les apports du texte de la Charte de Venise dans le contexte français ainsi que le déplacement des intérêts après les années 1980. Le second volet se concentre sur l’analyse architecturale des interventions à la fois dans le traitement de la matière existante et dans le traitement des compléments architecturaux à caractère contemporain. Enfin, le troisième volet s’attache à l’étude de la médiatisation, de la réception et des polémiques entourant ces interventions. Les divers milieux (revues spécialisées dans la restauration, revues d’architecture ou opinion publique) ayant pris part à la diffusion et à la réception des interventions informent sur les porosités à l’œuvre entre créateurs et conservateurs. Ce travail tente d’apporter des réponses aux questionnements qui animent aujourd’hui la pratique et l’enseignement de l’architecture concernant la formation, le statut, les compétences des architectes spécialisés ou non dans la restauration (en chef, du patrimoine, dplg, HMONP) et leurs méthodes d’intervention / Questioning the relationship between creation and restoration of historic monuments after the publication in 1964 of the text of the Charter of Venice, the research aims to observe the consequences on the practice in France. It is based on the premise that a turning point is at work in the practices, rules and the training of architects in relation to heritage issues. Ownership, claimed, a contemporary language supported by the principles of the Charter of Venice, by Chief Architects of Historical Monuments (ACMH) postwar shows a willingness to link creation and restoration and to bring it in the architectural sphere. The controversy aroused by certain actions show interest in the end of this caesura practices. This reflection is based on the study of contemporary projects in historic monuments for which architects claim the application of the principles of the Venice Charter. This theoretical text conflicts with the French doctrine of stylistic restoration in force and its dissemination through the practice has been controversial. The first studied intervention, restoration of the old abbey of Toussaint Pierre Prunet, which represents a first claim of the principles of the Charter and did not cause controversy. The second case study is the restoration of Falaise Castle Bruno Decaris with this project first broke a polemic, followed by reforms that changed the course of Historical Monuments. The third case examined is the restoration of Fréjus arenas Francesco Flavigny, it illustrates a next step in the evolution of the situation in this area. The study develops three complementary components: an institutional history of monuments Historic service after 1960, the contributions of the Venice Charter text in the French context and the movement of interest after the 1980. The second part focuses on architectural analysis of interventions in both the treatment of existing material and in the treatment of architectural additions to contemporary character. Finally, the third component focuses on the study of media coverage, reception and controversy surrounding these interventions. The various media who took part in the distribution and receipt of interventions inform the porosities at work between artists and curators. This work tries to provide answers to questions that drive today's practice and architectural education on training, status, skills, specialized or not in the restoration architects and their methods of intervention

Teilw. zugl.: Venezia, Universit̀a IUAV, Diss., 2006.

During the late sixteenth and early seventeenth centuries, Venetian society and politics could be considered as a "polychoral culture." The imagination of the republic rested upon a shared set of social attitudes and beliefs. The political structure included several social groups that functioned as identifiable entities; republican ideologies construed them together as parts of a single harmonious whole. Venice furthermore employed notions of the republic to bolster political and religious independence, in particular from Rome. As is well known, music often contributes to the production and transmission of ideology, and polychoral music in Venice was no exception. Multi-choir music often accompanied religious and civic celebrations in the basilica of San Marco and elsewhere that emphasized the so-called "myth of Venice," the city's complex of religious beliefs and historical heritage. These myths were shared among Venetians and transformed through annual rituals into communal knowledge of the republic. Andrea and Giovanni Gabrieli and other Venetian composers wrote polychoral pieces that were structurally homologous with the imagination of the republic. Through its internal structures, polychoral music projected the local ideology of group harmony. Pieces used interaction among hierarchical choirs - their alternation in dialogue and repetition - as rhetorical means, first to create the impression of collaboration or competition, and then to bring them together at the end, as if resolving discord into concord. Furthermore, Giovanni Gabrieli experimented with the integration of instrumental choirs and recitative within predominantly vocal multi-choir textures, elevating music to the category of a theatrical religious spectacle. He also adopted and developed richer tonal procedures belonging to the so-called "hexachordal tonality" to underscore rhetorical text delivery. If multi-choir music remained the central religious repertory of the city, contemporary single-choir pieces favored typical polychoral procedures that involve dialogue and repetition among vocal subgroups. Both repertories adopted clear rhetorical means of emphasizing religious notions of particular political significance at the surface level. Venetian music performed in religious and civic rituals worked in conjunction with the myth of the city to project and reinforce the imagination of the republic, promoting a glorious image of greatness for La Serenissima.

The present work examines the literary criticism expressed by Isabella Teotochi Albrizzi in several of her unpublished letters. / The first part outlines the cultural and historical tradition of Venice during the Eighteenth Century. Particular attention is subsequently given to the intellectual role of women, their contribution to the literary salons of the time, and the neoclassical tradition. This first part is essential in that it supplies a valuable context to Isabella Teotochi Albrizzi's writings. / In the second part, I examine Isabella Teotochi Albrizzi's literary criticism of major European authors and works. Through these criticisms she exposes her misvision of the literary world to which she aspired, and reveals that although she was influenced by the subtle preromantic tendencies, she remained faithful to the neoclassical school.

No description available.

Ce mémoire porte sur le traité de Venise de 1201, passé entre les barons de la Quatrième Croisade et la république de Venise, pour l’affrètement d’une flotte incluant transport et vivres. L’étude du Traité est d’autant plus importante que, les croisés manquant à leurs obligations, cet accord eut un impact déterminant sur la suite de la Croisade, se plaçant ainsi au cœur de sa déviation vers Constantinople. Le mémoire analyse d’abord la nature et l’ampleur des engagements pris par Venise, en essayant de quantifier et de mesurer en termes économiques le nombre de bateaux et de croisés transportés, ainsi que le poids et le coût des provisions pour hommes et chevaux. Cette analyse, basée sur la comparaison avec des contrats analogues, prouve que la somme de 85 000 marcs d’argent convenue avec les barons n’était en rien exagérée. Parallèlement, le mémoire évalue ce que pouvait signifier, dans le contexte économique de l’époque, une telle somme, et tente d’identifier les raisons pour lesquelles les croisés furent dans l’impossibilité d’honorer leur part du contrat. Cette analyse montre que, contrairement à une certaine historiographie traditionnelle, il serait faux d’imputer aux Vénitiens la responsabilité du détournement de la Croisade ou de les taxer d’intransigeance, de cupidité, voire de duplicité. L’effort fourni par la République indique qu’elle mit tout en œuvre pour que l’entreprise fût une réussite. L’interruption du commerce, la construction de nombreux navires, la réquisition de milliers de marins pour manœuvrer la flotte et la logistique pour approvisionner des dizaines de milliers d’hommes témoignent toutes de l’ampleur de l’implication vénitienne. C’est le défaut de paiement des croisés, qui força le doge Henri Dandolo à se commettre plus avant encore, joignant irrémédiablement la fortune de la ville marchande à celle de l’expédition. / This master’s thesis is about the Treaty of Venice, made in 1201 between the Fourth Crusade’s barons and the Republic of Venice, regarding the transportation and provisioning of a fleet bound for the Levant. The importance of this study stems from the Crusaders’ default on their obligation, which had a decisive impact on the course of events, thus placing it at the heart of the Crusade’s deviation to Constantinople. First, this study analyses the nature and scale of Venice’s undertaking, attempting to quantify and measure in economic terms the number of ships and passengers onboard, as well as the supplies’ weight and cost, for both men and horses. This analysis, based on analoguous contracts, proves the agreed sum of 85 000 silver marks was in no way exaggerated. Also, the analysis weighs the importance of such a sum in the economic context of the times, and tries to identify the reasons of the crusaders’ shortcomings. Despite a certain traditional historiography, this analysis demonstrates that Venice cannot bear the brunt of the responsibility for the Crusade’s deviation, and that blaming their uncompromisingness, their greed, or even their duplicity, is wrong. The sheer effort provided by the Republic, indicates it took every measure to warrant the venture’s success. The interruption of far-away trade, the construction of numerous ships, the requisition of thousands of sailors to man them, and the logistics needed to supply tens of thousands, display well the Venetians’ dedication. It is the crusaders’ failure to pay which triggered doge Enrico Dandolo to commit further, thus irremediably joining his city’s fortunes to those of the expedition.

Falling within the ambit of the Department of English Literature but with interdisciplinary scope and method, the research undertaken in this thesis examines Michael Radford’s 2004 film production William Shakespeare’s The Merchant of Venice using the Book History approach to textual study. Previously applied almost exclusively to the study of books, Book History examines the text in terms of both its medium and its content, bringing together bibliographical, literary and historical approaches to the study of books within one theoretical paradigm. My research extends this interdisciplinary approach into the filmic medium by using a modified version of Robert Darnton’s “communication circuit” to examine the process of transmission of this Shakespearean film adaptation from creation to reception. The research is not intended as a complete Book History study and even less as a comprehensive investigation of William Shakespeare’s The Merchant of Venice. Rather, it uses a Shakespearean case study to bring together the two previously discrete fields of Book History and filmic investigation. Drawing on film studies, literary concepts, cultural and media studies, modern management theory as well as reception theories and with the use of both quantitative and qualitative data, I show Book History to be an eminently useful and constructive approach to the study of film.