Thesis on subject of Paolo Fiammingo in Venice focuses on a personality of a Netherlandish painter, who lived in Venice the most important part of his productive life. Text of the thesis resumes knowledge on his origin, regarding existing literature it suggest, that there is not enough documentation of his staying or apprenticeship until he came to Venice. In this regards, it also concludes, that he was not famous until he took part in Tintoretto's workshop in Veneto. Thesis researches possible Tosca and Roma mannerism influences of his later works by an analysis his later work and in the light of existing literature. Main part of the thesis concerns on Paolo's sojourn in Venice, which started probably in Tintoretto's workshop. Within workshop daily praxis, he was contributing in finishing some specific commissions of his Master with his apprentice colleagues. Thesis brings some witnesses concerning workshop life and also way the completed work took from the workshop to commissioner. The other part of this work turns awareness to his independent production in Venice and its close connection to his transalpine commissions. The part concludes in suggestions concerning the case of Fiammingo and his concrete purchasers, the Augsburg merchandiser Hans Fugger and the Emperor Rudolf II. It also mentions a...

No description available.

This thesis starts with an introduction to Simulataneous Localization and Mapping (SLAM) and more background on Visual SLAM (VSLAM). The goal of VSLAM is to map the world with a camera, and at the same time localize the camera in that world. One important step is to optimize the acquired map, which can be done in several different ways. In this thesis, two state-of-the-art optimization algorithms are identified and compared, namely the g2o package and the SBA package. The results show that SBA is better on smaller datasets, and g2o on larger. It is also discovered that there is an error in the implementation of the pinhole camera model in the SBA package.

This thesis takes as a focal point an important Archbishop of the Greek community in Venice, Meletios Typaldos, who lived in the turbulent era of the late seventeenthearly eighteenth century (1651-1713). An enquiry into the course of his life was deemed worthy of scholarly research: first, because he had not been till now adequately investigated; second, because he is a multi-faceted personage who is highly representative of the ambiguities of that historical period but also clearly and sophisticatedly involved in them. In addition, a study of his life and work reveals a great deal about the religious and cultural beliefs and bias of the flourishing Greek Diaspora of Venice during this historical period. The dissertation investigates initially the political background within which Venice played a crucial role. Moreover, it brings to the fore the religious conflicts of the era as well as the renewal of the theological and philosophical ideas related to scholastic Aristotelism, derived from the teachings at Padua University which spread to the territory of the city-state of Venice. The emphasis in the dissertation is to focus on the impact that these ideas had on the beliefs and views of Typaldos. Principally, the thesis disambiguates the initiatives of Meletios Typaldos who, as head of the Orthodox Church in Venice, planned to convert the Orthodox Greeks to Catholicism without taking into consideration the church body, i.e., the Greek Orthodox clergy and congregation. In contrast to the prevailing view that his ambition to become a cardinal drove him to the acceptance of the Catholic doctrine, this dissertation argues that Typaldos’ activities were inspired by his desire to play a crucial role in a Uniate Church under the Pope’s auspices, with the ultimate ambition to convert all Greeks to it. Finally, specific attention has been given to the resistance of the Greeks of Venice to Typaldos’ plans. After examining the evidence, the thesis concludes that the will of the Greek Confraternity to maintain its social independence -that was guaranteed by the Venetian state - and its passionate desire to maintain unchanged the Confraternity’s Greek ethnic and religious identity are the main causes that determined its reactions against Typaldos. The conflict between the Archbishop and leadership of the Greek community ended in Typaldos’ excommunication by the Patriarchate of Constantinople and, with the loss of his leadership, the decline of the Greek Community of Venice.

Comedy is an inherently pleasurable phenomenon with beneficial psychological functions, but its potential to bring on undesirable and socially destabilizing consequences is less intuitively obvious. In this essay, I argue that one of the hitherto under-recognized features of William Shakespeare’s The Merchant of Venice is its covert problematization of the phenomenon of comedy itself, and that the play invites its audience to become more aware of in what situations laughter is constructive and appropriate. I apply psychological and cultural-historical theories of humor— specifically, Freudian relief theory and Bakhtinian thought on laughter and festivity—as a framework for interpreting the play, with a particular emphasis on the secondary protagonist called Gratiano. I argue that Gratiano serves as a personification of comedy, whose function is to problematize it and demonstrate its positive as well as negative attributes in relation to seriousness and restraint. Gratiano’s laughter-inducing antics compel audience members to sympathize with him in the dialectic which Shakespeare sets up between him and other characters, but the play also portrays his jovial behavior as concomitant with less desirable traits which his comedy successfully obscures. While the character presents comedy as attractive and instinctively preferable to propriety and decorum, he also shows how the allure of laughter and comedy may be used by disingenuous actors to provide an attractive veneer for immoral or abhorrent behavior.

Visitor expenditure can be affected by different economic, socio-demographic and psychological variables. Previous literature have focused on the use of observed tourists and destination characteristics as explanatory variables to explain visitor expenditure, whereas the use of psychological factors has been underresearched. The present study aims to fill in the gap in the existing literature through the exploration of more extensive use of psychological variables. This is accomplished by the use of structural equation modelling (SEM), a methodological approach which seems not to have been applied before in tourism expenditure econometric models. In econometrics expenditure research, Mortazavi (2018) found satisfaction to be an endogenous regressor of expenditure. Hence, the contribution of our model is that it allows for the relationship between visitor satisfaction and visitor expenditure, and vice versa, to be tested simultaneously. Consequently, under this context we may identify the magnitude of one variable impact on another while at the same time accounting for simultaneous relationship between the two paths. The findings of this study go in hand with previous literature and economic theory which have found a positive relationship between visitor satisfaction and visitor expenditure.

Ce travail de recherche porte sur l’œuvre de la Vénitienne Rosalba Carriera (1675-1757), qui connut un succès international grâce à ses portraits et à sa maîtrise exceptionnelle du pastel. Cependant, il serait réducteur de parler de Rosalba Carriera uniquement en tant qu’artiste.En effet, cette dernière rédigea une vaste correspondance, plusieurs textes en relation avec la société de son époque, écrivit un petit traité sur le pastel et fut dans le même temps poète et diariste.Le but de cette recherche consistera donc – sans oublier son travail de peintre –à mettre en lumière l’autre facette de l’artiste, à savoir, la femme de Lettres en prise avec son temps dont elle fut un témoin attentif.Dans cette double perspective, l’accent est mis, en premier lieu, sur la peinture et les femmes peintres en Europe et à Venise au XVIIIe siècle, avec une mention particulière pour la formation artistique de Rosalba Carriera. Dans un second temps, sont analysés ses écrits, parmi lesquels sa vaste correspondance ainsi que ses journaux qui révèlent ses qualités d’épistolière et de diariste ainsi que le vaste réseau qu’elle avait su se constituer en Europe, tout particulièrement en France et, dans une moindre mesure, en Angleterre. Enfin, Rosalba Carriera sera présentée comme poète, mais également comme témoin social et historique de son temps au travers de plusieurs écrits de natures diverses, au nombre desquels on compte le traité sur le pastel, Maniere diverse per formare i colori, dans lequel elle apparaît comme une remarquable pédagogue et spécialiste en la matière.Ces différentes facettes de Rosalba Carriera composant le portrait d’une artiste et femme de Lettres dans l’Europe des Lumières. / This thesis is about the work of the Venetian Rosalba Carriera (1673-1757), who knew an international success thanks to her portraits and her exceptionnal mastery of pastel painting. However, Rosalba Carriera was not only an artist. In effect, she wrote many letters, texts in relation with the society of her century and she wrote a little essay about the pastel and she was also a letter writer, a poet and wrote diaries. Without forgetting her identity of artist,we will stress on her profile of woman of Letters, witness of her century. First of all, we will speak about the painting and the women painters in Europ and in Venice in the 18th century and we will insist on the artistic formation of Rosalba Carriera.In a second time, we will analyse the writings of Rosalba: her letters and diaries that reveal her qualities of letter writer and diarist and also the large network she especially developed in France and a little bit in England. Finally, we will introduce Rosalba as a poet, as a social and historical witness of her time thanks to many texts and thank to her essay on the pastel painting, Maniere diverse per formare i colori, where she appears as an educationalist and specialist. These differents facets of Rosalba Carriera will make up the portrait of an artist and a woman of Letters in the Enlightenment Europ.

Plusieurs encriers se sont déjà épuisés à écrire sur la Venise des films, mais leurs études étaient avant tout d’ordre historique. Nous tenons compte de cette approche, de cette histoire de l’imaginaire, car nous pensons qu’elle est le passage vers un regard esthétique sur certaines interprétations de l’espace vénitien, tel qu’il est représenté dans le cinéma de fiction. Choisies pour leur éclectisme mais aussi pour leurs éventuelles correspondances, les images de notre corpus filmographique nous entraînent vers une analyse variée de l’espace du plan (le cadre, le champ) et de celui du montage (la « dialectique » des plans). Notre démarche, attachée aussi bien aux rapports spirituels et matériels qu’aux résultats signifiants et inconscients entre le créateur et Venise, retrace la sensibilité perceptible dans chacun des films concernés. Grâce à cette sensibilité, nous voulons mieux connaître les conditions d’une poétique de l’espace vénitien (et urbain) à travers le film, mais aussi le statut de la fiction pour son spectateur. Nous considérons objectivement autant les lieux communs que les visions anti-mythiques de la ville, car la spectacularité, le quotidien et la découverte font tous partie de sa nature. Nous cherchons simplement à comprendre comment les images filmiques et leurs histoires peuvent encore progresser vers une définition plus claire de la « place » de Venise et du cinéma pour chacun de leurs observateurs, pour chacun de leurs auteurs. / Many ink wells have already been exhausted writing about Venice in film, but these studies were primarily historical. We take the following approach: the story of the imaginary; we believe it is the gateway to an aesthetic view of some interpretations of Venetian space as represented in fiction films. Chosen for their versatility but also for their possible interconnections, the images in our filmography lead us towards an analysis of varied space shots and space editing. Our approach, committed to both spiritual and material reports as results and unconscious meanings between the creator and Venice, traces the sensitivity seen in each of the films concerned. With this sensitivity, we want to better understand the conditions of a poetics of urban and Venetian space through film, but also the status of fiction for its audience. We consider objectively all the platitudes and the anti-mythic visions of the city, because the spectacular, the everyday and discovery are all part of its nature. We are simply trying to understand how images in film and their stories can move towards a clearer definition of Venice as a "place” in film for both their observers and their authors.

In 2013, the 55th Venice Biennale, the world's oldest bi-annual international contemporary art exhibition, opened under the title The Encyclopedic Palace, organized by Italian curator Massimiliano Gioni. The international exhibition section is always flanked by an amalgamation of distinct national spaces, a dual exhibition model that has been the hallmark of the Biennale since 1998. In 2013, the United States pavilion was devoted to American artist Sarah Sze's work Triple Point and her signature arrangement of everyday objects and materials, such as Q-tips, water bottles, painter's tape, and desk lamps. The title of Sze's multi-room installation, culled from earlier works as well as created from new materials, refers to the thermodynamic equilibrium of any given substance--specifically, a "triple point" is the temperature and pressure at which a substance is solid, liquid and gas at the same time. The quasi-scientific installations provide constantly shifting viewpoints as the viewer circumnavigates the interconnected spaces of the U.S. pavilion, moving amid, around, and through the work, but also focusing on different individual objects before pulling back to catch glimpses of the work as a whole. In this thesis, I apply a phenomenological analysis to Triple Point in order to make sense of its scientific references in conjunction with its complex form. I view Triple Point as a culmination of the ideas that Sze has sustained and explored over the course of her career--such as the investigation of everyday objects in relation to site, space, and viewer--that situates the viewer in an experience caught between empirical order and individual perception. To examine Triple Point using the idea of "embodied perception," I formally analyze the work in relation to its scientific meanings as suggested by its titles of individual works--Gleaner, Planetarium, Eclipse, Scale, Orrery, Pendulum, Observatory, and Compass. I then trace the discourse surrounding phenomenology and the rise of installation art through the writings of art historians Michael Fried, Rosalind Krauss, and Claire Bishop, before finally situating French philosopher Maurice Merleau-Ponty's phenomenology as an apt theory for analyzing this work. In embracing both the scientific objectivity implied by Sze's installations without sacrificing the import of physical perception, I contend that Triple Point invites the viewer to look at--but also beyond--the array of familiar objects, emphasizing a shifting sense of the work that is never exhaustively fixed. Thus, Triple Point does not expose the classic dichotomies between art and science, natural and manufactured, image and object, but instead opens up the moment of their confluence--the paradoxical achievement of an embodied perception as described by Merleau-Ponty. Understood phenomenologically, Triple Point invites viewers to get caught-up in the dynamic experience of "between-ness" invoked by the installation's title and to engage with their everyday experiences of contemporary life in a new way.

No description available.