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1
Lepage, Andrea. „Arts of the Franciscan Colegio De San Andres in Quito : a process of cultural reformation“. View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3319103.
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Bai, Mengtian. „Yangzhou Latin Tombstones: A Christian Mirror of Yuan China Society“. Oberlin College Honors Theses / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1530141020070354.
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Giura, Giovanni. „San Francesco ad Asciano : un osservatorio per lo studio delle chiese minoritiche toscane“. Doctoral thesis, Scuola Normale Superiore, 2017. http://hdl.handle.net/11384/85777.
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Montes, Bardo Joaquín. „Arte y espiritualidad franciscana en la Nueva España : siglo XVI : iconología en la provincia del Santo Evangelio /“. Jaén : Universidad de Jaén, 2001. http://catalogue.bnf.fr/ark:/12148/cb388527338.
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Zardetto, Giorgia <1989>. „Francisco Infante: "Giochi Suprematisti" alla ricerca dell'Infinito“. Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3917.
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Preater, Jason. „Francisco Pacheco and polychromy in Seville (1580-1649)“. Thesis, University of Bristol, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300702.
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Daniel, Marko. „Art and propaganda : the battle for cultural property in the Spanish Civil War“. Thesis, University of Essex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285847.
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Roest, Bert. „Reading the book of history : intellectual contexts and educational functions of Franciscan historiography 1226 - ca. 1350 : proefschrift ter verkrijging van het doctoraat in de Letteren aan de Rijksuniversiteit Groningen... /“. [Groningen] : B. Roest, 1996. http://catalogue.bnf.fr/ark:/12148/cb37638066v.
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Mangipano, John. „Remolding Mexican Identity: The Wax Art of Francisco Vargas in 19th Century New Orleans“. ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1327.
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In December of 1915, the New Orleans Times-Picayune reported on the death of the patriarch of four generations of Mexican wax figure artists whose artworks demonstrated a century of change in the city of New Orleans. The family's artworks included religious sculptures, representations of indigenous and peasant populations of Mexico, and the merchant populations of the French Quarter. Francisco's artworks represented Louisiana's agriculture at two World's Fairs in New Orleans and Buffalo. Francisco received a contract from Mississippi Commissioner R. H. Henry to produce the 30-foot King Cotton for the 1904 Louisiana Purchase International Exposition in St. Louis, Missouri. Though the family's success continued after Francisco's death, an examination into the family's business, artworks, travels, and personal connections during Francisco's lifetime provides a new avenue for exploring the relationship between New Orleans and Mexico in the nineteenth century
10
Martin, Lisa. „Acts of Remediation : Curating contemporary art in cultural heritage sites“. Thesis, Stockholms universitet, Konstvetenskapliga institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-107220.
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Increasingly, contemporary artists are invited to create artworks responding to and located in cultural heritage sites such as national parks, national monuments, historic landmarks, and historic buildings. This thesis examines the nature of contemporary art production, display, and encounter in cultural heritage sites. The research is directed by the question: What are the conditions of curating contemporary art in cultural heritage sites? The analysis builds from the idea that the meeting ground of contemporary art and cultural heritage produces a curatorial zone, and explores the implications of the interplay between these two fields for curatorial labor in cultural heritage sites specifically. A set of conditions that are central to both curating and cultural heritage management forms the methodological starting point for a comparative analysis of ten contemporary art projects in cultural heritage sites, including one in-depth case study. The comparative analysis reveals that this curatorial zone is characterized by conditions that arise from conceptual tensions between the fields of contemporary art and cultural heritage. Specifically, a set of conditions I have termed change, temporal, interpretive, site-specific, and instrumental conditions actively shape the act of curating contemporary art in cultural heritage sites.
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Mateo, Krupsky Oreste. „La evangelización en la legislación franciscana "Pro Indis", siglo XVI : estudio histórico-jurídico /“. Romae : [s.n.], 1996. http://catalogue.bnf.fr/ark:/12148/cb376231494.
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SALVESTRINI, AMALIA MARIA SOFIA. „L'artefice nel pensiero francescano“. Doctoral thesis, Università degli studi di Genova, 2022. http://hdl.handle.net/11567/1073198.
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Il presente lavoro si propone d’interrogare alcuni testi premoderni, quelli del Medioevo francescano in particolare, per comprendere come la figura dell’artefice e l’esperienza della produzione artificiale sono stati oggetto di una riflessione che potremmo chiamare “estetica”, prima della nascita dell’estetica in quanto disciplina. Il fenomeno della poiesis nel Medioevo è pensato attraverso una distinzione fondamentale, ossia quella tra artefice umano e artefice divino. Sulla base di questa distinzione, la poiesis non è considerata come una creazione a partire dal nulla da parte di qualcuno che, fuori da un ordine cosmico e metafisico, obbedisce alle sole leggi che si dà in modo autonomo. Al contrario, pensare la poiesis in questo periodo implica avere coscienza dell’ordine nel quale l’artefice si pone, dei criteri ai quali egli si conforma e che sono l’espressione delle scelte originarie per mezzo delle quali Dio artefice creò il mondo.
La riflessione francescana sull’artefice è qui studiata a partire da un corpus di testi di Bonaventura da Bagnoregio, Pietro di Giovanni Olivi, Giovanni Duns Scoto e Guglielmo di Ockham. Nel Volume 1 si studia la costituzione filosofica dell’artefice. In primo luogo, si osserva la sua genesi attraverso fonti scritturistiche, filosofiche e retoriche (Parte I). In secondo luogo, si ricostruiscono le prospettive francescane sull’artefice attraverso l’articolazione dell’attività poietica in progetto, opera e fruizione (Parte II). Nell’ultima parte, dedicata al passaggio dall’artefice all’artista (Parte III), ci si interroga, alla luce del percorso effettuato, sulla possibilità di “estetiche” francescane, così come sul passaggio da queste all’arte francescana. Infine, si aprono alcune linee di ricerca sulle possibili relazioni tra l’artefice francescano e le teorie artistiche rinascimentali. Nel Volume 2 della dissertazione (Appendice. Le parole. Lo spazio semantico dell’artefice) si mette a disposizione la documentazione commentata del corpus di testi dei quattro autori francescani.This work aims to question some pre-modern texts, those of the Franciscan Middle Ages in particular, in order to understand how the figure of the maker (artifex) and the experience of artificial production were the subject of a reflection that we could call "aesthetic", before the birth of Aesthetics as a discipline. The phenomenon of poiesis in the Middle Ages is conceptualised through a fundamental distinction, namely that between human and divine maker. On the basis of this distinction, poiesis is not considered as a creation from nothing by someone who, outside of a cosmic and metaphysical order, obeys only the laws he gives himself. On the contrary, thinking of poiesis in this period implies being aware of the order in which the maker places himself, of the criteria to which he conforms and which are the expression of the original choices through which God the artifex created the world. Franciscan reflection on the maker is studied here from a corpus of texts by Bonaventure of Bagnoregio, Peter of John Olivi, John Duns Scotus and William of Ockham. Volume 1 studies the philosophical constitution of the maker. Firstly, its genesis is observed through scriptural, philosophical and rhetorical sources (Part I). Secondly, the Franciscan perspectives on the maker are reconstructed through the articulation of the poietic activity in project, work and fruition (Part II). In the last part, dedicated to the passage from the artifex to the artist (Part III), in the light of the path taken, the possibility of Franciscan "aesthetics" is questioned, as well as the passage from these to Franciscan art. Finally, some lines of research are opened on the possible relations between the Franciscan maker and the artistic theories of the Renaissance. In Volume 2 of the dissertation (Appendix: The words. The semantic space of the artifex) the commented documentation of the corpus of texts of the four Franciscan authors is made available.
Notre travail se propose d’interroger certains textes pré-modernes, ceux du Moyen Âge franciscain en particulier, pour comprendre comment la figure de l'artifex et l'expérience de la production d'artefacts ont fait l'objet d'une réflexion que l'on pourrait qualifier d'« esthétique », avant même la naissance de l'esthétique en tant que discipline. Le phénomène de la poiesis est pensé tout au long de la période médiévale par moyen d’une distinction fondamentale, c’est-à-dire celle entre l’artifex humain et l’artifex divin. Sur la base de cette distinction, la poiesis n’est pas considérée comme une création à partir du néant par quelqu’un qui, en dehors d’un ordre à la fois cosmique et métaphysique, obéit seule aux lois qu’il se donne de manière autonome. Au contraire, penser la poiesis à cette époque implique de prendre conscience de l’ordre dans lequel l’artifex se place, des critères auxquels il se conforme et qui sont l’expression des choix originaires par lesquels le Dieu artifex a créé le monde. La réflexion franciscaine sur l'artifex est ici étudiée à partir d'un corpus de textes de Bonaventure de Bagnoregio, Pierre de Jean Olivi, Jean Duns Scot et Guillaume d'Ockham. Le Volume 1 étudie la constitution philosophique de l'artifex. Tout d'abord, sa genèse est observée à travers les sources scripturaires, philosophiques et rhétoriques (Partie I). Deuxièmement, les perspectives franciscaines sur l'artifex sont reconstruites à travers l'articulation de l'activité poïétique dans le projet, l’œuvre et la fruition (Partie II). Dans la dernière partie, consacrée au passage de l'artifex à l'artiste (Partie III), à la lumière du chemin parcouru on s'interroge sur la possibilité d'une "esthétique" franciscaine, ainsi que sur le passage de celle-ci à l'art franciscain. Enfin, quelques axes de recherche sont ouverts sur les relations possibles entre l'artiste franciscain et les théories artistiques de la Renaissance. Dans le Volume 2 de la thèse (Annexe: Les paroles. L'espace sémantique de l'artifex) la documentation commentée du corpus de textes des quatre auteurs franciscains est mise à disposition.
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Malbouires, Virginie. „Les emblèmes du monastère franciscain de Cimiez à Nice : analyse ethnoculturelle et iconographique“. Nice, 1996. http://www.theses.fr/1996NICE2035.
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Les emblèmes réalisés au XXVIIe siècle au monastère franciscain de Cimiez, comme toute cette vogue à l'époque à son apogée, sont placés sous le signe du voile et de l'énigme. Ils appellent inéluctablement une interprétation qui, aujourd'hui, exige au préalable l'acquisition d'une certaine familiarité avec leur milieu de production. L'étude du franciscanisme, de l'emblématise et des croyances et traditions relatives aux motifs représentés permet donc de progresser vers leur compréhension. Au terme de cette démarche progressive, il apparaît que le cycle emblématique de la sacristie, dédié à l'assomption de la vierge, évoque en outre les différentes démonstrations de la pureté mariale. Quant au cycle de l'oratoire, dédié au saint nom du Christ, il recèle des allusions à l'eucharistie et au sacré coeur. Ces emblèmes sont donc à la fois représentatifs de la religiosité de cet ordre et de cette époque mais également originaux par la polysémie dont ils font preuve qui les projette, au-delà des œuvres de dévotion et d'édification, dans le domaine de la méditationThe emblems realised at the XVII th century in the franciscan monastery of Cimiez, as all this vogue at this time at its apogee, implicate veil and enigma. They request an interpretation which, today, require to become familiarized with their production background. The study of franciscanism, emblematism and traditions and believes about the represented patterns allows to progress toward their comprehension. At the end of this approach, it appears that the emblematic cycle of the sacristy, dedicated to the virgin assumption, also treats about the different expressions of the marial purity. As regards the cycle of the oratory, dedicated to the Christ's holy name, it contains allusions to the eucharisty and the sacred heart. Therefore, these emblems are representative of the religiosity of this order and this time but at once original by the polysemy they convey. So, they go further than the devotion and edification works to the meditation field
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Ante, Oscar Adra. „Contextual evangelization in the Philippines : a Filipino Franciscan experience /“. Kampen (Netherlands) : J. H. Kok, 1991. http://catalogue.bnf.fr/ark:/12148/cb355315721.
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Burghart, Marjorie. „Remploi textuel, invention et art de la mémoire : les Sermones ad status du franciscain Guibert de Tournai († 1284)“. Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20093.
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La collection de sermons ad status du maître franciscain Guibert de Tournai († 1284), inscrite dans le nouvel art de prêcher qui se développe au XIIIe siècle, est surtout connue pour la particularité de son organisation, qui répartit les sermons selon les états de vie d'auditoires plutôt que selon les occasions du temps liturgique. Cette thèse réalise un bilan et une actualisation des connaissances sur l'auteur et la collection, ainsi qu'une analyse approfondie de cette œuvre, assortie d'une transcription intégrale. Elle ouvre également la voie d'une réinterprétation du remploi littéraire chez Guibert de Tournai, et propose une lecture nouvelle du découpage ad status à la lumière de la mnémotechnique et des arts de la mémoire. Le premier chapitre fait un bilan des connaissances sur Guibert de Tournai. Enfant de la bourgeoisie flamande, il reste fidèle à sa terre d'origine et aux hommes qu'il a connus ici, bien longtemps après que ses études et son engagement dans l'ordre franciscain l'ont amené à Paris. Intellectuel fécond dans des genres variés, son œuvre laisse entrevoir une personnalité éprise de mystique et de contemplation. Personnage proéminent dans le paysage intellectuel parisien des années 1260, en relation avec de grands personnages politiques et intellectuels de son temps, il s'intéresse aussi aux questions de formation et de transmission du savoir, et bien évidemment à la prédication que nous le voyons pratiquer, grâce à des reportations parisiennes, jusqu'au soir de sa vie. Le deuxième chapitre est consacré à la présentation et l'analyse détaillées de la collection ad status. La tradition en est foisonnante, compliquée par quelques accidents conjoncturels dans la transmission du texte. Elle laisse tout de même entrevoir un texte qui semble relativement stable. Dans son contenu, systématiquement analysé, la collection est un bel exemple de « sermons modernes » dans sa manière d'arranger la matière prêchable, en se servant de très nombreuses distinctiones pour structurer les textes. Le troisième chapitre explore le rapport de Guibert à l'intertextualité ou « remploi » littéraire. Le maître franciscain puise volontiers sa matière dans d'autres œuvres : son remploi des Sermones vulgares de Jacques de Vitry dans ses sermons ad status est connu de longue date, mais il a aussi trouvé chez Guillaume d'Auvergne une partie de la matière première des sermons sur les sacrements. Les emprunts à Jacques de Vitry, mesurés grâce à l'indicateur des exempla, se révèlent moins systématiques et plus complexes qu'on aurait pu le penser, montrant à quel point le remploi littéraire faisait partie intégrante du processus de création, pour Guibert comme pour d'autres auteurs médiévaux. Le rôle des œuvres de Guibert comme réservoirs de matière, faisant à leur tour l'objet de remploi dans des œuvres de genres et d'auteurs variés, est également mis en évidence dans une série de textes. Le dernier chapitre enfin propose une nouvelle lecture du choix d'organisation ad status de la collection, une interprétation alternative du projet de Guibert. Plutôt qu'un miroir de la société réelle ou idéale du prédicateur, la composition de sermons selon des états de vie de l'auditoire peut être comprise, à la lumière des arts de la mémoire, comme un ingénieux outil mnémotechnique pour l'organisation de la matière prêchable. En faisant des status des « lieux de mémoire », Guibert a réalisé une classification thématique de la matière prêchable selon les topoi attachés aux états de vieThe collection of ad status sermons by the Franciscan Guibert de Tournai (d. 1284), rooted in the new art of preaching that was developing in the thirteenth century, is best known for its particular organization, arranging the sermons according to the social position (or estate) of their audience rather than by liturgical occasions. This thesis assesses and updates our knowledge of the author and the collection, and provides an in-depth analysis of this body of work, accompanied by a complete transcription. Furthermore, the thesis paves the way for a reinterpretation of the ways in which Guibert used and adapted earlier texts, and it proposes a new understanding of the ad status division, in light of mnemonics and the art of memory.The first chapter assesses our knowledge of Guibert de Tournai. A child of the Flemish bourgeoisie, he remained faithful to his land of origin and to the men he knew there, long after his studies and his engagement in the Franciscan order had led him to Paris. Intellectually fertile in a variety of genres, his works hint at a personality passionate about mysticism and contemplation. A pre-eminent figure in the Parisian intellectual landscape of the 1260s, connected to the key political and intellectual figures of his time, he was interested in questions regarding the acquisition and transmission of knowledge, and evidently in the preaching we know – thanks to Parisian reportationes – that he practiced until his twilight years.The second chapter offers a detailed presentation and analysis of the ad status collection. There are many extant manuscripts, and their analysis is complicated by several inconsistencies in the transmission of the work, but overall and over time the text seems relatively stable. The content of the collection, systematically analysed, provides an excellent example of the “modern sermon” in the way it arranges the material for preaching, drawing on numerous distinctiones to structure the texts.The third chapter explores the link between Guibert and intertextuality or textual reuse. The Franciscan master took much of his material from other works; his reuse of the Sermones vulgares of Jacques de Vitry in his ad status sermons has been known for a long time, but he also found much of his preaching material for sermons on the sacraments in the work of Guillaume d’Auvergne. Guibert's appropriation of the work of Jacques de Vitry, measured through the use of his predecessor's exempla, is revealed to be less systematic and more complex than scholars would otherwise have predicted, demonstrating just how, and to what extent, textual reuse was integral to the creation process for Guibert as well as for other medieval authors. The role of the works of Guibert as reservoirs of material, in turn themselves reused in works of various genres and authors, is demonstrated through the analysis of a number of later texts.The final chapter proposes a new consideration of Guibert's choice of constructing his collection as an ad status text. The composition of sermons according to the social position of the audience can be understood, in light of the art of memory, as an ingenious mnemonic tool for the organisation of preaching material rather than as a mirror of a real or ideal society. In turning the status into “lieux de mémoire”, Guibert created a thematic classification of preaching material according to topoi attached to the estates
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Mäkinen, Virpi. „Property rights in the late medieval discussion on franciscan poverty /“. Leuven : Peeters, 2001. http://catalogue.bnf.fr/ark:/12148/cb38861523c.
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Morvan, Haude. „Mort et sépulture des papes et des cardinaux chez les Mendiants au XIIIe siècle“. Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040067/document.
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Cette thèse s’intéresse à l’usage de la mort et de la sépulture des papes et des cardinaux dans la propagande dominicaine et franciscaine au XIIIe siècle. Sont considérés aussi bien les tombes qui se trouvaient dans des églises mendiantes que les textes produits en milieu mendiant racontant la mort des prélats. Même en l’absence de documentation précise sur leur commande et leur réalisation, les tombes, situées en Italie et en France, révèlent une intervention des frères dans les choix d’emplacement, de forme et d’iconographie. Les Dominicains montrent une politique maîtrisée de leur espace en acceptant dans l’ecclesia fratrum seulement les sépultures de membres de l’ordre, surmontées d’une plate-tombe. Plusieurs innovations iconographiques peuvent être assignées à une conception mendiante : le gisant de Clément IV comme représentation du cadavre est une invention dominicaine, tandis que la figuration des funérailles sur le tombeau du cardinal Vicedomini pourrait être née sur impulsion des Franciscains. Cet accueil de tombes parfois monumentales n’est pas contraire à la législation des deux ordres, comme le montre une étude attentive des actes capitulaires. Au contraire, les sources normatives prévoient un usage homilétique des œuvres placées dans l’espace ecclésial. Les thèmes de la mort et de la sépulture sont au cœur de la propagande visuelle, mais aussi de la propagande orale : dans leurs exempla, les frères les utilisent pour montrer comment une mort sainte vient récompenser les prélats amis de l’ordre, alors qu’une fin ignominieuse frappe leurs ennemisThis study focuses on the use of the death and burial of popes and cardinals in dominican and franciscan propaganda during the 13th century. We consider graves located in mendicant churches (all in Italy and France) as well as texts written by Mendicants about prelates’ death. Despite the lack of precise documents about their realisation, the graves reveal the involvement of friars through choices of location, form and iconography. Dominicans show a controlled politic of space, as only members of the order are buried in the ecclesia fratrum under a slab. Some iconographic innovations can be linked with mendicant conception: in Clement IV’s tomb the recumbent figure as representation of the dead body is a dominican invention, whereas the picture of the funeral on the cardinal Vicedomini’s tomb could be due to Franciscans. The acceptance of tombs, even monumental ones, is not contrary to the legislation of the two orders as an accurate study of capitular acts reveals. On the contrary normative sources forsee an homiletic use of the art located in churches. Themes of death an burial are at the heart of visual propaganda, but also of oral propaganda: in their exempla friars use them to show how a holy death rewards the friendly prelates, while an ignominious end beats their enemies
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Milos, Emil University of Ballarat. „Letters to Francisco : negative imagery in art and the depiction of microstructural elements of the human body“. University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12772.
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"The thesis itself, involves some psychological and philosophical aspects and thoughts about fear as the main mover in the so called negative aesthetic. This specific method of self-expression, its possible triggers and the reasons that may initiate art creation on the basis of pessimistic and ugly imagery have not been discussed to a great degree in the past. Generally, the content of this writing is focused on the fictious correspondence between two engravers and printmakers. These invented letters serve as an exposé for practical findings and thoughts about the author's works executed during the period 2005-2006."Master of Arts
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Milos, Emil. „Letters to Francisco : Negative imagery in art and the depiction of microstructural elements of the human body“. Thesis, University of Ballarat, 2006. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/61908.
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"The thesis itself, involves some psychological and philosophical aspects and thoughts about fear as the main mover in the so called negative aesthetic. This specific method of self-expression, its possible triggers and the reasons that may initiate art creation on the basis of pessimistic and ugly imagery have not been discussed to a great degree in the past. Generally, the content of this writing is focused on the fictious correspondence between two engravers and printmakers. These invented letters serve as an exposé for practical findings and thoughts about the author's works executed during the period 2005-2006."Master of Arts
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Milos, Emil. „Letters to Francisco : negative imagery in art and the depiction of microstructural elements of the human body“. University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14608.
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"The thesis itself, involves some psychological and philosophical aspects and thoughts about fear as the main mover in the so called negative aesthetic. This specific method of self-expression, its possible triggers and the reasons that may initiate art creation on the basis of pessimistic and ugly imagery have not been discussed to a great degree in the past. Generally, the content of this writing is focused on the fictious correspondence between two engravers and printmakers. These invented letters serve as an exposé for practical findings and thoughts about the author's works executed during the period 2005-2006."Master of Arts
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Santos, Rogéria Olimpio dos. „Francisco de Holanda e a arte da pintura“. Universidade Federal de Juiz de Fora, 2011. https://repositorio.ufjf.br/jspui/handle/ufjf/2063.
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Este trabalho pretende analisar o tratado de arte Da Pintura Antiga escrito pelo português Francisco de Holanda na década de 30 do século XVI. Nesta obra Holanda estuda a arte da pintura, sua origem e seus objetivos, quem é o pintor e como deve ser a sua formação e quais os preceitos a serem observados ao se executar uma pintura. A presente dissertação foi redigida a partir da pesquisa das relações existentes entre Holanda e outros tratadistas de arte do período – em especial Alberti e Gáurico – e da antiguidade – Plínio e Vitrúvio. Foram analisadas também as relações de Holanda com o círculo humanístico da cidade de Évora e com o círculo frequentado por Holanda quando da sua estadia em Roma, do qual resultou a escrita do Da Pintura Antiga.
This Work intends to analyze the treatise of art Da Pintura Antiga written by the portuguese Francisco de Holanda in the 30s of the XVI century. In this work Holanda studied the art of painting, its origins and its goals, who is the painter and how it should be your training and what precepts to be observed by executing a painting. This dissertation was written from the research of the relationship between Holanda and other treatises authors of art of the period – especially Alberti and Gaurico – and the antiquity – Plínio and Vitruvio. We also evaluate the relations between Holanda and the humanist circle of Évora and the circle frequented by Holanda when their stay in Rome, which resulted in the writing of Da Pintura Antiga.
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Schlünder, Susanne. „Karnevaleske Körperwelten Francisco Goyas : zur Intermedialität der Caprichos /“. Tübingen : Stauffenburg Verl, 2002. http://catalogue.bnf.fr/ark:/12148/cb40948785x.
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Hwang, Sarah. „Between Indoor and Outdoor: The Graffiti and Installations of Barry McGee ("Twist")“. Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/18704.
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This thesis traces the transformation of graffiti as it travels from the street to the art institution by closely examining the graffiti and installations of Barry McGee ("Twist"). As a graffitist-turned-artist, McGee looked to his environment and experiences for his art, incorporating the language of graffiti into his installations. They exhibit what I describe as his ethnography of graffiti because he creates them from his unique position as a graffiti writer, representing graffiti as both an aesthetic expression and established youth culture. In order to explain this re-mediation of graffiti, the thesis aligns McGee's works with the sculptural tableaus of Edward Kienholz to emphasize his use of the narrative to bring the audience into both the aesthetic and the social world of graffiti.
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Oliveira, Sandra Regina Marin de. „A representação do feio na arte : um breve estudo sobre quatro gravuras de Francisco Goya /“. São Paulo, 2013. http://hdl.handle.net/11449/86890.
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Orientador: José Leonardo do NascimentoBanca: Amílcar Torrão Filho
Banca: Sergio Mauro Romagnolo
Resumo: A presente dissertação aborda o conceito de Grotesco na Estética e na História da Arte, analisados sob dois aspectos principais: da forma como esse conceito foi transformado desde a época da Grécia Antiga até o século XIX (período de grandes mudanças formais da representação humana nas Artes) e do exemplo do artista Francisco de Goya, através de sua série de gravuras Los Desastres de la Guerra, composta por imagens violentas; grotescas, híbridas e trágicas, que refletem esteticamente o horror advindo da Guerra de Independência e do retorno de um Estado Monárquico e Absoluto. Nossa pesquisa tem por meta avaliar as mudanças políticas, sociais e culturais que influenciaram a transformação desses conceitos estéticos e a aceitação desses novos paradigmas que resultaram numa mudança de visão e fruição da própria Arte entre os séculos XVII e XIX (época de ascensão do Liberalismo e Iluminismo), mostrando como os acontecimentos históricos podem transformar os conceitos artísticos de acordo com as necessidades humanas de retratar seu próprio tempo. Os procedimentos metodológicos foram de revisão bibliográfica parcial sobre as questões do Grotesco na Arte e uma pesquisa sobre a vida e obra de Goya, utilizando as imagens acima citadas, que aqui são analisadas do ponto de vista iconológico
Abstract: The current dissertation accosts the concept of "Grotesque" in Aesthetics and history of Arts analysed under two main aspects: the way this concept was transformed since the times of Ancient Greece until the nineteenth century ( a period of great formal changes of the human representation and other pictorial genres, and the example of the artist Francisco de Goya through his series of etchings The Disasters of War, composed by violent, hybrid and tragic images, which reflect aestheticly the horrors resulted from the War of Independence and the return of a Monarchic and Absolutist State. Our research objectives have the aim of appraising political, social and cultural factors that influenced the processing and acceptance of new paradigms such as the Grotesque in art making, that resulted in a change of vision and enjoyment of the Art itself between the seventeenth the nineteenth centuries (time of the rise of Liberalism and Iluminism), showing how this concept was transformed by artistic, cultural and historical events according to the Human needs of portraying their own time. The methodological procedures were of a partial bibliographical review about the issues of the Grotesque in art and a research of the life and work of Goya, using the prints cited before, which are here analysed from an iconological point of view
Mestre
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Péron, Mylène. „Le Mexique, terre de mission franciscaine : XVIe-XIXe s. : la province de Xalisco /“. Paris ; Budapest ; Torino [etc.] : l'Harmattan, 2005. http://catalogue.bnf.fr/ark:/12148/cb400781066.
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Riccardi, Nicola. „Tra monti di pietà e microcredito : il capitale per la realizzazione di un progetto /“. Roma : Pontificia università gregoriana, 2006. http://catalogue.bnf.fr/ark:/12148/cb41169735s.
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Hense, Elisabeth Hildegard. „Franciscus Amelry (um 1550) : ein Dialog oder Gespräch zwischen der Seele und der Schriftauslegung, die die Seele zur Erkenntnis ihres Bräutigams hinzieht : Einführung, Textausgabe und Kommentar /“. Münster : Lit, 2001. http://catalogue.bnf.fr/ark:/12148/cb39150550r.
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Proefschrift ter verkrijging van de graad van doctor : Théologie : Nijmegen, Katholieke Universiteit Nijmegen : 2001.Contient un curriculum vitae de l'auteur. Résumés en allemand et en néerlandais. Bibliogr. p. 344-366. Index.
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Le, touze Anna. „Francisci Robortelli Vtinensis paraphrasis in libellum Horatii qui vulgo de arte poetica inscribitur : introduction, édition, traduction annotée“. Thesis, Rennes 2, 2021. https://tel.archives-ouvertes.fr/tel-03248316.
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Ce travail présente une édition et une traduction annotée de la paraphrase à l’Art poétique d’Horace de Francesco Robortello, philologue de la Renaissance célèbre pour son commentaire à la Poétique d’Aristote. La paraphrase paraît en 1548 à Florence, au sein du volume qui contient le commentaire à Aristote. Elle est rééditée à Bâle en 1555 avec le commentaire à la Poétique. Cette paraphrase prend place au sein de la nébuleuse des commentaires à l’Art poétique d’Horace qui se multiplient à la Renaissance. Cette étude montre que la paraphrase de Robortello s’inscrit dans une tradition du commentaire qui remonte à l’Antiquité et qu’elle se distingue des autres commentaires humanistes par sa forme et par l’intégration de nombreuses références à la Poétique d’AristoteThis work consists of an edition and a translation with commentary of the paraphrase to Horace's Art of Poetry by Francesco Robortello, a Renaissance philologist famous for his commentary on Aristotle's Poetics. The paraphrase was published in 1548, in Florence, and belongs to a volume that contains the commentary on Aristotle. It was published again in Basel in 1555 with the commentary on Aristotle's Poetics. This paraphrase is part of the myriad of commentaries on Horace's Art of Poetry that proliferated during the Renaissance. This study shows that Robortello’s paraphrase is part of a tradition of commentary that goes back to Antiquity and that it differs from other humanistic commentaries by its form and by its many references to Aristotle’s Poetics
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Teixeira, António Moreira. „A ideia não tem fim-para uma filosofia da história de arte em Francisco de Holanda“. Phd thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Letras -- -Departamento de Filosofia, 2002. http://dited.bn.pt:80/30479.
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Mantovani, Mauro. „Francisco de Vitoria y sus sucesores (1530-1560) sobre la demostración de la existencia de Dios : los comentarios universitarios salmantinos a la cuestión II de la primera parte de la "Suma teológica" de Santo Tomás de Aquino /“. Salamanca : Universidad pontificia de Salamanca, 2006. http://catalogue.bnf.fr/ark:/12148/cb41053762v.
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Texte extrait de: Tesis doctoral--Facultad de ciencias humanas y sociales--UPSA, 2006.Contient en annexe le texte latin d'un extrait d'un manuscrit de Francisco de Vitoria (ms182, Biblioteca, Universidad pontificia de Salamanca ; 1539) et d'un extrait d'un manuscrit d'Ambrosio de Salazar (ms 1042, Biblioteca angelica, Rome ; 1557-1558). Bibliogr. p. 67-97.
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Oliveira, Sandra Regina Marin de [UNESP]. „A representação do feio na arte: um breve estudo sobre quatro gravuras de Francisco Goya“. Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/86890.
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oliveira_srm_me_ia.pdf: 3367855 bytes, checksum: d8b28ad336f25c88adc37255b01c951a (MD5)A presente dissertação aborda o conceito de Grotesco na Estética e na História da Arte, analisados sob dois aspectos principais: da forma como esse conceito foi transformado desde a época da Grécia Antiga até o século XIX (período de grandes mudanças formais da representação humana nas Artes) e do exemplo do artista Francisco de Goya, através de sua série de gravuras Los Desastres de la Guerra, composta por imagens violentas; grotescas, híbridas e trágicas, que refletem esteticamente o horror advindo da Guerra de Independência e do retorno de um Estado Monárquico e Absoluto. Nossa pesquisa tem por meta avaliar as mudanças políticas, sociais e culturais que influenciaram a transformação desses conceitos estéticos e a aceitação desses novos paradigmas que resultaram numa mudança de visão e fruição da própria Arte entre os séculos XVII e XIX (época de ascensão do Liberalismo e Iluminismo), mostrando como os acontecimentos históricos podem transformar os conceitos artísticos de acordo com as necessidades humanas de retratar seu próprio tempo. Os procedimentos metodológicos foram de revisão bibliográfica parcial sobre as questões do Grotesco na Arte e uma pesquisa sobre a vida e obra de Goya, utilizando as imagens acima citadas, que aqui são analisadas do ponto de vista iconológico
The current dissertation accosts the concept of “Grotesque” in Aesthetics and history of Arts analysed under two main aspects: the way this concept was transformed since the times of Ancient Greece until the nineteenth century ( a period of great formal changes of the human representation and other pictorial genres, and the example of the artist Francisco de Goya through his series of etchings The Disasters of War, composed by violent, hybrid and tragic images, which reflect aestheticly the horrors resulted from the War of Independence and the return of a Monarchic and Absolutist State. Our research objectives have the aim of appraising political, social and cultural factors that influenced the processing and acceptance of new paradigms such as the Grotesque in art making, that resulted in a change of vision and enjoyment of the Art itself between the seventeenth the nineteenth centuries (time of the rise of Liberalism and Iluminism), showing how this concept was transformed by artistic, cultural and historical events according to the Human needs of portraying their own time. The methodological procedures were of a partial bibliographical review about the issues of the Grotesque in art and a research of the life and work of Goya, using the prints cited before, which are here analysed from an iconological point of view
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Guimarães, Marco Aurélio. „Antecipação da tutela reintegratória no direito do trabalho : art. 461, par. 3º do CPC / Marco Aurélio Guimarães ; orientador, Francisco Carlos Duarte“. reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2005. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=367.
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Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2005Inclui bibliografia
Na última década, o legislador, observando o conteúdo do princípio da inafastabiliade de jurisdição, efetuou reformas no Código de Processo Civil, que trouxeram um novo paradigma para efetivação da tutela jurisdicional dos direitos. Dentro desse contexto,
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Quites, Maria Regina Emery. „Imagem de vestir : revisão de conceitos atraves de estudo comparativo entre as Ordens Terceiras Franciscanas no Brasil“. [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280544.
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Orientador: Luciano MigliaccioTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A pesquisa enfoca principalmente o estudo das imagens de vestir, dentro do contexto das Ordens Terceiras Franciscanas no Brasil, fazendo um estudo comparativo entre as ordens litorâneas (Salvador, Recife, Rio de Janeiro e São Paulo) e as ordens em Minas Gerais (Ouro Preto, Mariana, São João DeI-Rei e Diamantina). Analisam-se os aspectos históricos, iconográficos, técnicos, entre outTOS, que envolvem as imagens e suas práticas devocionais, cotejando com a documentação primária e secundária das respectivas ordens. É importante enfatizar uma revisão dos conceitos sobre esta relegada categoria escultórica, bem como, o resgate e preservação deste grande acervo, demonstrando a existência de diferenças regionais e sua relevância para a história da arte. Estas imagens são uma particular interpretação da escultura devocional e, principalmente, un1a importante manifestação da cultura brasileira, que deve ser valorizada e preservada
Abstract: The research focuses mainly on the study of the "de vestir" or "to be dressed" images within the context ofthe Third Order Franciscans i11 Brazil, making a comparative study among the coastal orders or fellowships (Salvador, Recife, Rio de Janeiro and São Paulo) and the ones in Minas Gerais (Ouro Preto, Mariana, São João deI-Rei andDiamantina). The historical, iconographical, and technical aspects, among others that involve the images and their devotionals practices, are analyzed in comparison with the primary and secondary documentation ofthe respective orders. It is important to emphasize the need for a revision ofthe concepts ofthis less well known sculptural category, as well as, the rescue and preservation of this important collection, demonstrating the existence of regional differences and their relevance for art history. These images are a particular interpretation of devotional sculpture and, mainly, an important manifestation ofBrazilian culture that should be valued and preserved.
Doutorado
Politica, Memoria e Cidade
Doutor em História
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Fonseca, Raphael do Sacramento. „Francisco de Holanda = "Do tirar pelo natural" e a retratística“. [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278817.
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Orientador: Luciano MigliaccioDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Cências Humanas
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Resumo: Esta pesquisa tem como ponto de partida o texto "Do tirar pelo natural", concluído em 1549 pelo artista e humanista português Francisco de Holanda (1517-1584). Tal texto é considerado o primeiro da história da arte dedicado integralmente ao retrato enquanto objeto artístico. Uma noiva edição deste texto, além de uma revisão historiográfica sobre a figura de Francisco de Holanda foram realizadas dentro desta dissertação. Além disso, dois ensaios sobre a retratística em Portugal durante o século XVI foram escritos levando em consideração não apenas "Do tirar pelo natural", mas também suas outras produções textuais e imagéticas
Abstract: This research has as first step the text "Do tirar pelo natural" ("To make from the natural"), concluded in 1549 by the Portuguese artist and humanist Francisco de Holanda (1517-1584). This text is considered the first in art history dedicated fully to the portrait while artistic object. A new edition of the text, besides a historiographic revision of Francisco de Holanda, was realized in this dissertation. Moreover, two essays about portraiture in Portugal during the XVIth century were written keeping in mind not only "Do tirar pelo natural" ("To make from natural"), but also Holanda's other texts and images
Mestrado
Historia da Arte
Mestre em História
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Marañón, Ripoll Miguel Schwartz Lerner Lía. „El "Discurso de todos los diablos" de Quevedo : estudio y edición /“. Madrid : Fundación universitaria española, 2005. http://catalogue.bnf.fr/ark:/12148/cb409261125.
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Cienfuegos, Antelo Gema. „El teatro breve de Francisco de Avellaneda : estudio y edición /“. Madrid : Fundación universitaria española, 2006. http://catalogue.bnf.fr/ark:/12148/cb40926123t.
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Fleckenstein, Gisela. „Die Franziskaner im Rheinland : 1875-1918 /“. Werl [in] Westf. : D. Coelde, 1992. http://catalogue.bnf.fr/ark:/12148/cb37093780b.
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Dujardin, Carine. „Missionering en moderniteit : de Belgische minderbroeders in China, 1872-1940 /“. Leuven : Universitaire pers : Ferdinand Verbieststichting, 1996. http://catalogue.bnf.fr/ark:/12148/cb39222009z.
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Culbreth, Mair Wendelin. „Transactional Bodies: Politics, Pedagogies, and Performance Practices of the San Francisco Bay Area“. The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1514625617942998.
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Miller, Olivia Nicole. „The Spanish royal hunting portrait from Velazquez to Goya /“. Connect to title online (Scholars' Bank), 2008. http://hdl.handle.net/1794/9131.
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Azev?do, Maria Isabel de Macedo. „Uma carrada de sonhos: do ba? do Ant?nio Francisco para a sala de aula EJEANA“. MESTRADO PROFISSIONAL EM LETRAS - PROFLETRAS, 2015. https://repositorio.ufrn.br/jspui/handle/123456789/22495.
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A Presente disserta??o procura descrever o trabalho com cord?is em uma turma de EJA da Escola Estadual Tomaz de Ara?jo, situada em Acari-RN. A pesquisa foi realizada sob a luz de duas categorias: oralidade e escrita. Analisando as dificuldades observadas no tocante ao gosto pela leitura e escrita nessa modalidade de ensino, foi pensado em um projeto que pudesse minimizar essas barreiras. Elegemos, portanto, o cordel como g?nero ideal para atrair a aten??o dos alunos em raz?o de elementos como a rima, a musicalidade, a linguagem simples, temas pr?ximos da realidade dos alunos. O objeto de estudo da pesquisa foi a recep??o dos alunos aos cord?is de Ant?nio Francisco, dados o lirismo e encantamento observados nos cord?is desse poeta popular, prop?cio, portanto, para transmitir valores humanos essenciais ? vida moderna, visto que o capitalismo e a corrida desenfreada pelas possess?es materiais faz com que os valores ?ticos, sociais e humanos sejam menosprezados. O trabalho est? pautado quanto ? est?tica da recep??o em Jauss (1994) e Iser(1996); No tocante aos estudos da poesia nos detivemos nas teorias de Candido(1988);Pinheiro(2007);Mois?s(2007); Mois?s (2012) e Kirinus(2011); Quanto ?s orienta??es metodol?gicas referentes ao ensino lan?amos m?o de Freire(2014); Esclarin(2006) e da Proposta Curricular para a Educa??o de Jovens e Adultos(2002); Para refletirmos sobre a cultura popular e a literatura de cordel nos pautamos em Batista(1977); Abreu(2001) e Kunz(2001); Evidenciamos que a partir do trabalho com cord?is os alunos passaram a gostar de ler e melhoraram a escrita.
The present dissertation tries to describe the work with twine in a EJA class of Tomaz de Ara?jo State School, located in Acari-RN. The survey was conducted in the light of two categories: oral and written. Analyzing the difficulties observed regarding the taste for reading and writing this type of education was thought of a project that could minimize these barriers. Elected, so the line as an ideal genre to attract students' attention because of elements such as rhyme, musicality, simple language, themes coming from the reality of students. The research study object was the reception of students to strings of Antonio Francisco, given the lyricism and enchantment observed in twine that popular poet, suitable therefore to convey essential human values to modern life, since capitalism and unbridled race by material possessions makes the ethical, social and human values are looked down upon. The work is guided as to the aesthetics of reception Jauss (1994) and Iser (1996); With regard to poetry studies we stopped the theories of Candido (1988); Pinheiro (2007), Moses (2007); Moses (2012) and Kirinus (2011); As for the methodological guidelines for the teaching of hand launched Freire (2014); Esclar?n (2006) and the Curriculum Proposal for the Youth and Adult Education (2002); To reflect on popular culture and the string literature in we base on Batista (1977); Abreu (2001) and Kunz (2001); We showed that from the work with twine students began to enjoy reading and writing improved.
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Arnal, Thierry. „La révolution des mouvements : gymnastique, morale et démocratie au temps d'Amoros, 1818-1838 /“. Paris : l'Harmattan, 2009. http://catalogue.bnf.fr/ark:/12148/cb420063152.
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Wittneben, Eva Luise. „Bonagratia von Bergamo : Franziskanerjurist und Wortführer seines Ordens im Streit mit Papst Johannes XXII. /“. Leiden : Brill, 2003. http://catalogue.bnf.fr/ark:/12148/cb389702915.
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Poujade, Baltazard Sylvaine. „Francisci Robortelli Vtinensis in librum Aristotelis De arte poetica explicationes : introduction, édition, traduction“. Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20069.
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Ce travail présente une édition et une traduction de l'ouvrage d’une des figures marquantes de l’humanisme italien de la Renaissance, Francesco Robortello, intitulé Francisci Robortelli Vtinensis in librum Aristotelis De arte poetice explicationes. Il s'agit du premier commentaire à être publié de la Poétique d'Aristote. L'ouvrage paraît à Florence en 1548, et fait l’objet d’une deuxième édition, révisée par ses soins, à Bâle en 1555 : le commentaire est précédé du texte grec de l’édition aldine des Rhetores Graeci de 1508, accompagné d'une traduction latine d’Alessandro Pazzi qui date de 1536. Robortello est à l'origine de la redécouverte, voire de la découverte en Italie des analyses aristotéliciennes sur l'art poétique, texte difficile qu'il cherche à rendre accessible aux lettrés de son époque. Cette étude a consisté à établir le texte par la confrontation des deux imprimés de Florence et de Bâle, et permet, en découvrant l’ensemble des analyses de l’auteur, de montrer que cecommentaire, loin d’être une interprétation erronée du texte d’Aristote, est une première lecture sur la voie de notre compréhension moderne des lois de la création poétiqueThis work is an edition and a translation in French of Robortello’s text untitled Francisci Robortelli Vtinensis in librum Aristotelis De arte poetice explicationes. It is the first published commentary on the Poetics, edited in 1548 in Florence, and revised for a second edition in Basel in 1555. The book contains an edition of the Greek text of the Poetics, based onthat of Aldine edition of 1508, but with several emendations, followed by Pazzi’s Latin translation dated from 1536, and his own commentary. This study, by discovering the whole of the author's analyzes, shows that this comment, far from being anerroneous interpretation of Aristotle's text, is a first reading on the path of our modern understanding of the laws of poetic creation
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Gardner, Garth Anthony. „Informal computer-art education : a focus on the art and historical impact of computer generated special visual effects and the pedagogy of the artists who create them professionally in the San Francisco Bay Area production companies“. The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1260996311.
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Gardner, Garth. „Informal computer-art education : a focus on the art and historical impact of computer generated special visual effects and the pedagogy of the artists who create them professionally in the San Francisco Bay Area production companies /“. The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu148786754173134.
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Jones, Shaun Gray. „Phenotypic Morphological Plasticity Induced by Environmental Salt Stress in the Brine Shrimp, Artemia franciscana“. Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822750/.
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Phenotypic plasticity is the ability of an organism to express different phenotypes in response to biotic or abiotic environmental cues. The ability of an organism to make changes during development to adjust to changes in its environment is a key to survival. Sexually reproducing organisms that have short life cycles and that are easy to raise in the laboratory are more conducive for developmental phenotypic plasticity. Considerable research has already been carried out on the brine shrimp, Artemia franciscana, regarding its morphology due to changing salinities. There is, however, little research considering subsequent generations and how there morphology might be affected by parental experiences. This study has examined: 1) the morphological effects of different rearing regimes of different salinity levels, and 2) the epigenetic transgenerational transfer of these morphological traits in A. franciscana. Measurements included rate of growth (as measured by instar), body size, body length, and other morphological traits. A gradual increase to more hyperosmotic conditions during development produced brine shrimp that were larger in size and also more developmentally advanced. Salinity stress experienced by adults had increased the growth rate in the F1 offspring of A. franciscana. Collectively, these data indicate that Artemia franciscana is a tractable model for investigating phenotypic plasticity. These findings have added to the ever-growing field of developmental phenotypic plasticity while also providing more information on the natural history and adaptive abilities of A. franciscana.
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Roig, Miranda Marie. „Les Sonnets de Quevedo : variations, constance, évolution /“. Nancy : Presses universitaires de Nancy, 1989. http://catalogue.bnf.fr/ark:/12148/cb350566695.
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Kornmeier, Barbara. „Goya und die populäre Bilderwelt /“. Frankfurt am Main : Vervuert, 1999. http://catalogue.bnf.fr/ark:/12148/cb37323996b.
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Tortolero, Cervantes Yolia. „Un espirita traduce su creencia en hechos políticos : Francisco I. Madero (1873-1913) /“. Mexico : Colegio de México, Centro de estudios históricos, 1999. http://catalogue.bnf.fr/ark:/12148/cb399315112.
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