To see the other types of publications on this topic, follow the link: Bestiarier.
Dissertations / Theses on the topic 'Bestiarier'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 24 dissertations / theses for your research on the topic 'Bestiarier.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Gunnarsson, Therese. "Katten i medeltidens symbolvärld : En studie om framställningen av kattdjur i medeltida bestiarier." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-37112.
Full text
2
Andreasson, Christine. "De medeltida djurfigurernas idévärld : med kyrkomålaren Johannes Rosenrods exemplifiering." Thesis, Högskolan på Gotland, Institutionen för humaniora och samhällsvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-1917.
Full textAbstract:
In the medieval ruling catholic time the church walls was swarmed with programs of pictures with religious motives there the animal figures rich symbolics was significant first and foremost for the illiterate. Principally the inspiration comes from the antiquitys pagan world of fables and bestiary Christian world of symbols with the bible as the essential source. The essay describes six of the most common animal symbols who occur; dragon, the sneak in the Paradise, mouth of hell, lion, the fox as a preacher and the devil. To attain to a discussion about why just animals are used as symbols for human characteristics in the medieval church art instead for human beings as it's actually be about, I have studied bestiary and other literature about medieval churchpainting to get an understanding about the history of ideas about the thoughts of the time and about symbolics of animals, worth and how the Christianity have had an influence on the pictures. I have used Johannes Rosenrods church pictures from Tensta church in Uppland from 1437 as an exemplification but also mentioned other unknown painters who used similar animal codes and motives. It's plausible that the purpose of the animal figures was both religious and political, which was used by both the spiritual and the worldly authority so they could keep their dominance over the peasant. The figures was simple to read and remember and they made a deep impression on the people together with the sermon. The churchgoer get so to speak a sound- and image experience, a medieval reality who impress their world of ideas. When it's about the artistic formation of religious expression and characteristics it was undoubtedly a great advantage for the artists to use an animal code like a schemata. The medieval unchangeable animal symboles was ready to be used for anyone who wished.
3
Trautzsch, Nadine. "Professor Allerhands unbekannte Tierwelt kleines Bestiarium der Alltagsphänomene." Berlin Onkel & Onkel, 2007. http://d-nb.info/988942925/04.
Full text
4
Calabrese, Filomena. "Il Bestiario : scienza e letteratura in Leonardo da Vinci." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82691.
Full textAbstract:
Le Bestiaire de Leonard de Vinci (datable aux alentours de 1493-1494) est une oeuvre qui s'inscrit dans le cadre de la complexe tradition litteraire-scientifique tout en etant, de plusiers facons, differenciee par rapport au corpus a facettes des ouvrages de Vinci. L'analyse des sources (le Fiore di virtu, l'Acerba de Cecco d'Ascoli, l'Histoire naturelle de Pline, et d'autres textes inspires au Physiologus grec) constitue la premiere partie de l'etude, ou grande place est donnee aux innovations de Leonard. Dans la deuxieme partie les aspects scientifiques et litteraires, qui sont presents simultanement dans l'oeuvre, viennent ainsi examines minutieusement dans l'intention de demontrer que le Bestiaire ne constitue pas simplement un emprunt aux sources, mais est plutot une contribution originale a la tradition dont elle fait partie et dont on ressent la touche creative de Leonard et l'universalite de sa pensee.
5
Penzo, Junge Sergio. "Bestiario de la publicidad chilena. Mascotas de marca nacionales contemporáneas." Tesis, Universidad de Chile, 2004. http://www.repositorio.uchile.cl/handle/2250/100591.
Full textAbstract:
Mi propuesta consiste, básicamente, en desarrollar un libro objeto, una publicación que represente bajo mi particular sensibilidad el universo de las mascotas contemporáneas de marcas chilenas. Un libro como objeto, un libro espejo, un libro reflejo. Un libro con valor para todos aquellos interesados en las comunicaciones, en los mensajes de marca y en una herramienta muy particular que hemos desarrollado los profesionales de las comunicaciones para poder establecer relaciones más cercanas con nuestros prospectos. Este es el bestiario de la Publicidad Chilena, una experiencia que tiene como protagonistas, las Mascotas de Marca Chilenas.
6
Litsgård, Matilda. "Aldrig stilla, aldrig farliga : Groteska kroppar i Mare Kandres romaner Bestiarium och Xavier." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-156042.
Full textAbstract:
In this paper, I study the bodies in Mare Kandre’s two novels Bestiarium (1999) and Xavier (2002), with the help of Mikhail Bakhtin’s theories of the grotesque. I examine the worldview that is portrayed in the novels – focusing on the attitude towards death – and seek answers to the following questions: how do the human bodies look and how do they relate to their surroundings? What does the way they are portrayed say about the world the novels portray? And what role does laughter play in the novels? I also examine the similarity between a grotesque body, and a gothic monster. As a result, I find that one body may exist both in life and death at the same time, that the bodies can merge together, and that the boundaries between body and world may be exceeded. I also find the grotesque abilities of the body not to be threatening, but filled with possibilities. Here, even monsters are not harmful.I den här uppsatsen undersöker jag kropparna i Mare Kandres två romaner Bestiarium (1999) och Xavier (2002), med utgångspunkt i Michail Bachtins teorier om det groteska. Jag söker svar på hur hans begrepp kan öka förståelsen för den värld som målas upp i romanerna, med ett fokus på inställningen till döden. Jag ställer mig frågor om hur de mänskliga kropparna ser ut och hur de förhåller sig till resten av världen, vad sättet de gestaltas på säger om romanvärlden och vilken roll skrattet spelar i romanerna. Jag undersöker också likheten mellan groteska kroppar och gotiska monster. I min analys visar jag att kropparna i Mare Kandres romaner kan befinna sig både i livet och döden samtidigt, att de ständigt är i rörelse och kan uppgå i varandra. Dessutom kan gränsen mellan kropp och värld upplösas. Jag visar också på att den glädje som kännetecknade medeltidens grotesk bara kan förnimmas, men att de groteska kropparna trots det besitter positiva möjligheter. Inte ens monster måste här besegras, då de inte utgör något hot.
7
Bedini, Daniella Cadiz. "Bestiaries the animal and the human in Mila Kundera's The Unbearable Lightness of Being and J.M. Coetzee's Disgrace." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/9996.
Full textAbstract:
Includes abstract.In his book, The Open (2004), Giorgio Agamben suggests that the border between the human and the animal passes "first of all as a mobile border within living man". At stake in the construction of this border is a division of the human and the animal into separate and homogenous groups, and subsequently a denial of a multiplicity of life forms and experience. This relates to what Derrida (2004) has deemed "the self-interested misrecognition of what is called the Animal in general", and is something other critics working in the field of animal studies have discussed. In this thesis I read Milan Kundera's novel The Unbearable Lightness of Being and J.M. Coetzee's Disgrace in line with Agamben's notion of the fluidity of the human-animal border. The first chapter of this dissertation, 'Behaving like Animals', offers a reading of the biblical tale of Genesis and of the numerous sexual encounters in the novels that complicate the assumption of shame as being 'proper to man'. The second chapter, "Alternative lives, Alternative Deaths", challenges the idea of Driepoot's death in Disgrace as being "euthanasia" and, moreover, examines the complexities of mourning the death of what Jeff McMahan has deemed "beings on the margins of life", which includes both humans and animals. In my analysis of these novels, I have borrowed from different, seemingly disconnected, critical discourses. In some cases, this has meant "inserting" the animal into these theories in places where the animal was not explicitly named. This has meant putting pressure on existing lines of enquiry. My multi-disciplinary approach to theorising animals, and our relations to and with them, suggests different avenues for research in the growing field of animal studies.
8
Rodriguez, Rocha Rita Sheila. "El bestiario en Canto ceremonial contra un oso hormiguero (1968), de Antonio Cisneros." Bachelor's thesis, Universidad Nacional Mayor de San Marcos, 2015. https://hdl.handle.net/20.500.12672/8814.
Full textAbstract:
El documento digital no refiere un asesorPublicación a texto completo no autorizada por el autor
Pretende realizar la identificación y la clasificación de los animales que emplea el poeta Antonio Cisneros en su cuarto poemario titulado Canto ceremonial contra un oso hormiguero (1968) para poder establecer las coordenadas ―el campo figurativo de la metáfora y el empleo de la metáfora orientacional arriba-abajo― que configuran el bestiario cisneriano, el cual articula, bajo la lectura, una crítica patente contra la modernidad. Después de realizar la identificación de los animales que presenta Cisneros y realizar la clasificación pertinente para establecer lo que estos representan, dilucida la posición ética del sujeto de la enunciación, quien reestructura el concepto “hombre” a partir de las relaciones que este teje con el mundo animal.
Tesis
9
Contadini, Anna. "The Kitab nact al-hayawan (book on the characteristics of animals, BL, Or. 2784) and the #Ibn Bakhtishu'c' illustrated bestiaries." Thesis, SOAS, University of London, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.245106.
Full textAbstract:
The purpose of this thesis is to examine an illustrated Medieval Arabic bestiary (British Library Or. 2784), and the so-called Ibn Bakhttshü bestiary tradition to which it belongs. Despite the fact that this bestiary tradition is one of the most important in Medieval Islam--and the richest in illustrated copies--there exists for it not a single edited text or critical translation. Analysis of this tradition from both a textual and iconographical point of view thus fulfills a longstanding need and may logically begin with the earliest manuscript: the Kitab nact al-hayawn. In VOLUME ONE: Chapter One outlines the purpose of the thesis, and discusses the methodology used. The authorship of the manuscript, its commissioner, its sources and text are then examined in Chapter Two and the two main sources, Aristotle and Ibn Bakhtishüc , are discussed in detail. Historical information (translated for the first time from Arabic sources) on the Bakhtishüc family of physicians is presented. The listing and identification of other sources is accompanied by a bibliographical apparatus. Finally, the place of the Nact in the history of zoology is discussed. Chapter Three examines the manuscript itself. It presents a general description of its contents, the paper and pigments used. A description folio by folio follows, with a reconstruction of the history of the manuscript. Relying on both internal syntactic evidence and collation with other manuscripts, a reconstruction of the original order of the folios then follows since the sequence of folios has been drastically altered in subsequent rebindings. Chapter Four describes the other bestiaries of the so called Ibn Bakhtishüc tradition, and discusses and interprets the relationship of the Nact to them. Chapter Five examines the miniatures. Their organization, pictorial and compositional elements are considered. A detailed stylistic and iconographical analysis of those of particular significance for an understanding of the place in history and provenance of the manuscript is provided, together with an analysis of those which present peculiarities in terms of composition and narrative. Chapter Six discusses the date, geographical provenance, and the historical context of the Nact.
10
Lindvall, David. "Från barnbok till musiksaga : En undersökning om hur karaktärerna i Kiras och Luppes Bestiarium uppfattas genom en adaption." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-12502.
Full text
11
Bernardo, Tais Gonçalves [UNESP]. "A presença da fábula, do lirismo e da narrativa em Le Bestiaire ou Cortège d'Orphée de Guillaume Apollinaire." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/91588.
Full textAbstract:
Made available in DSpace on 2014-06-11T19:25:24Z (GMT). No. of bitstreams: 0
Previous issue date: 2008-03-14Bitstream added on 2014-06-13T20:53:13Z : No. of bitstreams: 1
bernardo_tg_me_arafcl.pdf: 3516141 bytes, checksum: 81e4472936f273103d68636949bd47c2 (MD5)Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Secretaria de Educação
Os bestiários modernos, de um modo geral, são textos líricos em que os animais são vistos como seres providos de inteligência e sensibilidade, projetam sentimentos e conflitos humanos, às vezes parodiando o estilo moralizador e o conteúdo ingenuamente maravilhoso dos bestiários medievais e produzem efeitos sutilmente humorísticos. Guillaume Apollinaire, leitor de obras medievais, cria suas “histórias”, recheia-as de lendas e mitos, e os recria mais uma vez, já que estes também não passam de histórias recontadas. Sua estrutura básica é constituída de um título, geralmente o nome do animal, uma imagem feita em xilogravura e o poema. Apollinaire escolheu um gênero literário tradicional, ao qual pertence o bestiário. Esse gênero vem acompanhado das ilustrações que fazem parte de uma longa tradição. É no que consiste o bestiário medieval: ele explica de maneira alegórica a criação e o poder de Deus apresentando as criaturas e interpretando-as, e devido a isso, é considerado um gênero didático. Apollinaire vivenciou em seu bestiário, intitulado Le Bestiaire ou cortège d’Orphée e publicado em 1911, a constante dualidade entre o antigo e o moderno, a narrativa e a poesia, o caráter mítico e simbólico, os elementos autobiográficos, a identificação do poeta com a imagem de Orfeu e os temas universais. O fio condutor dos poemas é a figura de Orphée, que é uma espécie de porta-voz do poeta que une os poemas e seus significados são enriquecidos com as gravuras de Raoul Dufy, muitas vezes sem nexo aparente entre elas. As possíveis analogias que se estabelecem entre os animais e suas respectivas lendas e simbologias harmonizam-se com a poesia e as inovações líricas trazidas pelo poeta moderno, dando-lhe, portanto um caráter narrativo.
Les bestiaires modernes sont généralement des textes lyriques où les animaux sont vus comme des êtres pourvus d’intelligence et de sensibilité, ils projettent des sentiments et des conflits humains, parodient parfois le style moralisateur et le contenu naïvement merveilleux des bestiaires médiévaux en produisant des effets subtilement humoristiques. Guillaume Apollinaire, lecteur d’oeuvres médiévales crée ses histoires les émaille de légendes et de mythes, et les recrée encore une fois, puisque ceux-ci ne sont que des histoires racontées à nouveau. Sa structure de base est constituée d’un titre, en général le nom de l’animal, une image faite en xylogravure et le poème lui-même. Apollinaire a choisi un genre littéraire traditionnel auquel appartient le bestiaire. Ce genre, est composé d´illustrations qui font partie d’une longue tradition. Le bestiaire médiéval consiste à expliquer de façon allégorique la création et le pouvoir de Dieu, en présentant les créatures et en les interprétant, c’est pourquoi, il est considéré un genre didactique. Apollinaire a éprouvé dans son bestiaire intitulé Le Bestiaire ou cortège d’Orphée, publié en 1911, la constante dualité entre l’ancien et le moderne, le récit et la poésie, le caractère mythique et symbolique, les éléments autobiographiques, l’identification du poète avec l’image d’Orphée et les thèmes universels. Le fil conducteur des poèmes est la figure d’Orphée une sorte de porte-parole du poète qui les unit et leur signification est enrichie par les gravures de Raoul Dufy, plusieurs fois n’ayant pas de liaison apparente entre elles.
12
Correa, Vargas Paulo Roberto. "Bestiario de fragmentos autómatas : prototipo de escultura cinética de la serie de apuntes y anotaciones gráficas del imaginario de fragmentos autómatas." Tesis, Universidad de Chile, 2015. http://repositorio.uchile.cl/handle/2250/143099.
Full textAbstract:
Magíster en artes medialesEl propósito de la presente investigación de Artes mediales, es establecer una reflexión Artística filosófica en torno al fenómeno de relaciones existentes entre hombres y dispositivos autómatas, tensionadas por su cada vez más difusa “Dialéctica de Interfaces y Conciencias”, donde se establece mi tesis sobre la “Trascendencia del alma desde la perspectiva del movimiento y su ilusión de vitalidad”. Para ello, los lineamientos de esta propuesta consiste en esbozar un conjunto de antecedentes y reflexiones, que permitan configurar y comprender los ejes fundamentales y límites establecidos entre la fascinación por las máquinas replicantes comúnmente conocidos como autómatas, su naturaleza de dimensión trascendente, y la configuración del concepto de Bestiario como un imaginario de criaturas o pseudo-especies, desde la perspectiva de la naturaleza bestial y la conformación de un “otro”.
13
Savaris, Michele. "Paralelos entre a técnica compositiva do conto e da fotografia nas obras Bestiario, Final del juego e Las armas secretas, de Julio cortázar." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/170433.
Full textAbstract:
Esta tese busca analisar a estrutura do conto, aproximando-o da fotografia com base no ensaio Alguns aspectos do conto, do argentino Julio Cortázar. No referido texto, o autor propõe que para escrever um conto o escritor segue estratégias muito semelhantes às de um fotógrafo no ato do registro com a sua câmera. Para discutirmos tal afirmação, será feita uma análise dos contos que compõem Bestiario, Final del juego e Las armas secretas, a fim de destacar neles, aspectos que guardam alguma relação com a linguagem fotográfica. Nesse sentido, estruturaremos as discussões a partir de quatro pontos: a) o próprio Cortázar e sua afinidade com o elemento fotográfico, conforme se observa em algumas de suas obras, bem como a comparação que estabelece no ensaio mencionado acima; b) a escrita de seus contos e o uso da linguagem objetiva e, ao mesmo tempo, descritiva que remete a características fotográficas; c) os traços relativos ao contexto fotográfico como: luz e sombra, ponto de vista, dupla exposição, foco, profundidade de campo, planos, composição, enquadramento, macrofotografia e flashes que, no entanto, também podem ser encontrados ao longo dos contos cortazarianos; d) a ideia de que cada livro de contos pode ser lido sob a perspectiva do álbum. Para isso, procederemos à abordagem de algumas obras de Julio Cortázar, em especial, as que contemplam fotografias, com o intuito de observar em que medida ele atuava como fotógrafo enquanto escrevia seus contos, imprimindo aspectos comuns do campo fotográfico nos seus textos. A partir das análises e aproximações entre a narrativa escrita e a fotográfica, buscaremos entender os livros de contos como possíveis álbuns cujos fragmentos geram sentidos que decorrem, em alguma medida, da conexão entre essas unidades independentes. Para tal abordagem, será feita a leitura de algumas das biografias de Julio Cortázar, além de entrevistas concedidas pelo escritor, com o intuito de compreender seus conceitos e pensamento acerca dos diversos temas que atravessam a sua obra. Também realizaremos a leitura e o estudo de materiais teóricos que possibilitem a reflexão sobre a técnica fotográfica para que, a partir do corpus ficcional, possamos estabelecer as aproximações propostas entre os contos literários de Cortázar e fotografia.Esta tesina busca analizar la estructura del cuento, acercándolo a la fotografía a partir del ensayo Algunos aspectos del cuento, del argentino Julio Cortázar. En el referido texto, el autor propone que para escribir un cuento el escritor sigue estrategias muy semejantes a las de un fotógrafo en el acto del registro con su cámara. Para que se discuta tal afirmativa, será hecho un análisis de los cuentos que componen Bestiario, Final del juego e Las armas secretas, con el objetivo de apuntar en éstos, aspectos que mantienen alguna relación con el lenguaje fotográfico. Así, estructuraremos las discusiones a partir de cuatro puntos: a) el propio Cortázar y su afinidad con el elemento fotográfico, conforme se observa en algunas de sus obras, bien como la comparación que establece en el ensayo mencionado arriba; b) la escrita de los cuentos y el uso del lenguaje objetivo y, a la vez, descriptivo que remite a características fotográficas; c) los rasgos relativos al contexto fotográfico como: luz y sombra, punto de vista, doble exposición, foco, profundidad de campo, planos, composición, encuadramiento, macrofotografía y flashes que, sin embargo, también pueden ser encontrados a lo largo de los cuentos cortazarianos; d) la idea de que cada libro de cuentos puede ser leído bajo la perspectiva de un álbum. Para eso, abordaremos algunas obras de Cortázar, en especial, las que contemplan fotografías, con la intención de observar en qué medida ele actuaba como fotógrafo mientras escribía sus cuentos, imprimiendo aspectos comunes del campo fotográfico en sus textos. A partir de los análisis y acercamientos entre la narrativa escrita y la fotográfica, buscaremos comprender los libros de cuentos como posibles álbumes cuyos fragmentos generan sentidos que resultan, en alguna medida, de la conexión entre esas unidades independientes. Para tal enfoque teórico, serán hechas lecturas de algunas biografías de Julio Cortázar, además de entrevistas concedidas por el escritor, con la intención de comprender sus conceptos y pensamientos acerca de los diversos temas que cruzan su obra. También realizaremos la lectura y el estudio de materiales teóricos que posibiliten una reflexión con relación a la técnica fotográfica para que, a partir del corpus ficcional, podamos establecer los acercamientos propuestos entre los cuentos literarios cortazarianos y la fotografía.
14
Rojas, Aguilera Gonzalo. "La incorporación de la mitología de los bestiarios del mundo antiguo grecorromano a la tradición histórico-religiosa del cristianismo altomedieval: Examen del libro XI Sobre el hombre y los seres prodigiosos de Las Etimologías, de San Isidoro de Sevilla (560-636 d.C.)." Tesis, Universidad de Chile, 2008. http://www.repositorio.uchile.cl/handle/2250/109785.
Full textAbstract:
El contenido de este trabajo pretende esclarecer cuál es el sentido de la incorporación de ciertas figuras originadas en los bestiarios mitológicos de la Antigüedad grecorromana en el libro XI Sobre el hombre y los seres prodigiosos, del Originum sive etymologiarum libri viginti o Las Etimologías (o como también se le conoce: Sobre Los Orígenes1), de San Isidoro de Sevilla (Cartagena 560- Sevilla 636 d.C.). Autor reconocido por la historiografía occidental como una de las fuentes primordiales en la materia, razón por la cual hemos optado por su obra para realizar nuestro estudio en torno a esta incorporación de los mitos del “hombre diferente” -o bien como los denomina Isidoro, los seres prodigiosos- a la literatura cristiana altomedieval. En este contexto, buscamos delimitar nuestro estudio y precisar que para los efectos de este informe no abordaremos la mitología clásica en su totalidad, sino específicamente aquella que hemos denominado “bestiario”, vale decir, el conjunto de mitos elucubrados por autores grecolatinos durante lo que suele denominarse como la Antigüedad Tardía, posterior a la aparición de los primeros textos homéricos en torno al siglo IX a.C y hasta los inicios del cristianismo alrededor del siglo III d.C., en que se describen seres que de alguna forma transitan entre lo humano y lo animal.
15
Klautau, Fabiana Dias. "Bestas e maravilhas: a visão emblemática dos animais na obra Historia animalium de Conrad Gesner e algumas de suas fontes." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/13298.
Full textAbstract:
Made available in DSpace on 2016-04-28T14:16:20Z (GMT). No. of bitstreams: 1
Fabiana Dias Klautau.pdf: 9928422 bytes, checksum: 4c7e29e60807fb86fc2b38919431d035 (MD5)
Previous issue date: 2014-08-08The purpose of this dissertation is the analysis of some aspects presented in Conrad Gesner´s Historia animalium (1551-1558), such as some information included in animal´s descriptions, its sources and images, as a vehicle of knowledge transmission. We intend to demonstrate that the content in Gesner´s work, as well as in his contemporary fellows, showed particular features which were consisted not only of anatomical and physiological animal´s descriptions, but they were especially comprised of information which today would be considered additional, as for example, what the ancients would say about each animal, the legends, the fables, its use in medicine, in culinary, in art, etc. All this correlated information was called, by some scholars of this period, the emblematic world view and they determined the scope of animal History in the sixteenth century. In order to demonstrate the interrelated information in Gesner´s writings, we selected not only his writings but also some works of other writers. One of them is Andrea Alciati´s Emblematum Libellus (1531), to which is attributed the dissemination of the emblems - a group of text and image designed to be deciphered, bringing intricate topics such as religion, love, betrayal, politics, moral, among others, which were widely covered in Gesner´s work. We also selected some examples of medieval bestiary to demonstrate how animals were described and illustrated in this kind of work, as well as Ovid´s (43 a.C 17 d.C) Ars Amatoria and the Methamorphoses, aiming at investigating this type of literature and, in later editions, the kind of images involving animals in these poems, in order to accomplish the case study about the mythical beast known as the Minotaur
O objetivo dessa Dissertação é analisar alguns aspectos na obra História animalium (1551-1558) de Conrad Gesner (1516-1565), entre eles, o tipo de informação contida na descrição dos animais, algumas de suas fontes e as imagens como via de transmissão de conhecimentos. Nossa intenção é demonstrar que o conteúdo da obra elaborada por Gesner, assim como por alguns de seus contemporâneos, apresentava características particulares e era composta não apenas por descrições acerca da anatomia e fisiologia das bestas, mas eram especialmente carregadas de informações adicionais, como por exemplo, o que os antigos diziam sobre cada animal, lendas, fábulas, uso na medicina, na culinária, na arte, etc. Todas essas informações interligadas faziam parte de uma rede de conhecimentos chamada por alguns estudiosos desse período de visão emblemática de mundo e de natureza, que caracterizou a História dos animais no século XVI. Para demonstrar algumas informações inter-relacionadas na obra de Gesner, selecionamos, além de seus escritos, trabalhos de outros autores. Um deles foi o Emblematum Libellus (1531) de Andrea Alciati (1492-1550), ao qual é atribuída a difusão dos emblemas - um conjunto de texto e imagem criados para serem decifrados, que traziam intrinsicamente mensagens de diversos temas como religião, amor, traição, política, moral entre outros, e que foram amplamente difundidos nas descrições de Gesner. Selecionamos também alguns exemplos de bestiários medievais para demonstrar como os animais eram descritos e representados nesse tipo de trabalho, bem como A arte de amar e as Metamorfoses de Públio Ovídio (43 a.C 17d.C) para averiguar o tipo de literatura, e em edições posteriores, de imagens que envolviam animais contidos nesses poemas, peculiarmente para realizar o estudo de caso sobre a besta mítica conhecida como minotauro. Contudo, foi possível expor ao longo do nosso trabalho o tipo de informação trazida nos textos e nas imagens das diferentes obras selecionadas
16
Di, Santo Prada Sara Emilia. "Dino Buzzati et Claude Louis-Combet entre la chair et l'âme." Thesis, Besançon, 2012. http://www.theses.fr/2012BESA1004/document.
Full textAbstract:
Dans le cadre d’une étude comparatiste, ce travail vise à analyser, en les rapprochant pour la première fois, les univers créatifs de l’écrivain italien Dino Buzzati (1906 – 1972) et de son confrère français Claude Louis-Combet (1932 –), selon la dualité chair et âme, qui est une constante de leur oeuvre respective. Les deux auteurs, par le biais de l’autobiographie romancée, de la réélaboration mythique, comme d’une vision originale de l’art figuratif, ont exprimé une sensibilité et un imaginaire étonnamment proches. Ils auront été accompagnés par des figures légendaires et des amis artistes, afin de guider le lecteur vers la dimension fantasmatique et mystique de son inconscientAs part of a comparative study, this work aims to analyze, by bringing them together for the first time, the creative worlds of the Italian writer Dino Buzzati (1906 – 1972) and his French colleague Claude Louis-Combet (1932 –), according to the flesh and soul duality, which is a constant in their works. Both authors, through the fictionalized autobiography, the mythology reworking, as an original vision of figurative art, expressed sensitivity and imagination surprisingly close. They have been accompanied by legendary figures and fellow artists, to guide the reader into the mystical and fantasy dimension of his unconscious
17
Charpier, Marion. "Le dragon médiéval. "Physiologus", encyclopédies et bestiaires enluminés (VIIIe-XVe s.) : Texte et Image." Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0180.
Full textAbstract:
L’omniprésence du dragon dans l’espace géographique de l’Occident médiéval en fait une figure fondamentalement complexe. Face à une production insondable, aussi immense que le dragon lui-même, les bestiaires latins offrent un corpus qui, grâce au rapport texte-image, permet d’analyser sa symbolique et son iconographie. La production des bestiaires s’inscrit dans la continuité du Physiologos grec (IIe/IVe siècle) et de ses traductions latines, et précède le renouveau encyclopédique du XIIIe siècle. Il nous importera donc de comprendre la formation et les processus qui sous-tendent l’évolution symbolique et l’iconographie du dragon, de cerner les différentes étapes qui jalonnent son histoire et ont contribué à forger son image à l’époque médiévale. Pour cela, il est nécessaire de dégager les différentes composantes symboliques du dragon biblique, à l’origine même du monstre médiéval, à travers l’Ancien Testament, l’Apocalypse et la patristique. Cette analyse a vocation de cerner les réseaux complexes et enchevêtrés qui régissent la symbolique du dragon dans le Physiologos et ses traductions latines. L’étude des traductions en langue vernaculaire des versions latines Physiologus permet de mettre en avant les permanences et mutations du dragon qui s’amorcent au cours du XIIe siècle. Les bestiaires latins permettent de comprendre les liens qui unissent et distinguent le dragon des différents serpents. Les encyclopédies du XIIIe siècle, en compilant les savoirs antiques et les traditions médiévales, redéfinissent la place du dragon dans la Création et son symbolisme. L’analyse iconographique des bestiaires permet de déterminer les critères inhérents à la physionomie du dragon, sa singularité par rapport aux autres serpents et de comprendre comment sa mise en scène participe à l’exaltation de sa nature diaboliqueThe ubiquitous of the dragon in the geographical area of the Medieval West makes it a fundamentally complex figure. Faced with an unfathomable production, as immense as the dragon itself, the Latin bestiaries offer a corpus which, thanks to the text-image relationship, allows us to analyse its symbolism and iconography. The production of the bestiaries is a continuation of the Greek Physiologos (2nd/4th century) and its Latin translations, and predates the encyclopaedic revival of the 13th century. It will therefore be important for us to understand the formation and processes underlying the symbolic evolution and iconography of the dragon, to identify the different stages that mark its history and contributed to molding its image in medieval times. To do this, it is necessary to identify the different symbolic components of the biblical dragon, at the very origin of the medieval monster, through the Old Testament, the Revelation and Patristic. This analysis aims to identify the complex and intertwined networks that govern the symbolism of the dragon in the Physiologos and its Latin translations. The study of the vernacular translations of the Latin versions of the Physiologus allows us to highlight the permanence and mutations of the dragon which began during the 12th century. The Latin bestiaries allow us to understand the links that unite and distinguish the dragon from the various snakes. The 13th century encyclopaedias, by compiling ancient knowledge and medieval traditions, redefine the place of the dragon in Creation and its symbolism. The iconographic analysis of the bestiaries allows us to determine the criteria inherent to the physiognomy of the dragon, its singularity in relation to other snakes and to understand how its depiction participates in the exaltation of its diabolical nature
18
Tellini, Oscar Sebastian. "Zoografías críticas - Animalidad y desarrollismo en Juan José Arreola, Amparo Dávila y Nicolás Guillén (1959-1972)." Thesis, Stockholms universitet, Romanska och klassiska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-194107.
Full textAbstract:
Esta tesis explora las configuraciones animales en tres obras literarias publicadas en el contexto del desarrollismo latinoamericano entre fines de los 50 y comienzos de los 70 en las cuales el animal se presenta como protagonista, a saber, las prosas breves en "Bestiario" (1972) de Juan José Arreola, el cuento "Alta cocina" (1959) de Amparo Dávila y el poemario El gran zoo (1967) de Nicolás Guillén. Estudios previos han analizado la presencia del animal en la literatura latinoamericana del período identificado tanto desde la perspectiva biopolítica (Giorgi, 2014) como desde una perspectiva preponderantemente filosófica centrada en la relación humano-animal (Yelin, 2010). Sin embargo, en la presente perspectiva crítica de las zoografías que se analizan en esta tesis se apunta a que estas obras no solo resaltan aspectos salientes de la configuración de lo animal en la literatura de esa época, sino que también permiten arrojar miradas críticas con respecto a las narrativas de progreso y desarrollo dominantes en los años 50 y 60. Combinando las teorizaciones que abordan lo animal y la animalidad desde las propuestas filosóficas sobre lo animal (Deleuze y Guattari, 2002; Derrida, 2008; Berger, 2009), la biopolítica (Giorgi, 2014; Yelin, 2017) y las propuestas centradas en la idea de extinción animal (Wolfe, 2003; Heise, 2003, 2009, 2016), a través del método de la literatura comparada, en esta tesis se explora cómo se presenta y emerge lo animal y la animalidad en las obras mencionadas, cómo se relacionan las configuraciones animales con cuestiones socioambientales y cómo responden a la narrativa y las dinámicas del desarrollismo. A base de los resultados encontrados en el análisis se concluye que, a través del uso de un bestiario popular en las prosas breves de Arreola, la articulación de una extrañeza en torno al animal comestible en el cuento de Dávila y de la escenificación de un zoológico sarcástico en el poemario de Guillén, colectivamente, las configuraciones animales en las obras del corpus erigen miradas críticas hacia la industrialización, la comodificación y la desaparición del animal así como hacia la explotación del medioambiente, todas estas problemáticas socioambientales que remiten a las narrativas de progreso del desarrollismo latinoamericano.
19
Millon-Hazo, Louise. "« Quelles bestes sont ce là ? » L’humanisme rabelaisien à l’épreuve de ses bestiaires." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA171/document.
Full textAbstract:
Cette thèse propose une étude globale des bestiaires rabelaisiens à partir de l’exploration de ses sources antiques et médiévales. La focale critique se concentre d’abord sur les torsions qu’impose Rabelais aux genres littéraires rattachés à des figures animales prototypiques : l’inversion des paradigmes épiques du cheval et du porc ; le brouillage et la démultiplication des bêtes charivariques et farcesques ; la mise en crise des animaux exemplaires de la fable. Elle s’ouvre ensuite aux jeux du célèbre humaniste avec les figures animales des écrits savants et sérieux : encyclopédies, littérature gnomique, livres de cuisine. Finalement, le point de vue se renverse pour examiner les effets esthétiques et sensoriels de ces bestiaires sur le lecteur et l’auditeur, et en dégager une certaine esthétique grotesque. Cette enquête débouche sur la redéfinition de l’humanisme rabelaisien, qui se révèle dans l’épreuve et à l’épreuve d’une profusion d’images animalesThis dissertation analyses François Rabelais’ bestiaries through the exploration of its antique and medieval sources. The first part of this thesis focuses on the way Rabelais distorts certain literary genres containing prototypical animal figures by reversing the epic paradigms associated with horses and boars, multiplying and merging farces and charivaris’ animals, and undermining the exemplary animals portrayed in the fables. The next part uncovers how the famous humanist plays with animal figures drawn from scholarly and serious writings such as encyclopedias, gnomic literature, and recipe books. The third part overturns this perspective to examine the aesthetical and sensory impact of these bestiaries on the reader and listener as well as the grotesque aesthetic they seem to thrive from. Overall, this investigation leads to a redefinition of the Rabelaisian humanism, which reveals itself through an abundance of animal images
20
Rodríguez, Esteban. "Vida lumpen: el bestiario de la multitud." Tesis, 2005. http://hdl.handle.net/10915/3041.
Full text
21
"Mirrors and Fears: Humans in the Bestiary." Master's thesis, 2014. http://hdl.handle.net/2286/R.I.25095.
Full textAbstract:
abstract: The medieval bestiary is often simply described as a moralized "encyclopedia of animals," however, these so-called "books of beasts" were made for humans, by humans, about humans. It is therefore surprising that one common pictorial subject of the bestiary has been left unexamined: humans. By viewing bestiary images through this lens, one may easily see man's underlying and unresolved struggle to maintain dominance over the beasts, and the Others projected onto them, thereby ensuring that "the (hu)man" remains a discrete definition. This study begins as the bestiary does, with the Naming of the Animals. Illustrations of Adam as a king, bestowing names of his choosing upon tame beasts express a kind of nostalgia for a now-lost time when humanity was secure in their identity as non-animal. This security no longer exists in the postlapsarian world, nor in the bestiary images following these scenes. In an attempt to maintain the illusion of dominion, many bestiary illuminations forego simple descriptive images in favor of gory hunting scenes. However, these conspicuous declarations of dominion only serve to highlight the fragility of the physical form, and even demonstrate the frailty of the human (male, Christian) identity. One such example is MS Bodley 764's boar illumination, in which the animal is killed at the hands of male hunters. This thesis unpacks this image of dominion in order to reveal the associated insecurities regarding race, gender, and species that lie beneath the surface. Subsequently, the study turns to the many bestiary images depicting human bodies brutally fragmented within the jaws of an animal. Anthropophagous bestiary animals often carry fears of the gender and ethnic Other; despite the bestiary's posturing of order and hierarchy, both the human body and identity are easily consumed and subsumed into the ever-present animal/Other. Just as in life, the human figures in the bestiary struggle to establish unquestioned dominion, only to be constantly undercut by the abject. By using a psychoanalytic approach to the human bodies of the bestiary, this study will explore how this imagery reflects the ambiguous position and definition of the human.Dissertation/Thesis
M.A. Art History 2014
22
Amato, Marcelo Cardoso. "Os simbolismos do animais com chifres em bestiários ingleses." Master's thesis, 2018. http://hdl.handle.net/10362/50263.
Full textAbstract:
Esta tese tem como objetivo identificar e analisar os simbolismos dos animais com chifres no imaginário da Idade Média, focando na produção cultural da Inglaterra a partir dos bestiários, códices que apresentam narrativas polissêmicas, uma vez que abordam características naturais dos animais e que também podem ser acompanhadas por mensagens alegóricas ou edificantes.
Os animais com chifres presentes nos manuscritos dos bestiários servem como comprovativo de que tais documentos podem ser interpretados como relevantes suportes da doutrina da Igreja e que os chifres permanecem como símbolos do poder espiritual e secular no período medieval, tal como eram interpretados em tempos pré-cristãos.This thesis aims to identify and analyze the symbolism of horned animals in the imaginery of the Middle Ages, focusing on the cultural production of England from the bestiaries, codices that present polysemic narratives, since they describe natural characteristics of the animals and can also be accompanied by allegorical or enlightenin messages. Horned animals in the bestiaries manuscripts serve as proof that such documents can be interpreted as relevant supporters of Church doctrine and that horns remain as symbols of spiritual and secular power in the medieval period, as interpreted in pre-Christian times.
23
Martín, Pascual Llúcia. "La tradició animalística en la literatura catalana medieval i els seus antecedents." Doctoral thesis, 1994. http://hdl.handle.net/10045/3719.
Full text
24
Theron, Elizabeth Rabie. "Jacob van Maerlant se Der naturen bloeme as ensiklopediese narratief." Diss., 2003. http://hdl.handle.net/10500/1108.
Full textAbstract:
Text in AfrikaansDuring the past decade various studies have been conducted on the medieval bestiary and simultaneously much has been written on the life and work of the medieval scholar and writer, Jacob van Maerlant. Van Maerlant's famous encyclopaedic work, Der Naturen B/oeme (Book of Nature) has been thoroughly investigated in recent literary studies, though little has been done to identify this work as encyclopaedic narrative. The term, encyclopaedic narrative, is relatively unknown in Western literature and therefore demands the research which is conducted in this thesis. In the course of this study, the genre of encyclopedic narrative is investigated and the Naturen 8/oeme is identified as a member of this exclusive genre. Edward Mendelson's article "From Dante to Pynchon" (1976) serves as the starting point for this study, from where it continues its investigation into the works of Jacob Van Maerlant. Van Maerlant's Der Naturen 8/oeme is compared to a unique set of qualities for the encyclopaedic narrative in which corresponding points are identified. From this investigation it is shown that Der Naturen B/oeme qualifies as a member of the genre, encyclopaedic narrative.
Baie navorsing oor die Middeleeuse Bestiarium is reeds gedurende die afgelope dekade gedoen en baie is geskryf oor die lewe en werk van Jacob van Maerlant. Alhoewel sy natuurboek, Der Naturen Bloeme, baie belangstelling in die liter~re w6r~ld ontlok, is daar nog weinig gedoen om Der Naturen Bloeme as ensiklopediese narratief te identifiseer. Die relatiewe onbekendheid van die begrip ensiklopediese narratief in die Westerse literatuur dien as aansporing tot die ondersoeke wat in hierdie skripsie vervat word. In hierdie studie sal die genre van die ensiklopediese narratlef bespreek word. Der Naturen Bloeme word as voorbeeld gebruik. Die ensiklopediese narratief word bespreek na aanleiding van die artikel "From Dante to Pynchon" (1976) waarin Mendelson die term omskryf en riglyne daarstel vir die tipering daarvan as genre. Uit die ondersoek blyk dit dat die ensiklopediese narratief 'n genre is wat erkenning behoort te kry in die literêre wêreld. Die studie ondersoek ook die lewe en werk van Jacob van Maerlant wat as lnformatikus gedurende die MiddeJeeue groot bekendheid verwerf het. Sy omvangryke ensiklopediese werk, Der Naturen Bloeme, word telkens getoets aan die hand van kenmerke vir die ensiklopediese narratief en die raakpunte word uitgewys. Uit die ondersoek word aangetoon dat Der Naturen Bloeme as ensiklopediese narratief erken kan word.
Afrikaans & Theory of Literature
M.A. (Afrikaans)