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Rosso, Gabriele <1988>. "Federico Marconi." Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/6102.
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Questo lavoro intende presentare la figura dell'architetto friulano Federico Marconi. Ha aperto il suo studio a Udine nel 1962. Particolare importanza viene data alla sua formazione e alla presentazione di alcune opere caratteristiche del suo approccio.
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Velásquez, López Roberto. "Federico Villareal y Villareal." Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/96678.
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Valente, Uribe Paulina. "Federico García Lorca : Los Putrefactos." Tesis, Universidad de Chile, 2000. http://repositorio.uchile.cl/handle/2250/108766.
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La presente investigación pretende introducirse en parte de la poesía de Federico García Lorca para conocer un aspecto no dilucidado de la obra del poeta andaluz a través del término putrefacto. Se dará cuenta de la influencia y del impacto que el término produjo reflexionando, al mismo tiempo, acerca de este concepto relacionado con la literatura.
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Mummenbrauer, Kai. "Die Ästhetik des Scheiterns : Autobiographie und theoriegelenktes Schreiben im Frühwerk Federico De Robertos /." Aachen : Shaker, 2001. http://catalogue.bnf.fr/ark:/12148/cb400634298.
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Ferrada, Castro Susana. "Federico García Lorca: una obra teatral satírica." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/399720.
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Federico García Lorca: una obra teatral satírica es el resultado de una investigación sin precedentes, pues, a pesar de lo mucho que se ha escrito sobre Federico García Lorca y su obra, la hipótesis en la que se ha fundamentado esta investigación implica una interpretación inédita de la obra lorquiana y, al mismo tiempo, supone una nueva percepción del poeta, al ahondar en una faceta de su controvertida personalidad de la que ningún otro investigador ha partido para analizar su obra. El propósito primordial de esta tesis consiste en demostrar que Lorca fue un satírico y que, por tanto, la sátira es una constante en sus obras, aunque no fueran concebidas íntegramente como sátiras. Federico García Lorca: una obra teatral satírica evidencia que lo cómico y lo serio, así como el innegable aspecto crítico, son rasgos satíricos intrínsecos a la obra lorquiana. Así mismo, demuestra que, sin descartar otras modalidades de su praxis dramática, Lorca llevó a cabo su crítica sirviéndose del humor, que oscila entre lo puramente jocoso y el humor negro, y se manifiesta mediante el empleo de técnicas tradicionales de la sátira, con idéntico propósito al del satírico: degradar a su objeto de ataque suscitando sonrisa o repulsa.
Federico García Lorca: una obra teatral satírica analiza en clave de sátira las farsas para actores y las “comedias irrepresentables”, identificando el objeto de ataque de la sátira lorquiana en estas obras y las técnicas satíricas empleadas por su autor. Además, este estudio prueba la afinidad de Lorca con otros satíricos, clásicos de la literatura española, e incide en la coexistencia entre tradición y vanguardia que Lorca empleó como un instrumento para satirizar. En este sentido, esta tesis ahonda en el vínculo del teatro lorquiano con la farsa, el entremés, la Commedia dell´arte, el teatro de títeres, la aleluya, los misterios medievales, el auto sacramental, el surrealismo y el teatro del absurdo desde una óptica satírica. En definitiva, esta tesis reivindica el aspecto satírico, presente de manera transversal en la obra de Federico García Lorca, que resulta ser determinante, pues da unicidad al corpus lorquiano y contribuye en gran medida a la universalidad de este autor.<br>Federico Garcia Lorca: a satirical theatrical work is the result of an unprecedented investigation because, despite how much has been written about Federico García Lorca and his work, the hypothesis which has based this research involves a new interpretation of Lorca's work and at the same time, represents a new perception of the poet, to delve into a facet of his controversial personality than any other researcher has started to analyze his work. The primary purpose of this thesis is to show that Lorca was a satirist and, therefore, satire is a constant in his plays, although they were not conceived entirely as satires. Federico Garcia Lorca: a satirical theatrical work evidences comic and serious, as well as the undeniable critical aspect, are satirical traits intrinsic to Lorca's work. It also shows that, without ruling out other forms of his dramatic praxis, Lorca held his criticism making use of humor, ranging from the purely jocular and black humor, and is manifested by employing traditional techniques of satire, with the same purpose as the satirist: to degrade the object of attack sparking repulse or smile.
Federico Garcia Lorca: a satirical theatrical work analyzes the farces for actors and the "impossible plays" identifying the object of attack in these plays and the satirical techniques employed by its author. In addition, this study proves the affinity of Lorca with other satirists, classics of Spanish literature, and highlights the coexistence of tradition and modernity that Lorca used as an instrument to satirize. In this sense, this thesis explores the link between Lorca´s theatre and farce, entremés, the Commedia dell'arte, puppet theatre, aleluya, medieval mysteries, auto sacramental, surrealism and theatre of absurd from a satirical perspective. In short, this thesis claims the importance of the satirical aspect that gives uniqueness to the entire production of Lorca and contributes greatly to the universality of this author.
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Nuti, Laura. "La ricezione di Federico Fellini in Francia." Thesis, Toulouse 2, 2019. http://www.theses.fr/2019TOU20021.
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La thèse vise à faire le point sur la réception (critique et publique) de Fellini en France sur la plus grande partie de sa carrière de réalisateur 1953-1993. À travers l’étude d’un large choix des témoignages et documents on souhaite montrer une différence significative entre l’Italie et la France, et se questionner sur les causes qui la déterminent. Une certaine mythologie (Barthes) se dégage de cette première analyse qui demande à être identifiée, questionnée, mise en perspective dans une étude transtextuelle qui sera le centre de la deuxième partie de la thèse<br>In this thesis, I’ll provide a brief overview on the major turning points of the critical response to Fellini’s films in the 20th century French press (especially in Cahiers du cinéma and Positif). To this end, starting from I Vitelloni – the first Fellini’s film to be released in French theatres – up to The Voice of the Moon – Fellini’s last movie –, I’ll follow the critical debate on Fellini’s films, with particular reference to issues concerning dramatic structure and neo-realism. Within this context, I’ll highlight how Cahiers changed its critical response to Fellini’s work throughout the years, from his exclusion from the “auteurs’ elite group” to his final inclusion. This work also contains references to Nouvelle Vague, Roland Barthes, George Simenon and Gilles Deleuze
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Mordenti, Francesco. "Dinamiche gestionali dell'aeroporto Federico Fellini di Rimini." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amslaurea.unibo.it/7003/.
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Růžičková, Eva. "Federico García Lorca - Krvavá svatba kostýmní výprava." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2012. http://www.nusl.cz/ntk/nusl-156118.
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The thesis it´s about theatre play Blood Wedding written by spanish author F. G. Lorca. In first theoretical part I briefly concentrate on author, his life and his life´s work. Than I analyze drama Blood Wedding with focus of symbols and metaphors, which are dominated in the play of Lorca. At the end of theoretical part I choose three performances of Blood Wedding from three different directors. I describe them and complete them with fotos from performances. In a practical part of my thesis I analyze all dramatical characters and give description and explication of their costumes, which I use.
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Scomparin, Francesco <1990>. "Le rime del Quadriregio di Federico Frezzi." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/9001.
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Dopo la presentazione della vita di Federico Frezzi e del Quadriregio, un poema allegorico-didattico ad imitazione della Commedia di Dante, la tesi procede con l'analisi delle scelte rimiche del poeta, basandosi innanzitutto sul rimario realizzato a questo fine. L'indagine, che riguarda un ambito mai studiato sistematicamente, si concentra sul confronto con il modello dantesco e soprattutto sull'esame dei numerosi luoghi in cui Frezzi utilizza gli stessi gruppi di parole rima della Commedia, individuati per mezzo di uno strumento informatico creato a questo scopo.
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SCUDERI, BIAGIO. "IMAGO MUSICAE: FEDERICO TIEZZI DAL TEATRO ALL'OPERA." Doctoral thesis, Università degli Studi di Milano, 2018. http://hdl.handle.net/2434/579564.
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Since his debut with the company “Il Carrozzone” (1970), Federico Tiezzi has stood out because of his peculiar dramaturgy which makes of figurative arts its hallmark.
In fact his contemporary education as art historian entails a fruitful permeation between stage and icon which allows him to establish himself as a precursor of the so-called “image theatre”.
In all the plays and operas he has put on, his rigorous visual grammar brings about suggestions and interferences that deeply innervate his scene setting. Moreover, reference to Aby Warburg’s teachings clearly shows up in his way of portraying the character on an intertextual backdrop, as well as in his pondered development of gestural expressiveness that he derives from the Pathosforlmen’s theory.
The aim of my paper is to investigate Tiezzi’s poetics through the analysis of some of his theatrical plays that clearly display the osmosis between the scene and the figurative arts.
The first case study is about the debut of Tiezzi as opera director in 1991 with Bellini’s Norma at the Teatro Petruzzelli of Bari with the unusual collaboration of Mario Schifano, star of the Pop-Art, in making the stage curtains and backdrops. The naïf art of Schifano fits within a neoclassical set with explicit references of the paintings of Jacques-Louis David creating an evocative contrast both aesthetic and semantic.
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Eades, Caroline. "Fellini-Satyricon." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376047875.
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CORRADI, Federico. "L'immagine dell'autore nell'opera di Jean de La Fontaine." Doctoral thesis, La Sapienza, 2007. http://hdl.handle.net/11573/917499.
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Castro, Filho Claudio de Souza. "O tragico no teatro de Federico Garcia Lorca." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285041.
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Orientador: Maria Lucia Levy Candeias<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-10T03:53:18Z (GMT). No. of bitstreams: 1
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Previous issue date: 2007<br>Resumo: A presente dissertação resulta da pesquisa sobre as manifestações da tragicidade no teatro de Federico García Lorca, em especial nas peças Bodas de sangre e Yerma, bem como na inacabada La destrucción de Sodoma, que se coadunam na Trilogía dramática de la tierra española, assim denominada pelo próprio poeta. O texto apresenta um panorama geral da produção dramatúrgica lorquiana, analisando aspectos comuns e particularidades de todas as suas peças publicadas na íntegra, possibilitando uma introdução ao universo teatral do autor, suas temáticas passionais-libertárias, seu estilo intensamente metafórico e musical. A seguir, abordando desde a Poética de Aristóteles até as mais recentes teorias teatrais, a dissertação procura diferenciar as noções de 'tragédia', que dá conta de uma manifestação cênica própria da cidade grega de Atenas no século V a.C., e 'tragicidade', que se refere a uma moderna construção conceitual amparada pelo passado trágico mediterrâneo mas igualmente pela filosofia moderna. Nesse percurso, surge a necessidade de um aprofundamento na filosofia de Friedrich Nietzsche, que apresenta, no centro de um amplo leque conceitual, as oposições entre os elãs-vitais apolíneo (aparência, fantasia) e dionisíaco (embriaguez, êxtase) para caracterizar as tensões inerentes ao trágico. Finalmente, podemos compreender algumas influências que a tragédia grega exerceu sobre o teatro de García Lorca a partir de uma análise das peças Bodas de sangre e Yerma, às quais se junta o breve fragmento existente de La destrucción de Sodoma. Verifica-se, também, a construção de uma moderna concepção de tragicidade nas referidas peças, que podem ser lidas à luz de alguns conceitos nietzschianos, sobretudo da noção de 'Além-do-homem'<br>Abstract: This document is a result of an investigation about the tragicity's occurrences in Federico García Lorca's theater, especially in the following plays: Bodas de sangre, Yerma and La destrucción de Sodoma, the Trilogía dramática de la tierra española, according to the name created by the writer. The text presents a general vision about Lorca's dramas, analyzing global aspects and special qualities around all his complete publishing plays. It is a possibility to know Lorca's dramatic universe, his subjects, like love and freedom, and his great poetic and musical style. Then, referring to Aristotle's Poetic to actual drama's theories, the document intend to see the differences between tragedy (a specific cultural happening from Atenas, the Greek city, in the 5th century BC) and tragicity, a modern conceptual construction inspirated in the Mediterranean's tragic past, but equally in the modern philosophy. So, there is the need of a deep study about Friedrich Nietzsche's philosophy, showing the opposition between two instincts that teach the war inside the tragedy: Apolo's instinct (illusion, fantasy) and Dioniso's instinct (drunkenness, ecstasy). Finally, it's possible to understand some inspirations that the Greek tragedy gave to García Lorca's dramas. To have this done, Bodas de sangre, Yerma and La destrucción de Sodoma's fragment were analyzed. Finally, it is shown the dissertation points, the construction of a modern concept of tragicity inside the studied plays which demonstrate ideas very similar to Nietzsche's philosophic concepts, like the 'Superman' notion<br>Mestrado<br>Mestre em Artes
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Ruiz, de Gauna Moisés. "Federico Mompou and The Piano: a Performer's Guide." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1243303271.
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Ruiz, de Gauna Moisés. "Federico Momou and the piano a performer's guide /." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1243303271.
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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.<br>Advisor: Miguel A. Roig-Francoli. Title from electronic thesis title page (viewed Aug. 3, 2009). Includes abstract. Includes bibliographical references.
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Fichera, Carlo Federico [Verfasser]. "Milde therapeutische Hypothermie beim kardiogenen Schock / Carlo Federico Fichera." Lübeck : Zentrale Hochschulbibliothek Lübeck, 2019. http://d-nb.info/1185196153/34.
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Guerra, Federico [Verfasser]. "Dynamic Hydrogen-Bonded Networks of Photosystem II / Federico Guerra." Berlin : Freie Universität Berlin, 2018. http://d-nb.info/1160235732/34.
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Fitzpatrick, Patricia A. "Inmanencia mística en la obra de Federico García Lorca." FIU Digital Commons, 2005. http://digitalcommons.fiu.edu/etd/3335.
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The purpose of this dissertation was to analyze the works of Federico Garcia Lorca within the mystic context that dominates their very genesis. The problematic definition of mysticism was explored lest it be confused with traditional mysticism, which implies union with the divine. The historiography of literature speaks of the Mystic Genre, yet it does not address the mystic mode of artistic creation due to its inability to adhere to rational measure. This mode of conception was explored through Lorca’s poetic discourse: ‘Lorquian mysticism’ is the result of the poet’s cultivation of an innate spiritual potential enhanced by external influences and technical mastery.
There is visible influence of Fray Luis of Leon in Lorca’s early Libro de poemas and El maleficio de la mariposa, as well as of Saint John of the Cross in the later Divan del Tamarit, Sonetos de amor and Yerma. However, definitive echoes of poets from theSufi and other Eastern mystic traditions were also illustrated in these late works. A persistent longing to elide the physical condition, the greatest obstacle of the transcendental quest, is the essence of Lorca’s poetic voice.
The object of this analysis was Lorca’s language, which reaches levels removed from conventional thought. His dazzling metaphors and his particular use of symbols and of paradox compare equitably with those of great mystic poets. Like them, Lorca was faced with the same limitations of language to describe an ineffable experience; he embraced what Octavio Paz describes as ‘sacred language’: there is a linguistic frugality as well as an ambiguity in Lorca’s poetic art that result from his realization of super- cognitive states. Yet such an interpretation is rejected by the rationalist approach, invoking the age-old debate between faith and reason and signaling the application of psychoanalytical theory. This limited approach was disputed on the basis of reader- response theory. Lorca was truly an eclectic and a modification of the conventional reader’s preestablished horizon of expectations is essential in order to seal the gaps in his late works. This innovative perspective placed Lorca within the framework of a new mysticism in the modem world.
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Costa, Fabienne. "Le corps sous influences dans l'oeuvre de Federico Fellini." Paris 3, 2000. http://www.theses.fr/2000PA030149.
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L'esthetique du spectaculaire est d'ordinaire associee a l'oeuvre de fellini. Cette perspective conduit a determiner une categorie du corps dit << fellinien >>, essentiellement definie par les formes abondantes des acteurs. Un autre corps, plus discret mais nullement secondaire, traverse pourtant les films du cineaste italien. Saisi par le film qui ne se contente pas de le camper en personnage, il depasse la chair des acteurs, leur simple apparence qui compte moins que l'ensemble des relations dans lequel il est pris. Il montre sa capacite de diffusion, excede ses propres contours et devient alors un pur effet. Subtilement modele par le film, perpetuellement sous influences, il ne se manifeste pas dans sa seule representation et parvient a << faire presence >>. Le corps, dans l'oeuvre de fellini, a lieu au-dela des phenomenes visibles et sonores qui le fondent. Il ne peut etre definitivement localise. Il est le travail d'une limite toujours repoussee et se constitue dans la transformation. En revanche, il est possible de voir dans quel mouvement il s'implique en soulignant la reprise de certains elements fondateurs. Ambigu et paradoxal, constamment decale, il est issu d'un rythme expansif et contracte ; tensions contraires qui absorbent son actualite dans l'image et le conduisent a se soustraire du film et, a la fois, a s'y perdre. Cette etude cherche a rendre sensible ce corps a travers l'analyse detaillee de passages precis de l'oeuvre de fellini, des notti di cabiria (1957) a intervista (1987). Elle releve ses zones d'echanges, ses ecarts avec son environnement filmique quifaconnent son mode d'existence. Elle s'attache a definir sa multiplicite en suivant notamment ses << devenirs >> et ses variations a travers le temps du film.
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Deaca, Mircea-Valeriu. "Carnavalesque de second degré dans l'oeuvre de Federico Fellini." Paris 3, 1995. http://www.theses.fr/1995PA030123.
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Il s'agit d'une etude sur les sources carnavalesques des motifs cinematographiques des films de fellini. Le carnaval auquel on fait reference est lu a travers les travaux de m. Bakhtine et c. Gaignebet. On a dressee une liste des unites symboliques qui sont derivees de la tradition de carnaval et on a analyse, a chaque occurrence dans le discours cinematographique fellinien - sur un corpus de vingt-cinq films - la mise en discours specifique, les variantes de chaque motif, la signification conventionnelle de l'element et sa transformation dans l'oeuvre du cineaste italien. Le travail est ordonne en chapitres traitant les themes du carnaval. Chaque chapitre est divise en sous chapitres traitant des motifs et des figures du film de fellini. L'approche methodologique est semio-cognitive. Les phenomenes de carnaval cites sont reunis en fonction d'un "air de famille" commun. Le concept de carnaval est concu sous une acception elargie et comprend non seulement des phenomenes canoniques, mais aussi des cas atypiqsues comme l'imaginaire alchimique. Au niveau narratif on a decele la presence d'un schema commun a plusieurs films ou sequences : un scenario d'initiation (qui contient la mort rituelle, le voyage dans un au-dela et la resurrection). Ce scenario se manifeste comme farce et, dans les cas typiques, a lieu sous le signe d'un "principe feminin"<br>The research is a study of the carnivalesque sources of federico fellini's cinematographic motifs. The concept of carnival is conceived essentially through the works of m. Bakhtin and c. Gaignebet. We analysed - on a corpus of twenty five films the motifs issued from carnivalesque tradition and commented upon their specific transformation during the process of integration in fellini's cinematographic discourse. The methodology used is semio-cognitive. We have considered that at a narrative level there is a common schema to many films and sequences. In is an initiation scenario which in several typical cases manifests itself as an carnivalesque farce activated under the guidance of a feminine principle
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Kruckeberg, Lynell Joy. "Federico Mompou: a style analysis of thirty-five songs." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3486.
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Federico Mompou (1893-1987) was a Catalan composer known primarily for his piano compositions. In addition to his piano works, Mompou also composed thirty-seven songs for voice and piano, a ballet, a few choral works, and a guitar suite. Mompou's songs and piano pieces were well-received by critics and audiences in France, Spain, and even the United States during his lifetime, but since the mid-1970s, majority of his songs have been overlooked by Western performers and scholars. Mompou's songs, composed between 1915 and 1971, are settings of Catalan, Spanish, and French texts. They are characterized by their simplicity, expressiveness, and evocative style. The poetry represents a variety of subjects that range from expressions of simple, childlike pleasure, to those of a highly reflective and emotional mind. Federico Mompou's songs represent an important contribution to Catalan art song of the twentieth century. The songs are deserving of performance and study in any voice studio because they contain a variety of technical, linguistic, and interpretive challenges for a wide variety of singers.
The purpose of this doctoral essay for limited distribution is to provide a style analysis of thirty-five songs of Federico Mompou. The analysis divides the songs into three groups based on technical difficulty, progressing from the least difficult to the most difficult. Information about each song will include date of publication, language, poet, poem and translation. Prose analysis of each individual song is based on Jan LaRue's Guidelines for Style Analysis. Musical examples demonstrate important aspects of each individual song.
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Tricomi, Andrea. "Regesto delle lettere a stampa di Federico De Roberto." Doctoral thesis, Università di Catania, 2015. http://hdl.handle.net/10761/1678.
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Il regesto delle lettere derobertiane rappresenta un opera scientifica da cui non possono prescindere filologi e storici della letteratura italiana. Manca ancora un epistolario derobertiano unificato e sistematico. Il presente lavoro di ricerca tenta di colmare l assenza di un repertorio non ancora interamente inventariato e catalogato, di un regesto complessivo dei carteggi, fin qui editi, per la ricostruzione cronologica di un patrimonio prezioso ed eccezionale che, nell insieme, permette di accedere all autobiografia quotidiana di tutta un esistenza, ad una intimità divenuta di dominio pubblico, alla cronistoria fedele e romanzata di una vita straordinaria ed egualmente normale e a un disegno biografico attendibile ed esauriente di un epistolografo sorprendente come Federico De Roberto. La lettura del regesto ha pertanto il fascino del saper documentare e fare emergere una nuova esegesi della vita e dell intero corpus letterario di Federico De Roberto.
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BARBIERI, NICOLETTA ILARIA. "CULTURA LETTERARIA INTORNO A FEDERICO GONZAGA, PRIMO DUCA DIMANTOVA." Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1860.
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Tra il XIX ed il XX secolo, sono stati effettuati diversi studi riguardo al patronato letterario di Isabella d’Este e al mecenatismo praticato verso gli artisti da suo figlio, Federico II Gonzaga, primo duca di Mantova. Una nuova prospettiva di ricerca induce oggi a indagare il ruolo di Federico II come committente letterario, distinto dalla Marchesana Isabella, e i suoi interessi letterari. Vari autori, più o meno celebri, risultano avere avuto relazioni con Federico II Gonzaga, in quanto o gli hanno dedicato le loro opere o lo hanno citato in esse oppure perché è stato loro richiesto di comporre testi dal duca stesso. Molti di questi lavori sono registrati nell’inventario di Federico II, che ci dà alcune idee circa le sue preferenze, rivolte soprattutto alle opere astrologiche e ai testi cavallereschi, e circa le sue relazioni letterarie. Gli scrittori legati a Federico II hanno spesso cercato di procurare vantaggi tramite l’attività letteraria a se stessi e al loro mecenate. Si può ritenere che Federico II fosse inserito in una più ampia rete di relazioni letterarie sviluppatesi intorno alla corte di Mantova e che abbia impiegato la propria cultura letteraria e le opere letterarie come uno strumento di potere.<br>Between the 19th and the 20th century several studies were carried out with regard to the literary patronage of Isabella d’Este and in connection with the maecenatism practiced towards artists by her son Federico II Gonzaga, first Duke of Mantua. Nowadays, a new perspective of research induces to investigate the role of Federico II as literary client, separated from the Marchesana Isabella, as well as his literary interests. Various more or less famous authors have been found to have had some relationships with Federico II Gonzaga, either because they mentioned him in their works and dedicated them to him, or because they were requested to compose texts by the duke himself. Many of these works are registered in Federico II’s inventory, which gives us some ideas about his literary preferences, particularly directed to astrological works and chivalric texts, and his literary relationships. The writers linked to Federico II often tried to obtain some advantages for themselves and their patron through their literary activity. It can also be maintained that there was a wider network of literary relationship around the court of Mantua, and that Federico II used his literary culture and the literary works as a tool of power.
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BARBIERI, NICOLETTA ILARIA. "CULTURA LETTERARIA INTORNO A FEDERICO GONZAGA, PRIMO DUCA DIMANTOVA." Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1860.
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Tra il XIX ed il XX secolo, sono stati effettuati diversi studi riguardo al patronato letterario di Isabella d’Este e al mecenatismo praticato verso gli artisti da suo figlio, Federico II Gonzaga, primo duca di Mantova. Una nuova prospettiva di ricerca induce oggi a indagare il ruolo di Federico II come committente letterario, distinto dalla Marchesana Isabella, e i suoi interessi letterari. Vari autori, più o meno celebri, risultano avere avuto relazioni con Federico II Gonzaga, in quanto o gli hanno dedicato le loro opere o lo hanno citato in esse oppure perché è stato loro richiesto di comporre testi dal duca stesso. Molti di questi lavori sono registrati nell’inventario di Federico II, che ci dà alcune idee circa le sue preferenze, rivolte soprattutto alle opere astrologiche e ai testi cavallereschi, e circa le sue relazioni letterarie. Gli scrittori legati a Federico II hanno spesso cercato di procurare vantaggi tramite l’attività letteraria a se stessi e al loro mecenate. Si può ritenere che Federico II fosse inserito in una più ampia rete di relazioni letterarie sviluppatesi intorno alla corte di Mantova e che abbia impiegato la propria cultura letteraria e le opere letterarie come uno strumento di potere.<br>Between the 19th and the 20th century several studies were carried out with regard to the literary patronage of Isabella d’Este and in connection with the maecenatism practiced towards artists by her son Federico II Gonzaga, first Duke of Mantua. Nowadays, a new perspective of research induces to investigate the role of Federico II as literary client, separated from the Marchesana Isabella, as well as his literary interests. Various more or less famous authors have been found to have had some relationships with Federico II Gonzaga, either because they mentioned him in their works and dedicated them to him, or because they were requested to compose texts by the duke himself. Many of these works are registered in Federico II’s inventory, which gives us some ideas about his literary preferences, particularly directed to astrological works and chivalric texts, and his literary relationships. The writers linked to Federico II often tried to obtain some advantages for themselves and their patron through their literary activity. It can also be maintained that there was a wider network of literary relationship around the court of Mantua, and that Federico II used his literary culture and the literary works as a tool of power.
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Granrose, Kathleen Diane. "A poetics of the seasons Lorca's early cosmic vision /." Full text, Acrobat Reader required, 2000. http://viva.lib.virginia.edu/etd/diss/ArtsSci/Spanish/2000/Granrose/Granrose.pdf.
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Anderson, Andrew A. "Lorca's late poetry : a critical study /." Leeds : F. Cairns, 1990. http://catalogue.bnf.fr/ark:/12148/cb354266039.
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Sahuquillo, Ángel. "Federico García Lorca y la cultura de la homosexualidad masculina : Lorca, Dalí, Cernuda, Gil-Albert, Prados y la voz silenciada del amor homosexual /." Alicante : Instituto de cultura "Juan Gil-Albert, 1991. http://catalogue.bnf.fr/ark:/12148/cb355644723.
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Schneider, Mirjam. "Federico Garcia Lorca und der islamische Orient : die literarische Gestaltung einer kulturellen Fernbeziehung /." Würzburg : Königshausen & Neumann, 2005. http://deposit.d-nb.de/cgi-bin/dokserv?id=2689718&prov=M&dok_var=1&dok_ext=htm.
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Lindqvist, Madelene. "La luna en tres obras poéticas de Federico García Lorca." Thesis, Umeå universitet, Institutionen för språkstudier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-70271.
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La Luna en tres obras poéticas de Federico García Lorca trata de atender el significado de la luna en la obra lorquiana. El objetivo es investigar como la luna se presenta en las obras elegidas para ver si solo tiene una significación mortal en la obra lorquiana o si la hipótesis de que la luna tiene una significación variada se cumple. El método es analizar, en primer lugar el Romancero gitano (1928), con ayuda de investigadores anteriores y tratar de entender el sentido de los romances en los cuales la luna se presenta, para que luego se pueda entender el significado de la luna en cada parte. Luego, las respuestas del Romancero gitano se comparan con las respuestas de Libro de poemas (1921) y Diván del Tamarit (1936). La pregunta es: ¿Tiene la luna, solo una significación mortal en toda la poesía lorquiana, o tiene una significación variada? En estas tres obras la luna aparece como mujer, símbolo de la muerte, metáfora, la misma luna y símbolo de la vida. La luna tiene una significación variada en la obra lorquiana.
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Wright, Sarah. "The trickster-function in the theatre of Federico García Lorca." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624924.
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Pedraja, Federico [Verfasser]. "Dynamics of sensorimotor behavior in electrolocation and electrocommunication / Federico Pedraja." Bielefeld : Universitätsbibliothek Bielefeld, 2019. http://d-nb.info/1192910974/34.
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Santos, Luciana Crestana dos. "Honra e honor nas tragédias rurais de Federico García Lorca." reponame:Repositório Institucional da UCS, 2009. https://repositorio.ucs.br/handle/11338/354.
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Os motivos de honra e honor na dramaturgia de Federico García Lorca. Análise da trilogia rural, Bodas de sangre, Yerma e La casa de Bernarda Alba. Os motivos de honra e honor e suas funções no desencadeamento das tragédias. Honra e honor como traços culturais da região de Andaluzia.<br>Submitted by Marcelo Teixeira (mvteixeira@ucs.br) on 2014-05-22T16:35:21Z
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Dissertacao Luciana C dos Santos.pdf: 504960 bytes, checksum: 7c78d65e33f25e995a6b1d656c653188 (MD5)<br>Los motivos de honra y honor en la dramaturgia de Federico García Lorca. Análisis de la trilogía rural, Bodas de sangre, Yerma y La casa de Bernarda Alba. Los motivos de honra y honor y sus funciones en el desencadenamiento de las tragedias. Honra y honor como trazos culturales de la región de Andalucía.
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Méjean, Jean-Max. "Fellini-Cinéma, une approche analytique de l'oeuvre de Federico Fellini." Paris 7, 1992. http://www.theses.fr/1992PA070076.
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Cette etude tente de pratiquer une analyse psychanalytique de l'ensemble de l'oeuvre de fellini, sur le plan de la psychanalyse jungienne. Une sorte d'itineraire tenant compte de l'aspect labyrinthique du cinema de fellini. Quelques films sont analyses de facon sequentielle, d'autres ont ete abordes de facon plus generale mais avec une insistance toute particuliere sur certains plans. L'etude comporte en outre des analyses de photgrammes comme tentative d'approche de l'image afin de denoter les aspects essentiels du double, de l'androgynie, du masque et de la femme que le heros fellinien recherche vainement. Sur une totalite de 24 films, cette these comprend aussi des entretiens avec des personnes ayant travaille avec fellini et se conclut sur l'apport de la synchronicite jungienne sur l'ensemble de l'oeuvre, une oeuvre magistrale qui laisse une grande place a la fantasmagorie et a l'humanisme<br>This study attempts to give a psychoanalytic analysis of the whole of fellini's work, related to the jungian psychoanalysis. A sort of itinerary relevant of the labyrinthic aspect of fellini's art. Some films are analyzed on a sequencial mode, others have been approached on a general mode but with a more particular insistance on some sequences. This study also includes an analysis of some photograms like an attempt to an approach of the image in fellini's work in order to explore some essential aspects : the doudle, the androgyny, the mask and the ideal woman that the fellinian hero vainly seeks. Out of a total of twenty four films, this thesis also contains thirteen interviews of people who have collaborated with fellini and concludes on the contribution of the jungian synchronicity in the whole of fellini's films, a master-work which gives a great place to fantasmagory and humanism
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Carmona, Vázquez Antonia Ramos Ortega Manuel José. "Coincidencias de lo trágico entre Eurípides y Federico García Lorca /." Alcañiz : Instituto d'estudios humanísticos, 2003. http://catalogue.bnf.fr/ark:/12148/cb40059038c.
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Texte de remanié de: Tesis de licenciatura--Universidad de Sevilla, 1981.<br>Sur la page précédant la page de titre, la série mentionnée est la série "Textos". En couverture et dans le catalogue en ligne de l'éditeur "Instituto d'estudios humanísticos", la série indiquée est la série "Estudios" Bibliogr. p. 165-187.
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Merotto, Ghedini Monica. "Federico II ed Ezzelino II da Romano nel territorio padovano." Doctoral thesis, Università Ca' Foscari Venezia, 1997. http://hdl.handle.net/10579/749.
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Scheel, Oliver [Verfasser], Federico [Akademischer Betreuer] Tombari, Alexandre [Gutachter] Alahi, Matthias [Gutachter] Nießner, and Federico [Gutachter] Tombari. "Using Deep Neural Networks for Scene Understanding and Behaviour Prediction in Autonomous Driving / Oliver Scheel ; Gutachter: Alexandre Alahi, Matthias Nießner, Federico Tombari ; Betreuer: Federico Tombari." München : Universitätsbibliothek der TU München, 2020. http://d-nb.info/1225039185/34.
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Toppano, Michela. "Conflits de valeurs et sublimation littéraire dans l'oeuvre fictionnelle de Federico de Roberto." Aix-Marseille 1, 2005. http://www.theses.fr/2005AIX10064.
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Cette thèse examine l'ensemble de l'écriture fictionnelle de Federico De Roberto (écrivain sicilien dont la production hétéroclite et contradictoire a souvent dérouté la critique) afin de montrer dans quelle mesure les tensions et les antinomies qui travaillent son oeuvre sont liées au rapport ambivalent que l'auteur entretient avec certaines valeurs de son temps : l'individualisation, la rationalisation et une conception spécifique du destin individuel. Le relevé systématique des relations reliant des motifs formels à des contenus idéologiques met en lumière un système cohérent de rapports qui se tissent aussi bien entre les différentes oeuvres qu'entre les éléments antithétiques qui les composent. La cohérence sous-jacente à l'écriture fictionnelle de De Roberto apparaît dès lors comme une tentative de résoude les tensions générées par l'adhésion problématique à des valeurs qui tourmentent l'écrivain compte tenu de son histoire personnelle et familiale.
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Hammill, Jennifer Lee. "The development of compositional style in the piano music of Federico Mompou /." Thesis, Connect to this title online; UW restricted, 1991. http://hdl.handle.net/1773/11259.
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Koppenfels, Martin von. "Introducción a la muerte la poesía neoyorquina de Lorca y el duelo de la lírica moderna." Kassel Ed. Reichenberger, 1997. http://d-nb.info/997834447/04.
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Retamar, Hugo Jesus Correa. "Federico García Lorca : de la teoría a la práctica del "Duende"." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/16231.
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Filho da Andaluzia como o "cante jondo" e seu "duende", Federico García Lorca, um apaixonado por tal arte, foi um dos poetas espanhóis mais representativos do século XX. A relação entre o poeta de Granada e o "cante jondo" é profunda e importantíssima para a valorização da arte andaluza e inclusive para a compreensão da obra de Lorca. O "cante jondo", segundo o poeta, é o canto mais profundo, um canto escuro e misterioso onde a magia do "duende" se manifesta em um momento imóvel e único. Para Lorca, a arte espanhola é movida pelo "duende", espécie de espírito mágico, passional e original. Lorca também é considerado por muitos como um autor passional e muito apegado a sua terra. Poema del cante jondo é então uma viagem pelas entranhas de sua terra e uma busca constante pelo "duende" espanhol. Porém, como será que o duende de Lorca se manifesta em tal obra se é que isso acontece? O duende é amigo da improvisação, mas a constituição de um poema depende também da engenhosidade do poeta. Assim, através da análise dos poemas de Poema del cante jondo e do estudo de conferências do autor, bem como da história da Espanha e do cante jondo, tentaremos diagnosticar a poética de García Lorca para a construção deste seu livro de poemas, ou seja, estudaremos os procedimentos utilizados pelo poeta para que haja na obra o encontro mágico com o duende da arte andaluza. Passaremos da teoria do duende, conceituada por Lorca em uma de suas conferências, à análise da prática do autor para conseguir o efeito "duende" em sua obra.<br>Hijo de Andalucía como el cante jondo y su duende, Federico García Lorca, un enamorado de tal arte, ha sido uno de los poetas españoles más representativos del siglo XX. La relación entre el poeta granadino y el cante jondo es profunda e importantísima para la valoración del arte andaluz y aun para la comprensión de la obra de García Lorca. El cante jondo, según el poeta, es el cante más profundo, un cante oscuro y misterioso en el que la magia del "duende" se manifiesta en un momento inmóvil e irrepetible. Para Federico, el arte español se mueve al compás del "duende", especie de espíritu mágico, pasional y original. Muchos también consideran a García Lorca como un autor pasional muy aferrado a su tierra. Poema del cante jondo es, entonces, un viaje por las entrañas de su tierra y una búsqueda constante por el "duende" español. Sin embargo, ¿cómo será que el duende de Federico se manifiesta en dicha obra? ¿Eso realmente ocurre? El duende es amigo de la improvisación, pero la constitución de un poema depende de la ingeniosidad del poeta. Así, a través del análisis de los poemas de Poema del cante jondo y del estudio de conferencias del autor, bien como de la historia de España y del cante jondo, intentaremos diagnosticar la poética de García Lorca para la construcción de su libro de poemas, es decir, estudiaremos los procedimientos utilizados por el poeta para que haya en la obra el encuentro mágico con el duende del arte andaluz. Pasaremos de la teoría del duende, conceptuada por García Lorca en una de sus conferencias, al análisis de la práctica del autor para lograr, en su libro, el efecto "duende".
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O'Gara, Maura Rayne. "The grotesque in the works of Federico Fellini and Angela Carter." Master's thesis, University of Cape Town, 1997. http://hdl.handle.net/11427/18588.
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Chapter one of this thesis attempts to explicate and analyze the controversy that has historically surrounded the grotesque. Contention over the grotesque has existed since the earliest known discourses on the subject by Horace and Vitruvius. The indeterminacy and paradoxical nature of the grotesque, which disturbed these men of antiquity, has continued to generate debate among modern theorists such as Mikhail Bakhtin and Wolfgang Kayser whose ideas serve as touchstones throughout this work. Understandably, theorists, who strive to create systems of ideas which attempt to explain and define phenomena, are drawn to the grotesque. However, they are inevitably placed in the paradoxical position of trying to categorize something which ultimately subverts the conventional logic which underlies that process. Furthermore, the standards of mimesis and decorum, from which the grotesque gets its disruptive force, are subject to society. Societies provide the different conventions and assumptions that determine the form of the grotesque. Therefore, the grotesque will always have to be approached in its historically specific contexts of production and reception. What becomes apparent in analysing the grotesque is that attitudes toward its indeterminacy and paradoxical nature, which transgress the monologic binaries and implied hierarchies of Western thought, reflect the position of the observer or producer of the grotesque. If one espouses the cause of the low, as does Balch tin, then the indeterminacy and paradox of the grotesque provides an egalitarian possibility for the marginalized. If one stands with the status quo, as does Kayser, the transgressing of the definitions and distinctions which support the status quo is experienced as frightening and sinister (Harpham, 73). The differences noted between Kayser and Balch tin as observers of the grotesque may also be made between Federico Fellini and Angela Carter as producers of grotesque texts. The following two chapters of the thesis explore how the grotesque is used in Fellini's films (chapter two) and Carter's novels (chapter three). Carter, like Bakhtin, celebrates the grotesque as a means of empowerment, particularly for women and her work seems to employ the Bakhtinian theory of the carnivalesque. Fellini's films also use images of carnival, but Fellini, like Kayser, sees the grotesque as an isolating aspect of the human condition. Fellini uses the grotesque only to show humanity's alienation from a knowable world, whereas Carter uses it to demonstrate the possibilities of a totally new one. Carter appears to take the Fellinian, Kayserian, negative attitude towards the grotesque and turn it around for her feminist cause. She utilizes the emancipatory aspect of the grotesque inherent in its denial of hierarchy without, however, idealizing it as Bakhtin appears to. She is well aware that carnivals, like her novels, are author(ized). In analyzing the continuum of Fellini's and Carter's works, both artists show an increased dependence on the use of the grotesque combined with postmodern strategies to support their intentions. However, the continuum of Fellini's oeuvre suggests the development of a modernist approach which attempts closure, but faced with the impossibility of final determinacy, turns to the quagmire of simulacra where no meaning is possible. Carter, on the other hand, increasingly uses the grotesque and postmodern strategies not only to reveal and deconstruct oppressive representations, but to allow agency for the reconstruction of new subjectivities. As this thesis will demonstrate, the grotesque's indeterminacy may provide a way to understand "reality" or the means to construct a better one.
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Malys, Andrea Marie. "Education, Theatre, and Federico Garcia Lorca: An analysis of La Barraca." Kent State University Honors College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1431013540.
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Marquez, Barragan Miriam Yvonn. "Presencia de la danza en el teatro de Federico Garcia Lorca." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1560867293526761.
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Zalkind, Ann. "A study of Catalan composer Federico Mompou's (1893-1987) Musica Callada /." Lewiston ; Queenston ; Lampeter : The Edwin Mellen press, 2002. http://catalogue.bnf.fr/ark:/12148/cb40161308q.
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Salsi, Federico [Verfasser]. "Coordination chemistry with fluorinated chelators and m-terphenyl isocyanides / Federico Salsi." Berlin : Freie Universität Berlin, 2020. http://d-nb.info/1219508365/34.
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Schneider, Mirjam. "Federico García Lorca und der islamische Orient : die literarische Gestaltung einer kulturellen Fernbeziehung /." Würzburg Königshausen und Neumann, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2689718&prov=M&dok_var=1&dok_ext=htm.
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Moura, Carolina Bassi de. "A construção plástica dos personagens cinematográficos - uma abordagem feita a partir da obra de Federico Fellini." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-10112010-154410/.
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Esta pesquisa analisa o caráter fundamental dos recursos plásticos de figurino e cenário para o processo de construção do personagem no cinema. Verifica a importância de uma direção de arte mais livre ao fazer suas composições, ao optar por formas e cores que sejam mais coerentes com ideias e sensações do que com reproduções realistas. O estudo se faz a partir da obra cinematográfica de Federico Fellini, diretor despreocupado com concepções realistas e criador de um processo criativo muito próprio. Serão considerados especificamente os filmes La Strada (1954), Julieta dos Espíritos (1965) e Toby Dammit1 (1967), por serem emblemáticos desta construção plástica fortemente elaborada.<br>This research verifies the fundamental character of visual resources like costumes and scenery for the process of construction of the characters on cinema. Verifies the importance of more freedom for art direction making its compositions, opting for forms and colors more coherent with ideas and sensations than realistic reproductions. The study is made from cinematographic works of Federico Fellini, director which is unworried with realistic conceptions and which is creator of a creative process very particular. In this work will be considered specifically three films, La Strada (1954), Julieta dos Espíritos (1965) e Toby Dammit2 (1967), because of their emblematic visual construction strongly worked.
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Diana, Jean-François Nel Noël. "L'image mentale au cinéma un regard particulier sur certaiens oeuvres de Frédérico Fellini /." Metz : Université Metz, 2008. ftp://ftp.scd.univ-metz.fr/pub/Theses/1995/Diana.Jean_Francois.LMZ9509_1.pdf.
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SOUZA, Marcella Macêdo Sampaio de. "O amor, a liberdade e a morte: diálogo entre a casa de Bernarda Alba e os sete gatinhos." Universidade Federal de Pernambuco, 2002. https://repositorio.ufpe.br/handle/123456789/7881.
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Previous issue date: 2002<br>Propusemo-nos fazer, nesta dissertação, uma análise das convergências e
interseções das obras teatrais A Casa de Bernarda Alba, de Federico García
Lorca, e Os Sete Gatinhos, de Nelson Rodrigues, sob a perspectiva do Amor,
da Liberdade e da Morte. Estudamos a interação dos temas entre si e sua
relação com as obras citadas, e analisamos as coincidências na estruturação
das tramas e na composição das personagens levando em consideração os
princípios de autoridade e liberdade, por onde os caminhos da manifestação da
sexualidade/desejo são conduzidos
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Russo, Stefania. "Traduzione, letteratura per l'infanzia e albi illustrati: Palabras de Federico Garcia Lorca." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019.
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Il presente elaborato è incentrato sulla proposta di traduzione dell'albo illustrato intitolato “Palabras de Federico García Lorca” della scrittrice spagnola Concha López Narváez. L’opera in questione narra la storia del grande poeta andaluso. Partendo dai primissimi anni della sua infanzia, il lettore fa un vero e proprio viaggio attraverso le varie tappe della vita di Lorca, ma, come suggerisce lo stesso titolo, il viaggio viene fatto anche attraverso le parole del grande artista: i suoi versi, le sue opere teatrali. Il lettore viene catapultato in questo magico universo in cui fatti di vita vissuta e poesie si fondono armoniosamente insieme, offrendo così un ritratto intimo del grande poeta. Nel presente elaborato, dopo un primo paragrafo introduttivo in cui espongo le principali ragioni che mi hanno spinta a scegliere la letteratura infantile come macro-argomento e questo albo illustrato nello specifico, si parte dall'analisi dell’opera: autrice, illustratore, genere d’appartenenza, paratesto (con particolare attenzione alle illustrazioni), contenuto del libro e stile. Nella sezione successiva, propongo la mia traduzione, inedita in italiano, a cui segue un paragrafo dedicato al commento della traduzione stessa. I commenti sono relativi all'approccio traduttivo adottato in generale, ma anche alle strategie messe in atto al momento di tradurre gli elementi culturali specifici, le poesie e le canzoni popolari contenute nel testo. Nel presente elaborato ho inoltre inserito una proposta editoriale per un’eventuale pubblicazione dell’opera in Italia. Infine, il paragrafo finale è una conclusione che mi ha permesso di tirare le somme e riassumere i punti cruciali del presente elaborato, ovvero: traduzione, letteratura per l’infanzia e albi illustrati.