Dissertations / Theses on the topic 'Franciscan art'
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Lepage, Andrea. "Arts of the Franciscan Colegio De San Andres in Quito : a process of cultural reformation." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3319103.
Full textBai, Mengtian. "Yangzhou Latin Tombstones: A Christian Mirror of Yuan China Society." Oberlin College Honors Theses / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1530141020070354.
Full textGiura, Giovanni. "San Francesco ad Asciano : un osservatorio per lo studio delle chiese minoritiche toscane." Doctoral thesis, Scuola Normale Superiore, 2017. http://hdl.handle.net/11384/85777.
Full textMontes, Bardo Joaquín. "Arte y espiritualidad franciscana en la Nueva España : siglo XVI : iconología en la provincia del Santo Evangelio /." Jaén : Universidad de Jaén, 2001. http://catalogue.bnf.fr/ark:/12148/cb388527338.
Full textZardetto, Giorgia <1989>. "Francisco Infante: "Giochi Suprematisti" alla ricerca dell'Infinito." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3917.
Full textPreater, Jason. "Francisco Pacheco and polychromy in Seville (1580-1649)." Thesis, University of Bristol, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300702.
Full textDaniel, Marko. "Art and propaganda : the battle for cultural property in the Spanish Civil War." Thesis, University of Essex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285847.
Full textRoest, Bert. "Reading the book of history : intellectual contexts and educational functions of Franciscan historiography 1226 - ca. 1350 : proefschrift ter verkrijging van het doctoraat in de Letteren aan de Rijksuniversiteit Groningen... /." [Groningen] : B. Roest, 1996. http://catalogue.bnf.fr/ark:/12148/cb37638066v.
Full textMangipano, John. "Remolding Mexican Identity: The Wax Art of Francisco Vargas in 19th Century New Orleans." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1327.
Full textMartin, Lisa. "Acts of Remediation : Curating contemporary art in cultural heritage sites." Thesis, Stockholms universitet, Konstvetenskapliga institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-107220.
Full textMateo, Krupsky Oreste. "La evangelización en la legislación franciscana "Pro Indis", siglo XVI : estudio histórico-jurídico /." Romae : [s.n.], 1996. http://catalogue.bnf.fr/ark:/12148/cb376231494.
Full textSALVESTRINI, AMALIA MARIA SOFIA. "L'artefice nel pensiero francescano." Doctoral thesis, Università degli studi di Genova, 2022. http://hdl.handle.net/11567/1073198.
Full textThis work aims to question some pre-modern texts, those of the Franciscan Middle Ages in particular, in order to understand how the figure of the maker (artifex) and the experience of artificial production were the subject of a reflection that we could call "aesthetic", before the birth of Aesthetics as a discipline. The phenomenon of poiesis in the Middle Ages is conceptualised through a fundamental distinction, namely that between human and divine maker. On the basis of this distinction, poiesis is not considered as a creation from nothing by someone who, outside of a cosmic and metaphysical order, obeys only the laws he gives himself. On the contrary, thinking of poiesis in this period implies being aware of the order in which the maker places himself, of the criteria to which he conforms and which are the expression of the original choices through which God the artifex created the world. Franciscan reflection on the maker is studied here from a corpus of texts by Bonaventure of Bagnoregio, Peter of John Olivi, John Duns Scotus and William of Ockham. Volume 1 studies the philosophical constitution of the maker. Firstly, its genesis is observed through scriptural, philosophical and rhetorical sources (Part I). Secondly, the Franciscan perspectives on the maker are reconstructed through the articulation of the poietic activity in project, work and fruition (Part II). In the last part, dedicated to the passage from the artifex to the artist (Part III), in the light of the path taken, the possibility of Franciscan "aesthetics" is questioned, as well as the passage from these to Franciscan art. Finally, some lines of research are opened on the possible relations between the Franciscan maker and the artistic theories of the Renaissance. In Volume 2 of the dissertation (Appendix: The words. The semantic space of the artifex) the commented documentation of the corpus of texts of the four Franciscan authors is made available.
Notre travail se propose d’interroger certains textes pré-modernes, ceux du Moyen Âge franciscain en particulier, pour comprendre comment la figure de l'artifex et l'expérience de la production d'artefacts ont fait l'objet d'une réflexion que l'on pourrait qualifier d'« esthétique », avant même la naissance de l'esthétique en tant que discipline. Le phénomène de la poiesis est pensé tout au long de la période médiévale par moyen d’une distinction fondamentale, c’est-à-dire celle entre l’artifex humain et l’artifex divin. Sur la base de cette distinction, la poiesis n’est pas considérée comme une création à partir du néant par quelqu’un qui, en dehors d’un ordre à la fois cosmique et métaphysique, obéit seule aux lois qu’il se donne de manière autonome. Au contraire, penser la poiesis à cette époque implique de prendre conscience de l’ordre dans lequel l’artifex se place, des critères auxquels il se conforme et qui sont l’expression des choix originaires par lesquels le Dieu artifex a créé le monde. La réflexion franciscaine sur l'artifex est ici étudiée à partir d'un corpus de textes de Bonaventure de Bagnoregio, Pierre de Jean Olivi, Jean Duns Scot et Guillaume d'Ockham. Le Volume 1 étudie la constitution philosophique de l'artifex. Tout d'abord, sa genèse est observée à travers les sources scripturaires, philosophiques et rhétoriques (Partie I). Deuxièmement, les perspectives franciscaines sur l'artifex sont reconstruites à travers l'articulation de l'activité poïétique dans le projet, l’œuvre et la fruition (Partie II). Dans la dernière partie, consacrée au passage de l'artifex à l'artiste (Partie III), à la lumière du chemin parcouru on s'interroge sur la possibilité d'une "esthétique" franciscaine, ainsi que sur le passage de celle-ci à l'art franciscain. Enfin, quelques axes de recherche sont ouverts sur les relations possibles entre l'artiste franciscain et les théories artistiques de la Renaissance. Dans le Volume 2 de la thèse (Annexe: Les paroles. L'espace sémantique de l'artifex) la documentation commentée du corpus de textes des quatre auteurs franciscains est mise à disposition.
Malbouires, Virginie. "Les emblèmes du monastère franciscain de Cimiez à Nice : analyse ethnoculturelle et iconographique." Nice, 1996. http://www.theses.fr/1996NICE2035.
Full textThe emblems realised at the XVII th century in the franciscan monastery of Cimiez, as all this vogue at this time at its apogee, implicate veil and enigma. They request an interpretation which, today, require to become familiarized with their production background. The study of franciscanism, emblematism and traditions and believes about the represented patterns allows to progress toward their comprehension. At the end of this approach, it appears that the emblematic cycle of the sacristy, dedicated to the virgin assumption, also treats about the different expressions of the marial purity. As regards the cycle of the oratory, dedicated to the Christ's holy name, it contains allusions to the eucharisty and the sacred heart. Therefore, these emblems are representative of the religiosity of this order and this time but at once original by the polysemy they convey. So, they go further than the devotion and edification works to the meditation field
Ante, Oscar Adra. "Contextual evangelization in the Philippines : a Filipino Franciscan experience /." Kampen (Netherlands) : J. H. Kok, 1991. http://catalogue.bnf.fr/ark:/12148/cb355315721.
Full textBurghart, Marjorie. "Remploi textuel, invention et art de la mémoire : les Sermones ad status du franciscain Guibert de Tournai († 1284)." Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20093.
Full textThe collection of ad status sermons by the Franciscan Guibert de Tournai (d. 1284), rooted in the new art of preaching that was developing in the thirteenth century, is best known for its particular organization, arranging the sermons according to the social position (or estate) of their audience rather than by liturgical occasions. This thesis assesses and updates our knowledge of the author and the collection, and provides an in-depth analysis of this body of work, accompanied by a complete transcription. Furthermore, the thesis paves the way for a reinterpretation of the ways in which Guibert used and adapted earlier texts, and it proposes a new understanding of the ad status division, in light of mnemonics and the art of memory.The first chapter assesses our knowledge of Guibert de Tournai. A child of the Flemish bourgeoisie, he remained faithful to his land of origin and to the men he knew there, long after his studies and his engagement in the Franciscan order had led him to Paris. Intellectually fertile in a variety of genres, his works hint at a personality passionate about mysticism and contemplation. A pre-eminent figure in the Parisian intellectual landscape of the 1260s, connected to the key political and intellectual figures of his time, he was interested in questions regarding the acquisition and transmission of knowledge, and evidently in the preaching we know – thanks to Parisian reportationes – that he practiced until his twilight years.The second chapter offers a detailed presentation and analysis of the ad status collection. There are many extant manuscripts, and their analysis is complicated by several inconsistencies in the transmission of the work, but overall and over time the text seems relatively stable. The content of the collection, systematically analysed, provides an excellent example of the “modern sermon” in the way it arranges the material for preaching, drawing on numerous distinctiones to structure the texts.The third chapter explores the link between Guibert and intertextuality or textual reuse. The Franciscan master took much of his material from other works; his reuse of the Sermones vulgares of Jacques de Vitry in his ad status sermons has been known for a long time, but he also found much of his preaching material for sermons on the sacraments in the work of Guillaume d’Auvergne. Guibert's appropriation of the work of Jacques de Vitry, measured through the use of his predecessor's exempla, is revealed to be less systematic and more complex than scholars would otherwise have predicted, demonstrating just how, and to what extent, textual reuse was integral to the creation process for Guibert as well as for other medieval authors. The role of the works of Guibert as reservoirs of material, in turn themselves reused in works of various genres and authors, is demonstrated through the analysis of a number of later texts.The final chapter proposes a new consideration of Guibert's choice of constructing his collection as an ad status text. The composition of sermons according to the social position of the audience can be understood, in light of the art of memory, as an ingenious mnemonic tool for the organisation of preaching material rather than as a mirror of a real or ideal society. In turning the status into “lieux de mémoire”, Guibert created a thematic classification of preaching material according to topoi attached to the estates
Mäkinen, Virpi. "Property rights in the late medieval discussion on franciscan poverty /." Leuven : Peeters, 2001. http://catalogue.bnf.fr/ark:/12148/cb38861523c.
Full textMorvan, Haude. "Mort et sépulture des papes et des cardinaux chez les Mendiants au XIIIe siècle." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040067/document.
Full textThis study focuses on the use of the death and burial of popes and cardinals in dominican and franciscan propaganda during the 13th century. We consider graves located in mendicant churches (all in Italy and France) as well as texts written by Mendicants about prelates’ death. Despite the lack of precise documents about their realisation, the graves reveal the involvement of friars through choices of location, form and iconography. Dominicans show a controlled politic of space, as only members of the order are buried in the ecclesia fratrum under a slab. Some iconographic innovations can be linked with mendicant conception: in Clement IV’s tomb the recumbent figure as representation of the dead body is a dominican invention, whereas the picture of the funeral on the cardinal Vicedomini’s tomb could be due to Franciscans. The acceptance of tombs, even monumental ones, is not contrary to the legislation of the two orders as an accurate study of capitular acts reveals. On the contrary normative sources forsee an homiletic use of the art located in churches. Themes of death an burial are at the heart of visual propaganda, but also of oral propaganda: in their exempla friars use them to show how a holy death rewards the friendly prelates, while an ignominious end beats their enemies
Milos, Emil University of Ballarat. "Letters to Francisco : negative imagery in art and the depiction of microstructural elements of the human body." University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12772.
Full textMaster of Arts
Milos, Emil. "Letters to Francisco : Negative imagery in art and the depiction of microstructural elements of the human body." Thesis, University of Ballarat, 2006. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/61908.
Full textMaster of Arts
Milos, Emil. "Letters to Francisco : negative imagery in art and the depiction of microstructural elements of the human body." University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14608.
Full textMaster of Arts
Santos, Rogéria Olimpio dos. "Francisco de Holanda e a arte da pintura." Universidade Federal de Juiz de Fora, 2011. https://repositorio.ufjf.br/jspui/handle/ufjf/2063.
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Este trabalho pretende analisar o tratado de arte Da Pintura Antiga escrito pelo português Francisco de Holanda na década de 30 do século XVI. Nesta obra Holanda estuda a arte da pintura, sua origem e seus objetivos, quem é o pintor e como deve ser a sua formação e quais os preceitos a serem observados ao se executar uma pintura. A presente dissertação foi redigida a partir da pesquisa das relações existentes entre Holanda e outros tratadistas de arte do período – em especial Alberti e Gáurico – e da antiguidade – Plínio e Vitrúvio. Foram analisadas também as relações de Holanda com o círculo humanístico da cidade de Évora e com o círculo frequentado por Holanda quando da sua estadia em Roma, do qual resultou a escrita do Da Pintura Antiga.
This Work intends to analyze the treatise of art Da Pintura Antiga written by the portuguese Francisco de Holanda in the 30s of the XVI century. In this work Holanda studied the art of painting, its origins and its goals, who is the painter and how it should be your training and what precepts to be observed by executing a painting. This dissertation was written from the research of the relationship between Holanda and other treatises authors of art of the period – especially Alberti and Gaurico – and the antiquity – Plínio and Vitruvio. We also evaluate the relations between Holanda and the humanist circle of Évora and the circle frequented by Holanda when their stay in Rome, which resulted in the writing of Da Pintura Antiga.
Schlünder, Susanne. "Karnevaleske Körperwelten Francisco Goyas : zur Intermedialität der Caprichos /." Tübingen : Stauffenburg Verl, 2002. http://catalogue.bnf.fr/ark:/12148/cb40948785x.
Full textHwang, Sarah. "Between Indoor and Outdoor: The Graffiti and Installations of Barry McGee ("Twist")." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/18704.
Full textOliveira, Sandra Regina Marin de. "A representação do feio na arte : um breve estudo sobre quatro gravuras de Francisco Goya /." São Paulo, 2013. http://hdl.handle.net/11449/86890.
Full textBanca: Amílcar Torrão Filho
Banca: Sergio Mauro Romagnolo
Resumo: A presente dissertação aborda o conceito de Grotesco na Estética e na História da Arte, analisados sob dois aspectos principais: da forma como esse conceito foi transformado desde a época da Grécia Antiga até o século XIX (período de grandes mudanças formais da representação humana nas Artes) e do exemplo do artista Francisco de Goya, através de sua série de gravuras Los Desastres de la Guerra, composta por imagens violentas; grotescas, híbridas e trágicas, que refletem esteticamente o horror advindo da Guerra de Independência e do retorno de um Estado Monárquico e Absoluto. Nossa pesquisa tem por meta avaliar as mudanças políticas, sociais e culturais que influenciaram a transformação desses conceitos estéticos e a aceitação desses novos paradigmas que resultaram numa mudança de visão e fruição da própria Arte entre os séculos XVII e XIX (época de ascensão do Liberalismo e Iluminismo), mostrando como os acontecimentos históricos podem transformar os conceitos artísticos de acordo com as necessidades humanas de retratar seu próprio tempo. Os procedimentos metodológicos foram de revisão bibliográfica parcial sobre as questões do Grotesco na Arte e uma pesquisa sobre a vida e obra de Goya, utilizando as imagens acima citadas, que aqui são analisadas do ponto de vista iconológico
Abstract: The current dissertation accosts the concept of "Grotesque" in Aesthetics and history of Arts analysed under two main aspects: the way this concept was transformed since the times of Ancient Greece until the nineteenth century ( a period of great formal changes of the human representation and other pictorial genres, and the example of the artist Francisco de Goya through his series of etchings The Disasters of War, composed by violent, hybrid and tragic images, which reflect aestheticly the horrors resulted from the War of Independence and the return of a Monarchic and Absolutist State. Our research objectives have the aim of appraising political, social and cultural factors that influenced the processing and acceptance of new paradigms such as the Grotesque in art making, that resulted in a change of vision and enjoyment of the Art itself between the seventeenth the nineteenth centuries (time of the rise of Liberalism and Iluminism), showing how this concept was transformed by artistic, cultural and historical events according to the Human needs of portraying their own time. The methodological procedures were of a partial bibliographical review about the issues of the Grotesque in art and a research of the life and work of Goya, using the prints cited before, which are here analysed from an iconological point of view
Mestre
Péron, Mylène. "Le Mexique, terre de mission franciscaine : XVIe-XIXe s. : la province de Xalisco /." Paris ; Budapest ; Torino [etc.] : l'Harmattan, 2005. http://catalogue.bnf.fr/ark:/12148/cb400781066.
Full textRiccardi, Nicola. "Tra monti di pietà e microcredito : il capitale per la realizzazione di un progetto /." Roma : Pontificia università gregoriana, 2006. http://catalogue.bnf.fr/ark:/12148/cb41169735s.
Full textHense, Elisabeth Hildegard. "Franciscus Amelry (um 1550) : ein Dialog oder Gespräch zwischen der Seele und der Schriftauslegung, die die Seele zur Erkenntnis ihres Bräutigams hinzieht : Einführung, Textausgabe und Kommentar /." Münster : Lit, 2001. http://catalogue.bnf.fr/ark:/12148/cb39150550r.
Full textContient un curriculum vitae de l'auteur. Résumés en allemand et en néerlandais. Bibliogr. p. 344-366. Index.
Le, touze Anna. "Francisci Robortelli Vtinensis paraphrasis in libellum Horatii qui vulgo de arte poetica inscribitur : introduction, édition, traduction annotée." Thesis, Rennes 2, 2021. https://tel.archives-ouvertes.fr/tel-03248316.
Full textThis work consists of an edition and a translation with commentary of the paraphrase to Horace's Art of Poetry by Francesco Robortello, a Renaissance philologist famous for his commentary on Aristotle's Poetics. The paraphrase was published in 1548, in Florence, and belongs to a volume that contains the commentary on Aristotle. It was published again in Basel in 1555 with the commentary on Aristotle's Poetics. This paraphrase is part of the myriad of commentaries on Horace's Art of Poetry that proliferated during the Renaissance. This study shows that Robortello’s paraphrase is part of a tradition of commentary that goes back to Antiquity and that it differs from other humanistic commentaries by its form and by its many references to Aristotle’s Poetics
Teixeira, António Moreira. "A ideia não tem fim-para uma filosofia da história de arte em Francisco de Holanda." Phd thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Letras -- -Departamento de Filosofia, 2002. http://dited.bn.pt:80/30479.
Full textMantovani, Mauro. "Francisco de Vitoria y sus sucesores (1530-1560) sobre la demostración de la existencia de Dios : los comentarios universitarios salmantinos a la cuestión II de la primera parte de la "Suma teológica" de Santo Tomás de Aquino /." Salamanca : Universidad pontificia de Salamanca, 2006. http://catalogue.bnf.fr/ark:/12148/cb41053762v.
Full textContient en annexe le texte latin d'un extrait d'un manuscrit de Francisco de Vitoria (ms182, Biblioteca, Universidad pontificia de Salamanca ; 1539) et d'un extrait d'un manuscrit d'Ambrosio de Salazar (ms 1042, Biblioteca angelica, Rome ; 1557-1558). Bibliogr. p. 67-97.
Oliveira, Sandra Regina Marin de [UNESP]. "A representação do feio na arte: um breve estudo sobre quatro gravuras de Francisco Goya." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/86890.
Full textA presente dissertação aborda o conceito de Grotesco na Estética e na História da Arte, analisados sob dois aspectos principais: da forma como esse conceito foi transformado desde a época da Grécia Antiga até o século XIX (período de grandes mudanças formais da representação humana nas Artes) e do exemplo do artista Francisco de Goya, através de sua série de gravuras Los Desastres de la Guerra, composta por imagens violentas; grotescas, híbridas e trágicas, que refletem esteticamente o horror advindo da Guerra de Independência e do retorno de um Estado Monárquico e Absoluto. Nossa pesquisa tem por meta avaliar as mudanças políticas, sociais e culturais que influenciaram a transformação desses conceitos estéticos e a aceitação desses novos paradigmas que resultaram numa mudança de visão e fruição da própria Arte entre os séculos XVII e XIX (época de ascensão do Liberalismo e Iluminismo), mostrando como os acontecimentos históricos podem transformar os conceitos artísticos de acordo com as necessidades humanas de retratar seu próprio tempo. Os procedimentos metodológicos foram de revisão bibliográfica parcial sobre as questões do Grotesco na Arte e uma pesquisa sobre a vida e obra de Goya, utilizando as imagens acima citadas, que aqui são analisadas do ponto de vista iconológico
The current dissertation accosts the concept of “Grotesque” in Aesthetics and history of Arts analysed under two main aspects: the way this concept was transformed since the times of Ancient Greece until the nineteenth century ( a period of great formal changes of the human representation and other pictorial genres, and the example of the artist Francisco de Goya through his series of etchings The Disasters of War, composed by violent, hybrid and tragic images, which reflect aestheticly the horrors resulted from the War of Independence and the return of a Monarchic and Absolutist State. Our research objectives have the aim of appraising political, social and cultural factors that influenced the processing and acceptance of new paradigms such as the Grotesque in art making, that resulted in a change of vision and enjoyment of the Art itself between the seventeenth the nineteenth centuries (time of the rise of Liberalism and Iluminism), showing how this concept was transformed by artistic, cultural and historical events according to the Human needs of portraying their own time. The methodological procedures were of a partial bibliographical review about the issues of the Grotesque in art and a research of the life and work of Goya, using the prints cited before, which are here analysed from an iconological point of view
Guimarães, Marco Aurélio. "Antecipação da tutela reintegratória no direito do trabalho : art. 461, par. 3º do CPC / Marco Aurélio Guimarães ; orientador, Francisco Carlos Duarte." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2005. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=367.
Full textInclui bibliografia
Na última década, o legislador, observando o conteúdo do princípio da inafastabiliade de jurisdição, efetuou reformas no Código de Processo Civil, que trouxeram um novo paradigma para efetivação da tutela jurisdicional dos direitos. Dentro desse contexto,
Quites, Maria Regina Emery. "Imagem de vestir : revisão de conceitos atraves de estudo comparativo entre as Ordens Terceiras Franciscanas no Brasil." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280544.
Full textTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A pesquisa enfoca principalmente o estudo das imagens de vestir, dentro do contexto das Ordens Terceiras Franciscanas no Brasil, fazendo um estudo comparativo entre as ordens litorâneas (Salvador, Recife, Rio de Janeiro e São Paulo) e as ordens em Minas Gerais (Ouro Preto, Mariana, São João DeI-Rei e Diamantina). Analisam-se os aspectos históricos, iconográficos, técnicos, entre outTOS, que envolvem as imagens e suas práticas devocionais, cotejando com a documentação primária e secundária das respectivas ordens. É importante enfatizar uma revisão dos conceitos sobre esta relegada categoria escultórica, bem como, o resgate e preservação deste grande acervo, demonstrando a existência de diferenças regionais e sua relevância para a história da arte. Estas imagens são uma particular interpretação da escultura devocional e, principalmente, un1a importante manifestação da cultura brasileira, que deve ser valorizada e preservada
Abstract: The research focuses mainly on the study of the "de vestir" or "to be dressed" images within the context ofthe Third Order Franciscans i11 Brazil, making a comparative study among the coastal orders or fellowships (Salvador, Recife, Rio de Janeiro and São Paulo) and the ones in Minas Gerais (Ouro Preto, Mariana, São João deI-Rei andDiamantina). The historical, iconographical, and technical aspects, among others that involve the images and their devotionals practices, are analyzed in comparison with the primary and secondary documentation ofthe respective orders. It is important to emphasize the need for a revision ofthe concepts ofthis less well known sculptural category, as well as, the rescue and preservation of this important collection, demonstrating the existence of regional differences and their relevance for art history. These images are a particular interpretation of devotional sculpture and, mainly, an important manifestation ofBrazilian culture that should be valued and preserved.
Doutorado
Politica, Memoria e Cidade
Doutor em História
Fonseca, Raphael do Sacramento. "Francisco de Holanda = "Do tirar pelo natural" e a retratística." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278817.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Cências Humanas
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Resumo: Esta pesquisa tem como ponto de partida o texto "Do tirar pelo natural", concluído em 1549 pelo artista e humanista português Francisco de Holanda (1517-1584). Tal texto é considerado o primeiro da história da arte dedicado integralmente ao retrato enquanto objeto artístico. Uma noiva edição deste texto, além de uma revisão historiográfica sobre a figura de Francisco de Holanda foram realizadas dentro desta dissertação. Além disso, dois ensaios sobre a retratística em Portugal durante o século XVI foram escritos levando em consideração não apenas "Do tirar pelo natural", mas também suas outras produções textuais e imagéticas
Abstract: This research has as first step the text "Do tirar pelo natural" ("To make from the natural"), concluded in 1549 by the Portuguese artist and humanist Francisco de Holanda (1517-1584). This text is considered the first in art history dedicated fully to the portrait while artistic object. A new edition of the text, besides a historiographic revision of Francisco de Holanda, was realized in this dissertation. Moreover, two essays about portraiture in Portugal during the XVIth century were written keeping in mind not only "Do tirar pelo natural" ("To make from natural"), but also Holanda's other texts and images
Mestrado
Historia da Arte
Mestre em História
Marañón, Ripoll Miguel Schwartz Lerner Lía. "El "Discurso de todos los diablos" de Quevedo : estudio y edición /." Madrid : Fundación universitaria española, 2005. http://catalogue.bnf.fr/ark:/12148/cb409261125.
Full textCienfuegos, Antelo Gema. "El teatro breve de Francisco de Avellaneda : estudio y edición /." Madrid : Fundación universitaria española, 2006. http://catalogue.bnf.fr/ark:/12148/cb40926123t.
Full textFleckenstein, Gisela. "Die Franziskaner im Rheinland : 1875-1918 /." Werl [in] Westf. : D. Coelde, 1992. http://catalogue.bnf.fr/ark:/12148/cb37093780b.
Full textDujardin, Carine. "Missionering en moderniteit : de Belgische minderbroeders in China, 1872-1940 /." Leuven : Universitaire pers : Ferdinand Verbieststichting, 1996. http://catalogue.bnf.fr/ark:/12148/cb39222009z.
Full textCulbreth, Mair Wendelin. "Transactional Bodies: Politics, Pedagogies, and Performance Practices of the San Francisco Bay Area." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1514625617942998.
Full textMiller, Olivia Nicole. "The Spanish royal hunting portrait from Velazquez to Goya /." Connect to title online (Scholars' Bank), 2008. http://hdl.handle.net/1794/9131.
Full textAzev?do, Maria Isabel de Macedo. "Uma carrada de sonhos: do ba? do Ant?nio Francisco para a sala de aula EJEANA." MESTRADO PROFISSIONAL EM LETRAS - PROFLETRAS, 2015. https://repositorio.ufrn.br/jspui/handle/123456789/22495.
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A Presente disserta??o procura descrever o trabalho com cord?is em uma turma de EJA da Escola Estadual Tomaz de Ara?jo, situada em Acari-RN. A pesquisa foi realizada sob a luz de duas categorias: oralidade e escrita. Analisando as dificuldades observadas no tocante ao gosto pela leitura e escrita nessa modalidade de ensino, foi pensado em um projeto que pudesse minimizar essas barreiras. Elegemos, portanto, o cordel como g?nero ideal para atrair a aten??o dos alunos em raz?o de elementos como a rima, a musicalidade, a linguagem simples, temas pr?ximos da realidade dos alunos. O objeto de estudo da pesquisa foi a recep??o dos alunos aos cord?is de Ant?nio Francisco, dados o lirismo e encantamento observados nos cord?is desse poeta popular, prop?cio, portanto, para transmitir valores humanos essenciais ? vida moderna, visto que o capitalismo e a corrida desenfreada pelas possess?es materiais faz com que os valores ?ticos, sociais e humanos sejam menosprezados. O trabalho est? pautado quanto ? est?tica da recep??o em Jauss (1994) e Iser(1996); No tocante aos estudos da poesia nos detivemos nas teorias de Candido(1988);Pinheiro(2007);Mois?s(2007); Mois?s (2012) e Kirinus(2011); Quanto ?s orienta??es metodol?gicas referentes ao ensino lan?amos m?o de Freire(2014); Esclarin(2006) e da Proposta Curricular para a Educa??o de Jovens e Adultos(2002); Para refletirmos sobre a cultura popular e a literatura de cordel nos pautamos em Batista(1977); Abreu(2001) e Kunz(2001); Evidenciamos que a partir do trabalho com cord?is os alunos passaram a gostar de ler e melhoraram a escrita.
The present dissertation tries to describe the work with twine in a EJA class of Tomaz de Ara?jo State School, located in Acari-RN. The survey was conducted in the light of two categories: oral and written. Analyzing the difficulties observed regarding the taste for reading and writing this type of education was thought of a project that could minimize these barriers. Elected, so the line as an ideal genre to attract students' attention because of elements such as rhyme, musicality, simple language, themes coming from the reality of students. The research study object was the reception of students to strings of Antonio Francisco, given the lyricism and enchantment observed in twine that popular poet, suitable therefore to convey essential human values to modern life, since capitalism and unbridled race by material possessions makes the ethical, social and human values are looked down upon. The work is guided as to the aesthetics of reception Jauss (1994) and Iser (1996); With regard to poetry studies we stopped the theories of Candido (1988); Pinheiro (2007), Moses (2007); Moses (2012) and Kirinus (2011); As for the methodological guidelines for the teaching of hand launched Freire (2014); Esclar?n (2006) and the Curriculum Proposal for the Youth and Adult Education (2002); To reflect on popular culture and the string literature in we base on Batista (1977); Abreu (2001) and Kunz (2001); We showed that from the work with twine students began to enjoy reading and writing improved.
Arnal, Thierry. "La révolution des mouvements : gymnastique, morale et démocratie au temps d'Amoros, 1818-1838 /." Paris : l'Harmattan, 2009. http://catalogue.bnf.fr/ark:/12148/cb420063152.
Full textWittneben, Eva Luise. "Bonagratia von Bergamo : Franziskanerjurist und Wortführer seines Ordens im Streit mit Papst Johannes XXII. /." Leiden : Brill, 2003. http://catalogue.bnf.fr/ark:/12148/cb389702915.
Full textPoujade, Baltazard Sylvaine. "Francisci Robortelli Vtinensis in librum Aristotelis De arte poetica explicationes : introduction, édition, traduction." Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20069.
Full textThis work is an edition and a translation in French of Robortello’s text untitled Francisci Robortelli Vtinensis in librum Aristotelis De arte poetice explicationes. It is the first published commentary on the Poetics, edited in 1548 in Florence, and revised for a second edition in Basel in 1555. The book contains an edition of the Greek text of the Poetics, based onthat of Aldine edition of 1508, but with several emendations, followed by Pazzi’s Latin translation dated from 1536, and his own commentary. This study, by discovering the whole of the author's analyzes, shows that this comment, far from being anerroneous interpretation of Aristotle's text, is a first reading on the path of our modern understanding of the laws of poetic creation
Gardner, Garth Anthony. "Informal computer-art education : a focus on the art and historical impact of computer generated special visual effects and the pedagogy of the artists who create them professionally in the San Francisco Bay Area production companies." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1260996311.
Full textGardner, Garth. "Informal computer-art education : a focus on the art and historical impact of computer generated special visual effects and the pedagogy of the artists who create them professionally in the San Francisco Bay Area production companies /." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu148786754173134.
Full textJones, Shaun Gray. "Phenotypic Morphological Plasticity Induced by Environmental Salt Stress in the Brine Shrimp, Artemia franciscana." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822750/.
Full textRoig, Miranda Marie. "Les Sonnets de Quevedo : variations, constance, évolution /." Nancy : Presses universitaires de Nancy, 1989. http://catalogue.bnf.fr/ark:/12148/cb350566695.
Full textKornmeier, Barbara. "Goya und die populäre Bilderwelt /." Frankfurt am Main : Vervuert, 1999. http://catalogue.bnf.fr/ark:/12148/cb37323996b.
Full textTortolero, Cervantes Yolia. "Un espirita traduce su creencia en hechos políticos : Francisco I. Madero (1873-1913) /." Mexico : Colegio de México, Centro de estudios históricos, 1999. http://catalogue.bnf.fr/ark:/12148/cb399315112.
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