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Jossif, Fabien. "Goldoni librettiste." Aix-Marseille 1, 1993. http://www.theses.fr/1993AIX10058.
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Les livrets d'opera de goldoni sont generalement peu connus bien que cet aspect de son activite artistique tienne une place importante dans sa vie. Le succes de goldoni correspond a celui de l'opera comica qui s'affirme a venise dont la vie musicale est intense et ou la tradition du spectacle etait deja profondement enracinee. Goldoni donne a ses livrets une structure qui leur permet de s'adapter a leur environnement musical sans negliger les exigences du texte theatral. Ses livrets mettent en scene une typologie de personnages dont la source est la meme qu'au theatre. Ils offrent une representation de la societe ancree dans le quotidien et conduisent a une reflexion ou l'on ressent surtout l'influence des idees philosophiques des lumieres. Ils soulignent aussi l'emergence d'une morale de type bourgeois fondee sur le travail et sur la prosperite economique dont l'affirmation correspond deja aux valeurs d'un milieu social en plein expansion. S'efforcant de repondre a l'attente du public, librettiste et dramaturge ne sont qu'une seule et meme personne qui s'adapte aux exigences propres a l'opera ou au theatreGoldoni's librettos are generally little known though this aspect of his artistic activity occupies an important place in his life. Goldoni's success corresponds to the one of the opera comica which thrives in venice where the musical activity is intensive and where the tradition of the show was already deeply rooted. Goldoni gives his librettos a structure which enables them to adapt to their musical enivronment without neglecting the requirements of the theatrical text. His librettos set on stage a typology of characters whose origin is the same as the theatrical one. The offer a representation of society rooted in the daily occurence and lead to a reflection where we most of all feel the influence of philosophical ideas of enlightenment. They also underline the emergence of a middleclass moral based on work and economic prosperity whose assertion already corresponds to the values of a social class in full expansion. Trying to comply with the audience, the librettist and the playwright are the same one person who adapts oneself to the requirements proper to the opera or theatre
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Weichmann, Birgit. "Eccomi finalmente a Parigi ! : Untersuchungen zu Goldonis Pariser Jahren (1762-1793) /." Bonn : Romanistischer Verl, 1993. http://catalogue.bnf.fr/ark:/12148/cb390680045.
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MUSTO, DANIELE. "Carlo Goldoni, l'uomo di mondo : edizione critica e commento." Doctoral thesis, Scuola Normale Superiore, 2022. http://hdl.handle.net/11384/124944.
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Kipper, Christian. "Musikalische Aktion in der Opera buffa : Il mercato di Malmantile von Carlo Goldoni /." Frankfurt am Main ; Bern ; Bruxelles : P. Lang, 2003. http://catalogue.bnf.fr/ark:/12148/cb39056852j.
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Penzo, Alice <1988>. "Giovanni Verga e Carlo Goldoni: I Malavoglia e Le baruffe chiozzotte." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3115.
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Zipf, Hanna Maria. "Giorgio Strehlers Arlecchino am Piccolo Teatro di Milano /." Marburg : Tectum-Verl, 2010. http://d-nb.info/1000653234/04.
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Sansa, Anna. "L’écriture juridique et théâtrale de Carlo Goldoni, "Avocat Vénitien" : thèmes, rhétorique, style." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040067.
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La présente thèse de doctorat étudie les apports réciproques entre l’expérience juridique et l’expérience littéraire de Carlo Goldoni. En fait, avant de se consacrer entièrement à sa carrière de dramaturge, à l’âge de quarante et un an, l’auteur a exercé les métiers de greffier et d’avocat, après avoir suivi des études dans le domaine du droit. Cette recherche se compose de trois parties. Dans la première partie, on a restitué le contexte juridique et social dans lequel a œuvré le dramaturge : pour ce faire, on s’est attardé dans un premier temps sur le parcours juridique de Goldoni, étudiant d’abord et professionnel du droit après. Ensuite, on a traité de la singularité du système juridique vénitien, élément indispensable pour mesurer la compétence dont l’auteur fait preuve en la matière dans ses comédies. Dans la seconde partie, on a analysé les thèmes juridiques et sociaux formant une constante de l’œuvre de l’auteur. On a ainsi constaté une présence marquée du droit du commerce et des successions, ainsi que du mariage et des problèmes qui l’accompagnent. Dans chaque chapitre, on a étudié la question de droit concernée, en la replaçant dans le contexte juridique vénitien de l’époque et en mettant en évidence le lien direct existant avec les comédies choisies comme base de notre analyse. La troisième partie, enfin, est consacrée aux éléments de rhétorique judiciaire qu’on retrouve dans les répliques de certains personnages des comédies de l’auteur. Les deux chapitres, qui composent cette dernière section, proposent des exemples de représentants de la société civile, qui se servent de la loi pour revendiquer ou défendre leurs droits.L’hypothèse d’un engagement politique de Goldoni au moyen du droit, posée comme fondement de cette recherche, se trouve confirmée par l’utilisation que fait l’auteur de ses compétences dans le domaine juridique pour soumettre à ses contemporains des problèmes d’actualité, sur lesquels le dramaturge se prononce au moyen de sa création artistiqueThis graduation thesis examines the mutual contribution between the legal experience and the literary experience of Carlo Goldoni. Before devoting his entire career as a playwright, when he was 41 years old, the author worked as a clerk and lawyer, after having undertaken law studies. This study consists of three parts. In the first part, the legal and social environments in which the author worked were recreated and to that end, the focus was in the first instance on Goldoni’s legal career, first as a student and later as an expert of law. Subsequently, an in-depth analysis was made on the peculiarities of the Venetian legal system, essential element necessary in order to value the abilities that the author showed on the matter in his comedies. In the second part, we examined the legal and social themes that represented a permanent feature in the work of the author. Thus, an important presence of commercial and inheritance laws were found, as well as those of marriage and related problems. In each chapter, the related legal problem was examined, setting it back in the Venetian legal context of the time and by highlighting the direct existing link with the comedies chosen as a basis of our analysis. The third part is finally focused on the elements of judicial rhetoric that can be found in the lines of certain characters of the author’s comedies. The two chapters that make up this last section suggest examples of representatives from the civil society who make use of law in order to claim or defend their rights. The hypothesis of a political commitment by Goldoni by means of the use of law, laid down as a basis of this research, can be confirmed by the use the author’s use of his abilities in the legal field in order to submit to his Contemporaries current problems over which the playwright expresses himself by means of his artistic creation
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Goodman, Jessica Mary. "La gloire et le malentendu : Goldoni and the Comédie-Italienne, 1760-93." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:ec5ab3e3-812e-49f7-92e6-b1eea488cad5.
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Eighteenth-century Paris was the cultural capital of Europe and home to a vibrant network of theatres, not all of which are equally present in modern scholarship. The Comédie-Italienne in particular has frequently been downplayed in historical accounts, and there is no existing work outlining its relationship with its authors. This thesis aims to address this gap through a case study of the Italian author Carlo Goldoni, who began work for the Comédie-Italienne in 1762. His thirty years in Paris hold an ambiguous place in his career: the preface to his autobiography draws attention to France as the site of his authorial glory, but his work for the Comédie-Italienne is dismissed as a failure; a view echoed by many modern critics. This study therefore also sets out to explore this apparent contradiction. Substantial original work on the Comédie-Italienne archives sheds new light on the administration of this theatre, building up the most comprehensive existing account of its finances, audiences and author relations in the 1760s, and situating it in the contemporary cultural field. Dramatic authors are revealed to be at the heart of tensions between symbolic and financial concerns across eighteenth-century theatrical Paris. This re-evaluation also provides a new context for understanding Goldoni’s equivocal account of his Parisian career. He desired a glorious image in posterity, yet the Comédie-Italienne’s collaborative production and lack of publication thwarted the reputation-shaping tactics he had developed in Italy. The only weapon that remained was his French Mémoires (1787), in which he consciously constructed his image and the claim of Parisian glory. Goldoni’s case also raises broader questions about the creation of literary gloire, and the fate of the cosmopolitan artist in a strange land. In modern France, Goldoni is remembered as a famous foreigner, not the Frenchman he believed he had become. The thesis concludes that this failure in posterity stems from his misunderstanding of how to achieve gloire in his French context: to rely on artificially created image alone is not enough, and yet Goldoni had no choice.
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Cohade, Donnarel Évelyne. "De Venise à Paris : un itinéraire au service du théâtre : Goldoni 1762-1793." Toulouse 2, 1990. http://www.theses.fr/1990TOU20033.
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Étude de la vie et de la production dramatique de Goldoni en France de 1762 à 1793. La première partie explique son départ de Venise et ce qu'il est en droit d'attendre du public parisien compte tenu du succès de ses pièces dans la capitale française. La seconde partie est une étude systématique et chronologique de son œuvre : analyse de ses pièces, comparaison avec les canevas, problèmes de traductionStudy of Goldoni's life and plays in France from 1762 to 1793. The first part deals with his departure from Venice and what he is entitled to expect from the public of Paris, considering the success of his plays in the French capital. The second part is a systematic and chronological study of his works: analysis of the plays, comparison with the framework and problems of translation
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Meylan-Kelmanowitz, Claire. "L'émergence de la figure d'auteur par l'autobiographie : l'exemple de Casanova et de Goldoni." Dijon, 2000. http://www.theses.fr/2000DIJOL017.
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Casanova et Goldoni ont ceci de commun qu'ils sont vénitiens et qu'ils ils ont écrit leur vie en français. Le choix d'une langue d'adoption pour se raconter ne va pas de soi. La langue natale traduit en effet de manière plus immédiate et plus intime le premier rapport que l'on a au monde. La langue d'adoption retrace au contraire un processus d'acquisition et de reconstruction de soi. L'écriture en français pose donc un problème d'ordre générique, celui de l'autobiographie, fortement solidaire du contexte historique, national, et européen. L'Europe est alors sous une domination linguistique française qui éclipse les autres langues, et qui place les auteurs étrangers dans une position minoritaire et périphérique. L'autobiographie des vénitiens offre donc un témoignage très intéressant sur un cosmopolitisme mythique prôné par les Lumières, mais qui rejette en réalité d'autres cultures, et tout particulièrement celles de l'Europe méridionale, jugée retardataire et obscurantiste. Des lors, l'écriture autobiographique devient véritablement le lieu d'une revendication à la fois auctoriale et identitaire. Ecrivant en français, les mémorialistes privilégient leur lectorat et la diffusion de leur récit autobiographique à la spontanéité et à l'intimité de la langue maternelle. Ainsi, dépassant le clivage que l'on distingue traditionnellement entre mémoires et autobiographie, Histoire de ma vie de Casanova et les Mémoires de Goldoni offrent une variante originale du récit de soi. En écrivant leur vie, les deux vénitiens en effet visent moins à la "confession" telle que l'entend rousseau, ou au témoignage historique de ceux que l'on appelle stricto sensu les "mémorialistes", qu'au désir de se faire reconnaitre en tant qu'auteurs. Ces deux écrivains en exil voient dans le récit autobiographique l'ultime occasion de s'imposer sur la scène européenne, tendant, selon des stratégies qui leur sont propres, à faire de l'espace autobiographique un lieu de promotion du moi auctorial.
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Fabiano, Andrea. "L'affirmation de l'opéra italien à Paris et le rôle de Carlo Goldoni (1752-1815)." Paris 3, 1995. http://www.theses.fr/1996PA030044.
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Cette these reconstitue l'histoire des saisons d'opera italien a paris de 1752 a 1815 (organisations administratives, repertoires, troupes, analyse de la reception des critiques et du public, debat esthetique) sur la base de nouveaux documents d'archives et explique le role que carlo goldoni a eu dans le processus d'affirmation du theatre musical italien en franceThis research work reconstructs the history of the italian opera seasons in paris between 1752 and 1815 (the administrative organisations, the repertories, the troupes, the analysis of the critics and spectators reception, the aesthetis debate) on the grounds of the new archive documents and educidates the role played by carlo goldoni in the italian musical theatre achievement in france
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Anderson, Darrell Frederick. "A scene design for Carlo Goldoni's The Liar." Connect to this title online, 1991. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu110797278.
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Pires, Maria Noémia Ferreira. "Teatro e mundo em tradução: Goldoni e a comédia em Portugal (1750-1775) : estudo de caso." Master's thesis, Universidade de Évora, 2003. http://hdl.handle.net/10174/15255.
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No domínio dos Estudos de Tradução aliados aos de Recepção, interessam-nos as investigações que se fundam em abordagens descritivas do fenómeno da tradução e que o perspectivam como actividade e produto sócio-cultural, condicionado por factores literários e extraliterários que se manifestam num determinado momento e num determinado espaço, aquando da sua recepção. Resultado de um processo de reescrita aferido por normas do contexto cultural que lhe subjaz, o texto traduzido pode apresentar, perante a dinâmica do sistema da literatura de chegada, um carácter inovador ou conservador, o que nos remete para a função literária da tradução, para o papel da tradução na evolução da literatura de chegada. Estudo de caso, a pesquisa centra-se na descrição de duas traduções portuguesas setecentistas de Il Padre di Famiglia de Goldoni, as quais evidenciam, mutatis mutandis, comportamentos do funcionamento do sistema literário/teatral português da época e da sua convivência com a literatura estrangeira. /*** Summary - In the translation studies' field, as well as in the reception ones, we are dealing with investigations based on descriptive approaches of the translation phenomenon, considering this one as a socio-cultural activity and product. This phenomenon is conditioned by literary and extra-literary factors that occur in a certain moment and placa of the reception field. The translated text results from a certain kind of rewriting thas is conditioned by norms imposed by the cultural context. It can reveal innovating or conservatrice marks when confronted with the dynamics of the target literary system. This is related with the literary function of translation, that's to say, to the translation role in the target literature's history. In this case study, the research is focalized on the description of two 18 th century portuguese translation of the source text – -Il Padre di Famiglia, a Goldoni's comedy –that show, mutatis mutandis, some tendencies of the portuguese literary/dramatic system of that time, as well as the contact with the foreign literature.
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Visciglio, Eleonora. "Traduction et adaptation pour la scène d'un théâtre exotique : la "Trilogie persane" de Carlo Goldoni (1753-1756)." Paris 8, 2008. http://www.theses.fr/2008PA083863.
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Au XVIIIe siècle l’Europe commence à regarder l’Orient et le Nouveau Monde non plus seulement comme le “sauvage”, le “barbare” ou l’impie, mais comme un gisement de nouveauté. Comprendre de quelle façon d’autres individus vivent et conçoivent leur coexistence à des latitudes et sous des climats différents permet à l’intellectuel occidental de reconsidérer sa propre existence, ses croyances, ses certitudes. La « Trilogie persane » du dramaturge Vénitien Carlo Goldoni (1753-1756) est caractéristique de ce nouveau courant d’idées. Entre la mode naissante de l’exotisme théâtral, le besoin de dépaysement et la volonté de contourner l’interdit, l’œuvre étudiée propose une vision de l’Autre oriental emplie de ces nombreux paradoxes. Interpréter, traduire et mettre en scène aujourd’hui ce théâtre d’autrefois passe par la mise à jour de ces questions et jugements contradictoires, et par l’acceptation, inévitable si l’on veut éluder la tentation ethnocentriste du traducteur, d’approximations, de flous, d’incertitudesIn the XVIII th century, Europe starts regarding the Eastern and the New World not only as a “remote”, “barbarian” and “impious” World , but as a source of novelty. Understanding how other people can live and imagine their so peculiar society, which exists in such unlike climates under other latitudes, leads the western intellectual to reconsider his own way of living and of thinking. The “Persian Trilogy” by Carlo Goldoni (1753-1756) from Venice , is one example of this new trend in opinions. Together with the fresh need of exotism in theatre, the desire of changing landscapes, or sceneries, the will to bypass what is prohibited, the study of this Work proposes a new view of this “Other Orient” which is filled with numerous paradoxes. Interpreting, translating and producing this kind of former times theatre requires nowadays an updating of these questions and contradictory judgements. To avoid the translator’s ethnocentrist temptation, one has to accept the remains of doubts, vagueness and generalities
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Berger, Cécile. "Le "forestiero" dans le théâtre comique de Carlo Goldoni : l'oeil persan, la lunette d'astronome et le miroir." Paris 8, 1998. http://www.theses.fr/1998PA081424.
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Apres les recentes manifestations du bicentenaire de la mort de carlo goldoni (1707-1793), aborder son theatre sous un jour nouveau etait rendu difficile par la richesse des derniers travaux. Ils avaient neanmoins permis de montrer la dimension europeenne de goldoni en son temps. Ainsi, l'etude du forestiero pouvait souligner un aspect interessant du theatre goldonien: ce personnage marque en filigrane le lien etroit entre "nous" et les "autres", le "meme" et le "different", entre le "proche" et le "lointain". . . Tout d'abord, le forestiero montre la realite venitienne grace a son oeil persan. Ensuite, il permet de souligner la dialectique dramaturgique goldonienne par sa presence-absence sur la scene et son regard detache sur les autres personnages. Enfin, il est l'autre qui est aussi le meme: il est le masque de goldoni lui-meme, le miroir d'une subtile autobiographie scenique parallele aux memoires ecrits a paris apres 1784. De nombreuses facettes du forestiero proviennent de la culture litteraire personnelle de l'auteur. La figure de l'acteur errant rappelle le roman comique de scarron. L'oeil persan, par son regard exterieur sur venise, est comme un echo des lettres persanes de montesquieu. Goldoni lui-meme, eternel forestiero, a venise egalement, parait ecrire sa propre autobiographie a la maniere des romans de voyage de son siecle. La vision analytique du pelerin errant pourrait bien provenir de l'interet de goldoni pour l'alchimie (son pere etait docteur): le forestiero est comme le medecin de la scene venitienne malade des obscenites de la commedia dell'arte et dont le dramaturge supervise la reforme progressive a travers une serie d'experimentations sceniques entre 1750 et 1753. Enfin, le forestiero est un avatar des nouveaux journalistes du xviiie siecle: il est un precurseur du caffe de l'illuminisme milanais (1764-66) caracterise par sa vision detachee et ironique sur la realite italienneAfter the profusion of goldoni criticism following the 1993 bicentennial of his death, it was not so easy to find new ways of studying the playwright and his work. But these recent studies had shown how much of a european goldoni was at his time (1707-1793). So our choice of the character of the "foreigner" (forestiero in italian) could underline an interesting aspect of the goldonian theatre: the cryptic link between "us" and "them", the "same" and the "different", "here" and "there". . . First, the foreigner's presence would often show the venetian reality through his "persian" eyes. Second, he allows to emphasize the dialectic aspect of goldoni's dramaturgy through his presenceabsence on the stage and his isolated outlook upon the other characters. And finally, he is the "different" one who is also ambivalently the "same": he stands for goldoni himself, when he is turned into the mirror of a subtle stage autobiography, which parallels the memoires written in paris after 1784. Numerous aspects of the foreigner come from goldoni's own literary knowledge. The figure of the wandering actor is a follow-up from scarron's roman comique, the "persian" eyes that look out on venice strongly resemble montesquieu's in the lettres persanes. Goldoni himself forever foreigner - in venice too - seems to write his own autobiography in the manner of his century's travel novels. The errant pilgrim's analytical vision might come from goldoni's interest in alchemy (his father was a doctor): the foreigner is like the doctor of the diseased venetian stage (corrupted by the commedia dell'arte's obscenity) whose progressive transformation the dramatist is to oversee over a series of scenic experiments from 1750 to 1753. And finally, the foreigner is an avatar of the 18 th century new journalists: he is a precursor of the caffe of milan (1764-66) and their outside and ironical vision of italian reality
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Zaniol, Alessandro. "L'edizione delle opere di Carlo Goldoni stampata da Antonio Zatta (1788-1795): ricerche e percorsi storico-filologici." Doctoral thesis, Università Ca' Foscari Venezia, 1995. http://hdl.handle.net/10579/166.
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Junior, Ivan Aparecido Gotardelo Pacheco. "Giuseppe Salerio, um comediógrafo veneziano na São Paulo de 1900: análise e tradução de \'Un ammalato per forza\'." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-08112007-153636/.
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Esta dissertação apresenta ao público um desconhecido escritor imigrante italiano da São Paulo de 1900. Durante sua vida em São Paulo, Giuseppe Salerio trabalhou como dentista na Av. São João no centro da cidade, quando ela mostra ao país seu grande potencial para ser a maior e mais industrializada cidade do Brasil. Un ammalato per forza, uma comédia em um ato. Esse trabalho possui muitos aspectos do teatro do imigrante italiano em São Paulo. A dissertação quer mostrar alguns valores da arte dos imigrantes, depois de momentos difíceis na terra natal: a Itália. Também será apresentada uma tradução e análise de Un ammalato per forza. A análise leva em conta as leituras feitas pelo autor, bem como a influência de Carlo Goldoni.This work seeks to present to the public an unknown Italian immigrant writer in São Paulo in the 1900\'s. During his life in São Paulo, Giuseppe Salerio worked as a dentist in the Av. São João, downtown, when the city was beginning to show what it would be in the future: the biggest and the most industrialized city in Brazil. Un ammalato per forza is a comedy in one act. This work reveals many aspects of the Italian immigrant theatre in São Paulo. This study wants to discuss some merits of the immigrants\' art, after a very difficult life in their country: Italy. Besides there is a translation and an analysis of Un ammalato per forza. The analysis considers readings done by the author, as well as the influence of Carlo Goldoni on his work.
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Duarte, André Luis Bertelli. "Apropriações históricas e releituras estéticas da comédia de Carlo Goldoni pela modernização artística no Brasil do século XX." Universidade Federal de Uberlândia, 2015. https://repositorio.ufu.br/handle/123456789/16329.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorThis study aimed to investigate the reception of the comedies of the Venetian playwright Carlo Goldoni in Brazilian theater of the twentieth century, above all, from the moment of aesthetic affirmation and criticism of the so-called \"modern Brazilian theater.\" Since the early years of the 1940s until the mid-1970s, the comedies of Goldoni were rescued by artists in various initiatives as able to dialogue with Brazilian society at different historical moments. We realized that the reception of his work in Brazil was different shades as the artistic, political and cultural issues were altered. In addition, the comedies of Goldoni allowed us to investigate the different views on the comic genre in the history of Brazilian theater, especially on their popular sources. The different treatments of popular comic contained within the Goldoni\'s work carried out by several Brazilian artists allowed us to question the hierarchy built on comedy in historical interpretations of modern Brazilian theater.
O presente trabalho teve por objetivo investigar a recepção das comédias do dramaturgo veneziano Carlo Goldoni no teatro brasileiro do século XX, sobretudo, a partir do momento de afirmação estética e crítica do que se convencionou chamar teatro brasileiro moderno . Desde os primeiros anos da década de 1940 até meados da década de 1970, as comédias de Goldoni foram resgatadas por artistas em iniciativas diversas como capazes de dialogar com a sociedade brasileira em diferentes momentos históricos. Assim, pudemos perceber que a recepção da sua obra no Brasil adquiriu tonalidades distintas à medida que as questões artísticas, políticas e culturais se alteravam. Além disso, as comédias de Goldoni nos permitiram investigar os diferentes olhares sobre o gênero cômico na historiografia do teatro brasileiro, especialmente, sobre as suas fontes populares. Os diferentes tratamentos da comicidade popular contidas no interior da obra de Goldoni realizados por diversos artistas brasileiros nos permitiram questionar a hierarquia construída sobre a comédia nas interpretações históricas do teatro brasileiro moderno.
Doutor em História
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Comparini, Lucie. "Le tablier et le mouchoir : l'ascension de la servante dans le théâtre de Pietro Chiari et de Carlo Goldoni." Paris 8, 1997. http://www.theses.fr/1997PA083746.
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Cette se propose d'étudier la thématique de l'ascension de la servante chez deux auteurs du théâtre italien du XVIIIe siècle : Carlo Goldoni et Pietro Chiari, les dramaturges vénitiens rivaux. Dans la réforme du genre comique italien dont Goldoni est le promoteur, le personnage de la servante issu de la commedia dell'arte puis celui de la servante maîtresse protagoniste issu d'une tradition plus récente (intermède musicaux, comédie de caractère du théâre toscan) se modifient en s'approfondissant. Il participe aussi du renouvellement dramaturgique, subissant les interférences des figures du genre sérieux et du roman européen contemporain qui met à l'honneur le thème du de l'ascension de l'héroïne vertueuse. Une typologie progressive centrée sur l'importance de l'ascension par le mariage et de la mésalliance rendue possible dans des conditions très particulières fait apparaître les différences ou les similitudes entre les deux auteurs, leur prudence ou leur audace dans la représentation de l'infraction à la hiérarchie sociale, ainsi que la signification et l'impact de leurs choix dramaturgiquesThis thesis aims at studying the female servant topic by two 18e century playwrights: the rival Venetians Carlo Goldoni and Pietro Chiari. In the reform of the comic genre in Italy (Goldoni being the instigator of it), the female servant character, originating from the Commedia dell'arte, and the later mistress-servant character as a protagonist, belonging to a more recent tradition (musical interludes, character comedy in Tuscan dramatic art), are modified and deepened. It also participates in the revival of theater, through connections with characters from "serious genres" and from the contemporary European novel which highlights the theme of the virtuous heroine's ascension. A progressive typology focused on the importance of social ascension through marriage and misalliance made possible in very peculiar circumstances, reveals the differences or the similarities between the two authors, their prudence or their audacity in the representation of the transgression of social hierarchy, as well as the significance and the impact of their theatrical choices
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Bonomi, Simona. ""Scrivere le commedie in servigio del teatro" : Carlo Goldoni, Pietro Chiari : contesto impresariale e testo romanzesco (Venezia, 1748-1753)." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL069.
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La critique littéraire et théâtrale a indiqué que le changement de la scène comique vénitienne de la moitié du XVIIIe siècle est le résultat de la réforme goldonienne. Cependant, sans rien ôter au rôle essentiel de Goldoni, le rapport pourrait être renversé : les bouleversements dans l’équilibre concurrentiel de la comédie vénitienne entre 1748 et 1753 provoquent la naissance d’exigences bien précises de la parte des directeurs de la troupe ou des propriétaires des théâtres ainsi que la capacité des poètes de s’affirmer comme « auteurs de comédies », de réagir et de réaliser sur le champ des dramaturgies nouvelles. Ce contexte produit un changement profond du genre dramatique, par rapport à la tradition du répertoire, sans une rupture véritable, mais à travers une régénération progressive. Il faut également souligner que ce contexte dérive du roman moderne, à travers des adaptations directes ou l’adoption de mécanismes du roman. La recherche désire comprendre le «pourquoi» de la naissance du goût romanesque dans la comédie vénitienne pendant les années plus significatives du renouvèlement comique (1748-1753) et préciser quelles ont été les impulsions essentielles qui ont su forger la proposition dramatique de Carlo Goldoni et de Pietro Chiari. Dans la première partie de la Thèse (Le contexte d’entreprise) nous avons examiné les principaux évènements des entreprises théâtrales comiques vénitiennes, c’est-à-dire de l’entreprise Medebach-Goldoni au Sant’Angelo, de celle de Vendramin au San Luca, pour terminer avec celle de Grimani au San Samuele et San Giovanni Grisostomo. La deuxième partie (Le texte romanesque) propose l’analyse et la comparaison de l’élément romanesque dans quelques œuvres de Chiari (La dilogie de Marianne) et de Goldoni (Pamela, I due gemelli veneziani, L’incognita, L’avventuriere onorato et Il bugiardo)In the Venetian scene of the mid-eighteenth Century and therein theatrical picture in its complete transformation, a new repertorial proposition catches on, sealed it by critics as ''The outcome of the Italian Comic Reform''. The upheaval in the competitive balance between 1748 and 1753 has raised specific enterpreneurship necessities as also the right for poets to assert themselves as ''Authors of Comedies''. In this context takes place a profound dramatic renewal, which finds new strenght from the rampant model of the modern novel alongside the repertorial tradition, in order not to mark a rupture, but instead, a progressive regeneration from the inside. The primary concern of this research is to determine the reason why romance comedy emerged right in the years of the most significance of the comic renewal (1748-1753) and secondly to state what were the essential pressures of whom forged the dramatic proposal of Carlo Goldoni and Pietro Chiari. The first part of this research (The Business Context) is analysing the main vicissitudes of Comical theatrical Venetian Companies, such as:Medebach-Goldoni in Sant'Angelo, Vendramin in San Luca, Grimani in San Samuele and San Giovanni Grisostomo. The second part (the Romance text) depicts the analysis and comparison between the romance element in some works of Chiari (Il dittico di Marianna) and Goldoni (Pamela, I due gemelli veneziani, L'incognita, l'Avventuriere onorato e Il bugiardo)
21
Bonomi, Simona <1990>. ""Scrivere le commedie in servigio del teatro' : Carlo Goldoni, Pietro Chiari: contesto impresariale e testo romanzesco (Venezia 1748-1753)." Doctoral thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15588.
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Nel mutamento del quadro teatrale sulla scena comica veneziana di metà Settecento, la critica ha sostanzialmente visto l’esito della riforma goldoniana, ma, senza nulla togliere al ruolo essenziale di Goldoni, il rapporto potrebbe essere invertito, ponendo il profondo rinnovamento drammatico a partire dall’impresa e dalla concorrenza teatrale, dalla capacità del poeta di affermarsi come ‘autore di commedie’, di reagire e di progettare con prontezza sul campo, e anche, non secondariamente, dalla linfa offerta dal dilagante modello del romanzo moderno; questo quadro, inoltre, si sviluppa in rapporto con la tradizione repertoriale, a segnare non una rottura, ma una progressiva rigenerazione dal suo interno.
Sulla base di tali premesse, la ricerca desidera comprendere ‘perché’ la commedia romanzesca emerga con tanto successo proprio durante gli anni più significativi del rinnovamento comico veneziano (1748-1753), cercando di chiarire quali siano state le imprescindibili spinte, intestine al sistema, che hanno saputo forgiare la proposta drammatica di Carlo Goldoni in primis e di Pietro Chiari di conseguenza. Nella prima parte della tesi (Il contesto impresariale) si esaminano le principali vicissitudini dell’imprese teatrali comiche veneziane, ovvero dell’impresa Medebach-Goldoni al Sant’Angelo, di quella Vendramin al San Luca, per concludere con quella Grimani al San Samuele e San Giovanni Grisostomo. Mentre la seconda (Il testo romanzesco) propone l’analisi e il confronto dell’elemento romanzesco in alcune opere di Pietro Chiari (Il Dittico di Marianna) e di Carlo Goldoni (Pamela, I due gemelli veneziani, L’Incognita, L’Avventuriere onorato e Il bugiardo).
22
Wallington, Katherine Trudy. "'--Memorie lasciateci da lui' : self-presentation, influence and legacy in the autobiographical writing of Carlo Goldoni and Lorenzo Da Ponte." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608449.
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Geremia, Michele. "Il mondo alla roversa o sia Le donne che comandano di C. Goldoni - B. Galuppi: introduzione storica ed edizione critica." Doctoral thesis, Università degli studi di Padova, 2015. http://hdl.handle.net/11577/3424618.
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The starting points of this dissertation are the lack of a critical edition of Il mondo alla roversa, the scarce recent Italian studies on Galuppi’s music and the dated works by foreign musicologists. A critical edition is needed for today performances based on historically informed practice; the critical edition is also fundamental in order to evaluate the significance of musical and poetic texts and to understand the circulation and fortune of this opera in the Enlightened society of the 1750s. The paratext and, to a lesser extent, the codicological analysis of musical sources, provide many indications about the historical, social and cultural background: performance venues (cities and specific theaters), patronage, dedications to ristocrats or sovereigns, as in the case of 1754 Prague’s performance staged for «la venuta delle loro sacre cesaree maestà»; moreover, singers and dancers, managers, paper circulation, copyists, manuscripts owner, etc. This amount of information, to be carefully interpreted, allows to outline (or at least to speculate) about the exceptional success of Il mondo alla roversa in Italy and throughout Europe; it was staged every single year from 1750 to 1759 (and later in Dresden) and in 1759 the opera arrived in the far north, in Moscow.L’assenza di un’edizione critica del Mondo alla roversa, il numero esiguo di studi recenti di area italiana sulla musica di Galuppi e gli ormai datati lavori ad opera di musicologi stranieri sono i punti di partenza di questa tesi. L’edizione critica è necessaria per le odierne esecuzioni basate sulla prassi informata ed è altresì fondamentale per valutare il testo poetico e musicale e per comprendere, nel caso specifico, la diffusione e la ricezione dell’opera all’interno della società illuminista degli anni Cinquanta del Settecento. La lettura del paratesto dei libretti e, in misura minore, l’analisi codicologica dei testimoni musicali offrono numerosi spunti utili ai fini della ricostruzione del quadro storico e socio-culturale nel quale l’opera si inserisce: i luoghi di rappresentazione (città e teatri specifici), le committenze, le dediche a noti personaggi dell’aristocrazia o addirittura a sovrani, come ad esempio la rappresentazione di Praga del 1754 allestita per «la venuta delle loro sacre cesaree maestà». E poi ancora il cast vocale e coreutico, l’impresario, la circolazione della carta, i copisti, i proprietari dei manoscritti, ecc. Questa quantità di informazioni, non sempre di facile interpretazione, consente di delineare (o almeno ipotizzare) le dinamiche che permisero al Mondo alla roversa di avere tanto successo nel panorama italiano e non solo, rimanendo nel “cartellone europeo”, allestita ogni anno, fino al 1759 (se si eccettua la ripresa di Dresda nel 1768), giungendo proprio nel 1759 nella città più lontana da Venezia: Mosca.
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Patterson, David Josh. "A Tale of Two Carlos: An Examination of the Ongoing Battle Between the Marginalized and the Privileged as Exemplified by Carlo Goldoni and Carlo Gozzi During the 18th Century." DigitalCommons@USU, 2011. https://digitalcommons.usu.edu/etd/1006.
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This thesis explores the lives and works of Carlo Gozzi and Carlo Goldoni. Specific emphasis is placed on their feud, positions in society, the motivations behind their theatrical styles, and the ways they used theatre to either attempt to maintain the status quo (Gozzi) or strive for social change (Goldoni). Contrary to previous studies, this study suggests that Goldoni tried to influence the world around him, rather than merely reflect it. This study examines the above through the lens of several twentieth century theories including semiotics, structuralism, and the avante-garde. The contents of this work are essential to anyone seeking biographical information, doing dramaturgical research or producing one of their plays, and those investigating the ways theatre has been used to incite change and create an atmosphere of social equity. This work demonstrates that theatre can, has been, and should be actively used to influence that change.
25
Coyle, Margaret Anne. ""The sauce is better than the fish" the use of food to signify class in the comedies of Carlo Goldoni 1737-1762/." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3473.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2006.Thesis research directed by: Dept. of Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
26
Bertran, i. Casanovas Rosa. "La primera traducció goldoniana al català: La viuda astuta de Vicenç Albertí i Vidal. Manuscrit, traducció i context." Doctoral thesis, Universitat de Girona, 2011. http://hdl.handle.net/10803/7814.
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La part A és un estudi filològic introductori de l'obra teatral La viuda astuta, de 1818, traduïda al menorquí per Vicenç Albertí i Vidal de l'obra La vedova scaltra de Carlo Goldoni. Hi torbem un recorregut per la vida, obra, marc intel·lectual i trajectòria de la activitat traductora d'Albertí. Així mateix hi trobem una localització de La vedova Scaltra dins la primera etapa de la reforma goldoniana. I finalment s'hi desenvolupa l'estudi comparatiu-lingüístic de La vedova Scaltra amb la versió catalana d'Albertí.La part B consta de la transcripció comentada, amb 153 notes, del manuscrit de La viuda astuta. La part C és la transcripció integral de l'obra original, seguint l'edició Giuseppe Ortolani, 1936, que s'acara amb la part D que és la traducció catalana realitzada per la doctoranda.
Part A is an introductory philological study of the play La viuda astuta, from 1818, translated into menorcan by Vicenç Albertí i Vidal from the play La vedova scaltra by Carlo Goldoni. We find a journey through the life, work, intellectual framework and trajectory of Albertí's translations. We also find a venue for La vedova scaltra in the first stage of the goldonian reform. Finally the comparative-linguistic study of La vedova scaltra is developed with Albertí's catalan version.
Part B consists of a transcription with commentary, of 153 notes, of the manuscript of La viuda astuta. Part C is the complete transcription of the original work, following the Giuseppe Ortolani, 1936, edition, side by side with Part D, which is the catalan translation made by the PhD candidate.
27
Plazzi, Alessandro. "La qualità nel processo edilizio: analisi e valutazioni per il caso di studio dei lavori di riqualificazione del Teatro Comunale "C. Goldoni" di Bagnacavallo (Ra)." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2018.
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Gli enti pubblici e privati gestiscono immobili che necessitano di interventi di rifunzionalizzazione, manutenzione ed adeguamento alle normative vigenti. A ciò va aggiunto che il D.lgs. n.50 del 18 Aprile 2016 ha introdotto nelle procedure di gara, in maniera ancora più significativa, il rispetto del miglior rapporto qualità/prezzo per il criterio dell’offerta economicamente più vantaggiosa.
La qualità di un processo edilizio ha diverse accezioni, ma è sempre intesa come il “grado di rispondenza delle prestazioni dell’opera realizzata, ai requisiti che ne hanno guidato la concezione, la progettazione, la produzione, la costruzione e la gestione” .
La tesi approfondisce il tema della qualità per i bandi di gara indetti dalla Pubblica Amministrazione, analizzando gli strumenti utilizzati in fase di gara e proponendo un metodo ripetibile, in grado di fare emergere un dato sintetico della qualità raggiunta in sede di progettazione esecutiva, confrontando i requisiti richiesti nel bando di gara con quelli raggiunti in seguito alla presentazione delle offerte da parte dei concorrenti. Il metodo individuato, composto da una serie di schede riassuntive per ogni unità del sistema, vuole proporsi come uno strumento da affiancare a quelli tradizionali del project management, ed intende dare supporto sia alla fase progettuale, per quanto riguarda la valutazione della qualità dell’offerta, sia alla Direzione Lavori, per la fase di verifica ed accettazione dei materiali, in modo tale da lasciare una documentazione scritta in caso di contenzioso tra la stazione appaltante e l’esecutore.
Per l’applicazione del metodo si è scelto come caso di studio l’intervento di restauro e risanamento conservativo del Teatro Comunale di Bagnacavallo (RA). Il progetto intende consegnare alla cittadinanza il pieno utilizzo della fabbrica recuperando il Ridotto del Teatro portando a valore spazi parzialmente utilizzati e con potenzialità di sviluppo ulteriore.
28
Falk, Gunilla. "La figura della servetta in tre opere di Goldoni : Rosaura della Donna di garbo, Beatrice della Servitore di due padroni e Marionette della Vedova scaltra." Thesis, Högskolan Dalarna, Italienska, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:du-10010.
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CHICHIRICCO', EMANUELA. "Il Teatro comico all'osteria del Pellegrino di Carlo Gozzi. Introduzione, edizione critica e commento." Doctoral thesis, Università degli studi di Genova, 2015. http://hdl.handle.net/11567/1082172.
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The thesis proposes a complete critical study on Il Teatro comico all'osteria del Pellegrino di Carlo Gozzi, including introduction, critical edition and commentary in view of the publication in the National Edition of Carlo Gozzi's work (scheduled for Venice, Marsilio, 2023).
30
Bizzarini, Marco. "Griselda e Atalia: exempla femminili di vizi e virtù nel teatro musicale di Apostolo Zeno." Doctoral thesis, Università degli studi di Padova, 2008. http://hdl.handle.net/11577/3425035.
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This dissertation studies two libretti of Apostolo Zeno: the opera «Griselda» (Venice, 1701) and the oratorio «Joaz» (Vienna, 1726) along with the music composed by Albinoni, Predieri, Giovanni Maria Bononcini, Orlandini, Alessandro Scarlatti, Francesco Bartolomeo Conti, Vivaldi, Caldara and Benedetto Marcello. A systematic examination of libretti, scores, textual revisions, contemporary chronicles and documents sheds new light on the genesis of these works, among which Vivaldi's «Griselda», based on Goldoni's revision, presents a special interest. Moreover, the thesis reconsiders Zeno's libretto reform in the light of his unpublished correspondence, so far neglected by musicological studies. These documents reveal for the first time Zeno's opinions on composers such as Albinoni, Porta, Orlandini, Carapella, Caldara, Fux, and librettists such as Noris, Silvani, Salvi, Frigimelica Roberti, Conti, Rolli, Stampiglia and Metastasio.
31
VERGA, DAVIDE. "MUSICHE DI SCENA E TEATRO DI REGIA. FIORENZO CARPI E GLI SPETTACOLI GOLDONIANI DI GIORGIO STREHLER." Doctoral thesis, Università degli Studi di Milano, 2012. http://hdl.handle.net/2434/202740.
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Sound design is an essential part of contemporary theatre, despite the lack of studies devoted to musical scores in theatrical plays. Since the early 20th century, music has become an unavoidable element (as well as set pieces, costumes etc.), of the 'text' of the play, contributing to its sense and its global reception. This is why it doesn't come as a surprise that Fiorenzo Carpi - the well trained composer who started to collaborate with Piccolo Teatro in Milan since the very beginning of its activity - is considered one of Giorgio Strehler's closest partners. Over the years, the director has often mentioned the crucial importance of Carpi's work in his letters and interviews. The real impact of Carpi's contribution however, can be measured directly in the text. The study analyzes Carpi's work, attending in a particular way to those plays of Goldoni directed by Giorgio Strehler, mise-en-scenes that were fundamental in the Piccolo Teatro's history e with whom the director focused what is called his 'poetical realism', which uses music to convey an universal meaning from the realistic object. The musical production follows, through the time, the different readings of the director; now music is connected to the movement, now it creates spaces. Moreover, form such mise-en-scenes it rises the muscian's and director's vision of the Eighteenth Century world. To deepen that main theme, this study has broaden to the analysis of musics composed by Carpi for other theatrical plays or else movies related that same century. First by the original autographic scores by Fiorenzo Carpi, held in the Piccolo Teatro Historical Archive, then by analyzing 'secondary' sources such as press reviews, TV videos, tapes, photographs, programmes or playbills, the study tries to explain the complex double paternity of the music, child of the composer and of the director, a music, whose sense is realized only in the synthesis of the staging.
32
Filacanapa, Giulia. "A la recherche d'un théâtre perdu : Giovanni Poli (1917-1979) et la néo-Commedia dell'Arte en Italie, entre tradition et expérimentation." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080014/document.
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L’Europe du XXe siècle voit la création de compagnies et centres de recherche qui se consacrent à la redécouverte des modules de la Commedia dell’Arte, véritable forme de théâtre traditionnel en Occident qui a décliné après la ‘réforme’ de Goldoni. Giovanni Poli représente l'exemple le plus significatif de ce processus de réinvention que nous appelons, avec un néologisme, néo-Commedia dell'Arte. Ayant eu accès à ses archives privées et après les avoir retranscrites et proposées en annexe, nous avons pu entrer dans tous les méandres de son activité polymorphe et voir comment elles répondaient à nos questionnements. La présente thèse est structurée en trois parties allant de la pensée à la pratique et vice-versa. La première interroge la formation de la pensée de Poli autour de la Commedia dell'Arte afin de comprendre quelle était la démarche qui l'a conduit à concevoir son spectacle le plus célèbre La Commedia degli Zanni (1958). La deuxième est dédiée à sa pratique artistique, corrélée à la fois à la dramaturgie et aux mises en scène inspirées du phénomène historique, attachant une importance particulière à la technique du montage anthologique, l'une des caractéristiques principales de son écriture ‘postdramatique’. La dernière partie analyse les processus de transmission de cette réinvention, qui advient à travers son activité pédagogique et les ‘voyages’ au sens propre et au sens figuré entrepris avec sa néo-Commedia dell'Arte. Puisant à la fois dans la tradition théâtrale italienne et dans l’avant-garde, il réinvente un système référentiel, se révélant une cheville indispensable à la reconstruction du panorama européen et mondial de la néo-Commedia dell'ArteEurope of the XXth century sees the creation of companies and research centers which dedicate themselves to the rediscovery of the modules of Commedia dell'Arte, the real shape of western traditional theater, which declined after the 'reform' of Goldoni. Giovanni Poli represents the most significant example of this process of reinvention that we call, with a neologism, néo-Commedia dell'Arte. Having had access to his private archives and having transcribed and proposed them in appendix, we were able to enter all the meanders of his polymorphic activity and to see how they answered our questionings.This thesis is structured in three parts, moving from the thought to the practice and vice versa. The first one, questions the formation of Poli’s thought around Commedia dell'Arte to understand what was the approach which led him to conceive his most famous play La Commedia degli Zanni (1958). The second part is dedicated to his artistic practice correlated, at the same time, with dramatic art and with directions inspired by the historical phenomenon, setting a particular importance to the technique of anthological editing, one of the main features of his 'postdramatic' writing. The last part analyzes the processes of transmission of this reinvention, which happens through his educational activity and the 'journeys' literally and figuratively undertaken with his néo-Commedia dell'Arte. Drawing at the same time on Italian theatrical tradition and on the avant-garde, he reinvents a reference system, showing itself an essential core to the reconstruction of European and world panorama of néo-Commedia dell'Arte
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Verma, Pooja. "Golden Circle." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10638738.
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Due to the mounting rate of patients suffering from PTSD starting at a young age, there have been many studies and guidelines to help improve the conditions of these patients. Though there are many hospitals focusing on treatment of patients suffering from mental diseases, none of these hospitals or clinics concentrate on the welfare of the children suffering from PTSD specifically. The business plan discussed here addresses this concern. It is a healing center “Golden Circle” providing care and treatment to young adults aged between 13–25 years suffering from PTSD especially after road traffic accidents located in Los Angeles County. Golden Circle business plan is proposed to help identify the market trends and areas of concern by studying the company analysis, market potential and demand, competitor analysis, customer analysis, marketing strategy, feasibility and SWOT analysis, legal and regulatory issues and finally the financial analysis. Golden Circle is anticipated to help the society as well as generate good profit.
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Topinka, Jiří. "Golden disc." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2014. http://www.nusl.cz/ntk/nusl-232430.
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Fort, Camille. "Dérives de la parole : les récits de William Golding /." Paris ; Budapest ; Torino : l'Harmattan, 2003. http://catalogue.bnf.fr/ark:/12148/cb39016961z.
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Sneed, Mark R. "Qoheleth's "golden mean"." Theological Research Exchange Network (TREN), 1986. http://www.tren.com.
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Weinberg, Danielle E. "The Golden Record." Digital Commons at Loyola Marymount University and Loyola Law School, 2014. https://digitalcommons.lmu.edu/etd/48.
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Rabinovich, Daniel. "Chemical golden anniversary." Revista de Química, 2017. http://repositorio.pucp.edu.pe/index/handle/123456789/123960.
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Bodas de oro químicas: como homenaje a la sección química por sus 50 años este ensayo muestra estampillas relacionadas con el oroChemical golden anniversary: as tribute to the PUCP's chemical section for its 50 years of work this essay features stamps with gold-related pictures
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Nankov, Nikolay. "Untersuchung der Abbremsung von Schwerionen in Materie im Energiebereich (40-400) MeV, u." [S.l. : s.n.], 2002. http://deposit.ddb.de/cgi-bin/dokserv?idn=965345440.
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Draper, Michael. "Golden liquid crystal nanoparticles." Thesis, University of York, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542804.
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Mlčoch, Tomáš. "Economics of Golden Crime." Master's thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-199295.
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This master's thesis examines a criminal response to the sharp increase in the real gold price between the years 1998 and 2012. By using a regression analysis, I show that an increase in the real gold price does not have a significant impact on the number of golden crimes but the gold price significantly influences the stolen amount of gold with the elasticity of 2.2. In addition, an increase of lagged real wage and non-lagged real wage, and the number of prisoners significantly decreases golden crime whereas increased unemployment has a negative impact. Moreover, I find that in all types of a regression analysis (daily, monthly and quarterly) higher temperature and also lower cloudiness (as proxies for the good weather) significantly increase the golden crime rate. The daily model also revealed that during weekends and holidays there is significantly and markedly lower crime.
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Tuglu, Utku. "A Bakhtinian Analysis Of William Golding." Master's thesis, METU, 2011. http://etd.lib.metu.edu.tr/upload/12613329/index.pdf.
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This thesis analyzes William Golding&rsquos Rites of Passage using a detailed examination of the Bakhtinian concepts of heteroglossia, polyphony and the carnivalesque to investigate the points of mutual illumination and confirmation between Bakhtin&rsquo
s ideas and Golding&rsquo
s novel. Therefore the method of analysis is divided between a close study of Rites of Passage and an equally close examination of Bakhtin&rsquo
s ideas. The Bakhtinian concepts studied in this thesis are central to his idea of language and theory of the novel and their analysis in Rites of Passage reveals that while these concepts shed light on the stylistic, structural and thematic complexities of the novel, the novel also verifies the working of these concepts in practice. Moreover, the results of the analysis indicate two main points in which Golding&rsquo
s novel and Bakhtin&rsquo
s ideas confirm and illuminate each other. The first point is related to Bakhtin&rsquo
s celebration of the novel genre for its capacity to include diverse elements, a celebration that find its counterpart in Golding&rsquo
s novel due to the novel&rsquo
s heteroglot nature, polyphonic structure and inclusion of the carnivalesque. The second point is related to Bakhtin&rsquo
s notion of dialogism which emerges as a relational property common to his mentioned concepts. As this thesis shows, Golding&rsquo
s Rites of Passage is a dialogic novel in this regard, with its foregrounding of dialogic relations between heteroglot languages, characters&rsquo
voices and social classes. This thesis ends with a discussion indicating postmodern aspects of Bakhtin&rsquo
s ideas and Golding&rsquo
s novel, which include intertextuality, the problematization of truth, and the blurring of boundaries between opposites.
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Van, Dongen Wouter Frederik Dirk. "Evolutionary ecology of multiple ornaments in the golden whistler /." Connect to thesis, 2005. http://repository.unimelb.edu.au/10187/2243.
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Blom, Lucas, and Johanna Stenbäck. "The golden ratio - still golden? A research of the gold ratio in digital formats." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-121676.
Full textAbstract:
Gyllene snittet har sedan en mycket lång tid tillbaka använts som begrepp för att beskriva en proportion som är behaglig för det mänskliga ögat. Proportionen har dels använts för att formge byggnader och måla konstverk men används som flitigast i den grafiska branshen. Då främst gällande affisher och andra format av trycksaker där det är viktigt att läsaren känner att en harmoni existerar. Webbdesign är ett relativt nytt ämne och handlar om hur en webbsida formges, webbsidor har idag många olika uttryck och funktioner och nästan alla människor i Sverige vet vad en webbsida är och vad man använder den till. Syftet med denna studie är att ta reda på hurvida användningen av gyllene snittet på webbsidor ändrar användarens upplevelse samt att kartlägga om gyllene snittet används på de tio mest besökta webbsidorna i Sverige. För att svara på syftet har semistrukturerade intervjuer gjorts för att samla in data. Dessa intervjuer har gått ut på att deltagaren fått se och jämföra bilder på webbsidor. En del av bilderna har varit med orginallayout och en del har varit med gyllene snittet applicerat. Deltagarna har fått titta på bilderna en och en men också samtidigt för att kunna jämföra. Studiens intervjuer har fokuserat på känslor kring bilderna, och hur betraktaren uppfattar det som hen sett framför sig.
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Petzrick, Ernest Paul. "Currents through the Golden Gate." Thesis, Monterey, California. Naval Postgraduate School, 1993. http://hdl.handle.net/10945/26442.
Full textAbstract:
From 9 November through 15 December, 1992 a bottom mooring consisting of an upward looking acoustic doppler current profiler (ADCP) and a conductivity-temperature pressure (CTD) instrument were deployed in the Golden Gate. Tidal constituents were derived from least squares fit on pressure and current data. The amplitude of the M2 tide was 0.6 m and 100 cm/s, and primary tidal constituents were about 0.3 m and 20 cm/s. Current profiles were largely barotropic and one dimensional. Overtides and compound tides had amplitudes less than 0.02 m and 5 cm/s but had baroclinic structure and two dimensional hodographs. Tidal currents appear to be hydraulically driven. Mean flow and transport were directed at 110 deg T at 23 cm/s and 45 cu.m/s; indicative of the two dimensional structure of the Golden Gate. Mean energy fluxes at the site were 30,000 W for kinetic energy advection and 8,500,000 W for the work done by pressure. If representative of the channel, they imply a total energy flux of 8. 5 x 1O to the 9th power W through the Gate
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Paul, Sara R. "Stories from a Golden State." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1772.
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Dunn, Jessica. "Golden Handshakes at Commercial Banks." OpenSIUC, 2013. https://opensiuc.lib.siu.edu/dissertations/671.
Full textAbstract:
Compensation systems are designed by boards of directors to encourage manager performance. Severance packages are intended to provide insurance for the CEO's human value. Frequently, however, severance packages are increased upon termination by boards of directors at will. These non-contractual severance payments are called discretionary severance pay. This study investigates discretionary severance pay at financial institutions surrounding the financial crisis. Financial institutions are of particular interest as they faced unique regulations limiting the amount of severance payable to departing CEOs. There is evidence that the boards of directors engaged in regulatory arbitrage by increasing payments for the consulting and non-compete component of severance pay and decreasing payments for other components of discretionary severance pay.
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Flemming, Antje. "Lars von Trier goldene Herzen, geschundene Körper." Berlin Bertz + Fischer, 2009. http://d-nb.info/998580716/04.
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Fitter, David W. "Function of GOLDEN2-like genes in Arabidopsis." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.393774.
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Cribb, Elizabeth J. "Golden2 gene function in maize leaf development." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326139.
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