Dissertations / Theses on the topic 'Iconography of a book of hours'

Actif de ca. 1420 à ca. 1450-1460, le Maître de la « Légende dorée » de Munich est, comme le Maître de Dunois, une personnalité issue de l'atelier de Bedford. Miniaturiste ayant surtout exercé à Paris, son œuvre témoigne aussi d'ancrages provinciaux, normands et ligériens notamment. Ce travail s'appuie sur un catalogue de 48 manuscrits, dont 41 livres d'heures. L'étude vise à dégager des spécificités iconographiques et stylistiques du Maître. Parmi les premières se notent l'intérêt marqué pour l'ornementation et le souci du détail, ainsi des auréoles ouvragées, voûtes aux nervures festonnées, livres et meubles. Trait iconographique saillant de l'œuvre tant par sa fréquence que par sa nouveauté, les épis de blé aux crèches font l'objet d'une étude attentive, du fait du sens dont ils sont porteurs et du possible lien entre ce motif et la spiritualité contemporaine, notamment la Dévotion Moderne. Stylistiquement, le Maître de la « Légende dorée » de Munich se caractérise par des lèvres aux commissures tombantes, des arcades sourcilières marquées au trait, dont il use aussi abondamment pour souligner carnations et contours d'objets, et par une palette riche et contrastée. Calendriers et décors marginaux ont également servi à des rapprochements pour aboutir à des regroupements chronologiques au sein du corpus. Inspiré, directement ou via des modèles puisés au sein de l'atelier Bedford, par les Limbourg, le Maître d'Egerton et la peinture septentrionale, le Maître de la « Légende dorée » de Munich a collaboré, comme maître d’œuvre ou peintre de quelques miniatures, avec d'autres artistes, documentés ou non. Il a pu travailler pour des commanditaires aussi bien anglais que français
As the Dunois Master, the Munich « Golden Legend » Master, fl. from ca. 1420 to ca. 1450-1460, is one artistic figure originating from the Bedford workshop. This miniaturist was active mostly in Paris, but his work also shows connections with provinces like Normandy and the Loire valley. This paper is based on a 48-manuscript catalogue, among which are 41 books of hours. The study aims at bringing out the iconographic and stylistic Master's salient features. Among the first, one notes a deep interest in details and ornaments, which is to be found in finely wrought haloes, vaults with festooned ribs, books and furniture. Within the corpus, ears of wheat in cribs are noteworthy due to both their frequency and novelty. They are subject to deep insight due to the meaning they bear, and to the possible relationship between this motif and the contemporary spirituality, especially the Modern Devotion. Stylistically, typical of the Munich « Golden Legend » Master are falling lip-corners, eyebrow arches marked with line, which he also largely uses to underline flesh tones and object outlines. His range of colours is varied and full of contrasts. Calendars and marginal decoration have also been used to compare manuscripts, in order to build chronological groupings within the corpus. The Munich « Golden Legend » Master has been, either directly or via models available inside the Bedford workshop, influenced by the Limbourgs, the Egerton Master and northern painting. He cooperated, being the chief illuminator or simply helping by painting a few miniatures, with other artists, whether documented or not, and may have worked for both English and French patrons

Created in France during the late fifteenth century, the illuminations, text, and family genealogy (added by one of many owners) found in De Villers Book of Hours make it an excellent example among other French books of hours from this period. In addition to acting as a repository of the style and iconography of French fifteenth-century illumination, the book's rich decorative program and varied textual content provide a remarkable document of contemporary devotional piety. This thesis provides the first detailed description and analysis of the De Villers Book of Hours. Following a description of books of hours in general, the overall makeup of the De Villers Hours is addressed, including the decorative program with a suggested method and example for description, a sample of textual transcription, comments on the provenance, a brief discussion of the family genealogy, and a concluding section with a sample collection register and worksheet for cataloging.

Mestrado em Línguas, Literaturas e Culturas - Estudos Ingleses
This dissertation aims to analyse two narratives: Virginia Woolf’s Mrs Dalloway (1924) and Michael Cunningham’s The Hours (1998), along with the film adaptations that resulted from the novels. This study will outline the shift of women’s roles throughout the 20th century and also the development of a liberal sexual identity.
A presente dissertação propõe analisar duas narrativas: Mrs Dalloway de Virginia Woolf (1924) e The Hours (1998) de Michael Cunningham, juntamente com as adaptações cinematográficas de ambos os livros. Este estudo irá incidir na progressão do papel da mulher ao longo do século XX e na compreensão do desenvolvimento da liberdade sexual.

This thesis provides a new analysis of late medieval personal devotion to angels in England, built upon freshly compiled primary evidence. This evidence consists of devotional material collected from a large sample of fifteenth-century Latin manuscript Books of Hours either produced in England or produced elsewhere for the English market. The use of a properly constructed sample of manuscripts in this research has provided a large and varied body of material for analysis. It has also revealed trends and patterns stemming from a clear context, relevant to both the material and to the Books of Hours containing it, across a significant number of manuscripts. Whilst angels feature in all Books of Hours, often in support of devotion to other figures, the emphasis of this thesis has been analysis of the material in which the angels themselves are the main focus of devotion. These 'angelic' texts and illuminations are important because they represent the choices and preferences of individuals, both lay and religious, concerning the contents of their Books of Hours. The main body of the thesis is an analysis of this textual and visual evidence and of its manuscript settings, which leads into fresh devotional perspectives and findings. These relate to both those who composed or produced the materials and those who used them in their Books of Hours. Analysis also leads to the suggestion of new hypotheses concerning the surprising range of sources which was drawn upon in creating specialised and erudite texts.

Oswald’s Book of Hours and Englaland (OBOH&E — Smokestack Books, 2013 & 2015 respectively) are distinctive works in the context of modern and contemporary English language poetry. Although there are affinities between OBOH&E and several modern and contemporary works, OBOH&E’s visionary engagement with concepts of England and English identity, their epic expression and novel post-pastoral dimension combine to make them unique. The works’ address to England and the English emerges from an ecologically committed, broadly socialist position informed by Antonio Gramsci’s theory of hegemony, Benedict Anderson’s concept of the nation as ‘imagined community’ and Patrick Kavanagh’s assertion of the primacy of the ‘parochial’, coalescing into a literary-political position defined by my coinage utopian yeoman-anarchism. The epic dimension of OBOH&E is demonstrated in an exposition based on the theoretical writings of Rudyard Kipling, Ezra Pound and M.M. Bakhtin. OBOH&E’s characteristic dialogical method — defined by the synchronic and synoptic temporal aspect of the works and their deployments of heteroglossia, polyphony and xenoglossia — leads to a characterisation of the books as novelistic ‘modern epics’. Finally, in an analysis informed by Terry Gifford’s influential taxonomy, OBOH&E is identified as a distinctive subgenre of the post-pastoral (another coinage) — the guerrillapastoral. The guerrilla-pastoral arises from the transgressive rural praxis of the author and is reflected and expressed via his personae, narrators and protagonists as they assert their rights in the land, in conflict with representatives of the power that seeks to restrict and deny them.

A presente tese visa analisar e compreender as relações entre os textos e as imagens contidas no livro didático de autoria de Antonio José Borges Hermida Compêndio de História do Brasil, editado pela Companhia Editora Nacional entre os anos de 1962 e 1975, sendo estas relações reveladoras de um discurso de determinado conhecimento histórico. Para este trabalho foi realizado estudo bibliográfico sobre a história da disciplina de História, a cultura escolar e o contexto político para a sustentação das análises de produção, editoração e circulação do livro, em todas as suas 60 edições, como suporte mercadológico, ideológico e cultural. O Compêndio de História do Brasil, de Borges Hermida, foi aqui analisado como um produto industrial e em sua condição de fonte a ser estudada para a compreensão de parte de uma História da Educação e da História do Ensino de História, assim como para entendimento e estudo de uma História do Livro (didático). O livro, como produto de uma indústria cultural, é fruto da intervenção de diversos sujeitos e autores e um elemento material de conceito complexo, devendo ser também concebido como corpo documental histórico; o nome de seu autor, embora este não se faça presente em todas as suas etapas de formação e produção, deve servir como atrativo comercial em uma perspectiva de maiores vendagens. O discurso historiográfico do autor, expresso pelo texto escrito, é ponto crucial da análise, assim como as imagens utilizadas nos diversos contextos. Além do conteúdo histórico divulgado através dos textos e das imagens, também foram objeto de análise as suas características formais representadas pela forma de sua organização, tipografia e editoração, entendidas como partes integrantes do discurso histórico e didático estabelecido pela obra. As análises dos elementos editoriais e historiográficos possibilitaram uma melhor compreensão da constituição dos diálogos entre o texto e as imagens divulgadas pelo livro como um produto material. O Compêndio, por largo período de tempo, foi o difusor de um conhecimento e de determinado discurso histórico expresso em suas páginas através do trabalho de diversos profissionais da área editorial, das imagens que reproduzem o trabalho de dezenas de pintores e desenhistas e, principalmente, através das palavras de seu autor, Antônio José Borges Hermida.
This thesis aims to make an analysis and understanding the relations between texts and the images contained in didactic book written by Antonio Jose Borges Hermida, Compêndio de História do Brasil, published by Companhia Editora Nacional between 1962 and 1975, considering these relations, indicative of a determinate discourse of historic knowledge. To this study a bibliographic study was carried, approaching the ways of History as a school discipline, the school culture and the political context that gives support to the production analysis, publication and circulation of the book, in all these 60 editions, as merchandising, ideological and cultural support. The Compêndio de História do Brasil, by Borges Hermida was analyzed as an industrial product an in his condition of source to be studied to the comprehension of a part of the history of education and of the history of teaching History, as well as to understanding and study of a didactic book study. The book, as an industrial cultural product is fruit from the intervention of several individuals and authors and a material element of complex elements, bringing the necessity to be conceived as an historical documental body; the authors name, although it doesnt appear in all the stages of formation and production, should serve as a commercial appeal in larger sales. The authors historiographical discourse, expressed by the written text, is a crucial point of the analysis, as well the images used in the various contexts. Besides the historical content publicized through the texts and images, also were object of analysis, their formal characteristics represented by their lay out organization, typography and editing, seen as integrant parts of the historical and didactical discourse established by the project. The analysis of editorial and historiographical elements allowed a better comprehension of the establishment of dialogues between the text and the images that were publicized by the book as a material product. The Compendio, for a long time, was a diffuser of knowledge and of a determinate historical discourse expressed in his pages through the work of several professionals of the editorial area, of the images that reproduce the art of dozen of painters and draftsmen and, mainly, through the words of his author, Antonio José Borges Hermida.

This study examines the illustrations that appear at the Office of the Dead in English Books of Hours, and seeks to understand how text and image work together in this thriving culture of commemoration to say something about how the English understood and thought about death in the fourteenth and fifteenth centuries. The Office of the Dead would have been one of the most familiar liturgical rituals in the medieval period, and was recited almost without ceasing at family funerals, gild commemorations, yearly minds, and chantry chapel services. The Placebo and Dirige were texts that many people knew through this constant exposure, and would have been more widely known than other 'death' texts such as the Ars Moriendi. The images that are found in these books reflect wider trends in the piety and devotional practice of the time. The first half of the study discusses the images that appear in these horae, and the relationship between the text and image is explored. The funeral or vigil scene, as the most commonly occurring, is discussed with reference to contemporary funeral practices, and ways of reading a Book of Hours. Other iconographic themes that appear in the Office of the Dead, such as the Roman de Renart, the Pety Job, the Legend of the Three Living and the Three Dead, the story of Lazarus, and the life of Job, are also discussed. The second part of the thesis investigates the musical elaborations of the Office of the Dead as found in English prayer books. The Office of the Dead had a close relationship with music, which is demonstrated through an examination of the popularity of musical funerals and obits, as well as in the occurrence of musical notation for the Office in a book often used by the musically illiterate. The development of the Office of the Dead in conjunction with the development of the Books of Hours is also considered, and places the traditions and ideas that were part of the funeral process in medieval England in a larger historical context.

Refletindo sobre uma sensação de leveza e dilatação da passagem temporal, a pesquisa elabora a expressão \"tempo suspenso\" e analisa de que maneira essa singular percepção pode ser transmutada em códices. Para sua compreensão, dialoga sobretudo com duas produções artísticas: Em busca do tempo perdido (1908-1922), de Marcel Proust, e A última tempestade (1991), de Peter Greenaway. A primeira foi escolhida por discutir uma sensação como estopim para a elaboração de uma poética. A segunda, por colocar o códice artesanal como receptáculo de um assunto. O campo formado pelas duas referências aglutina a temática levantada e representa princípios geradores e norteadores no desenvolvimento de uma sintaxe visual composta de referências históricas e formais da estrutura do códice. Ademais, para a compreensão da dilatação do tempo foram analisadas obras clássicas japonesas onde se encontram características próprias dos termos wabi-sabi e ma. Elas são a representação estética de um método no qual a práxis poética é um momento decisivo na estruturação do objeto final. A partir dos diálogos estabelecidos, foram realizados sete livros de artista, chamados de códices, cada um apresentado separadamente em capítulos formados por registros fotográficos e textos contextualizadores dos assuntos elaborados.
Reflecting upon a soft and expanding sense of the passage of time, this re- search elaborates the term \"suspended time\", analyzing how this singular perception is possibly transformed into codex art. It dialogues mainly with two artistic works for further comprehension: Marcel Proust\'s In Search of Lost Time (1908-1922) and Peter Greenway\'s Prospero\'s Book (1991). The first one has been chosen for debating a sensation as the trigger for the elaboration of poetics. The second one for setting the handicraft codex as receptacle of a subject. The field formed by both works ties together the presented topic and represents the generative and guiding principles of a visual syntax made up of formal and historical references from the codex structure. Furthermore, in order to comprehend the expansion of time, classical Japanese works in which specific characteristics of the terms wabi-sabi and ma appear, have been analyzed. They are the aesthetic representation of a method in which the poetic praxis has a major role in the final object construction. Seven artists\' books named codex have been created out of the established discussion, each one is presented separately in chapters formed by photographic records and guiding texts about the formulated topics.

PhDr. Kateřina Průšová Book as a Jewel, Francoflemish Books of Hours from the National Library in Prague Abstract The purpose of this dissertation is to present the first comprehensive catalogue of Franco-Flemish books of hours from the collections of the National Library in Prague (hereafter, NK). Some of the included manuscripts were already published in journals some of them have never been published previously. The core of the catalogue is a formal and stylistic analysis of books of hours, including an attribution to the individual masters and workshops, localization and dating based on a comparison of stylistically related manuscripts. This work is a development from previous my research done on Parisian books of hours [NK Břevnov 297, NK Osek 70 and NK XXIII G 89; Master's thesis and 'rigorous work']. Six books of hours come from the National Library in Prague [NK XXIII H 22, NK Břevnov 296, NK XXIII F 198, NK XXIII G88, NK Osek 65, NK VI D 25] and one manuscript in the collection of the Lobkowicz family at Nelahozeves castle, previously deposited in the Prague National Library [with a shelf- mark VI Fg 67]. The catalogue covers the period of the greatest flowering of Flemish book illumination from the first half of the 15th century to the beginning of the 16th century. The books of hours from the...

The Hours of Edith G. Rosenwald (c.1340–80) is a small book of hours in the Rosenwald Collection at the Library of Congress. Despite unique iconography and luxurious illuminations, this manuscript has so far received little scholarly attention. This thesis analyzes the size and iconography of the Rosenwald Hours to suggest that it was designed for a specific owner and function. No surviving documentation gives evidence of ownership, yet the standard program of miniatures was changed to suit a specific audience. The manuscript’s iconographic program and stylistic treatment are here considered in the context of contemporary books made for women, particularly women of the royal court in Paris, to suggest a likely audience. One of only a few extant miniature books of hours, the Rosenwald Hours is a valuable tool for looking at the place of small manuscripts in medieval society. This thesis examines the physical size, the iconography, and the inclusion of saint portraits as indicators of a function beyond the standard devotional use. A case is made for the manuscript’s connection to pilgrimage and to protective amulets. Combined with the assessment of its iconography, this study suggests an owner and intended use for miniature books of hours that provides a new way to look at these manuscripts, from obscure Flemish examples to the famous Hours of Jeanne d’Evreux.
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Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal
Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

This thesis is an artefact documenting the process of adapting a late medieval painting of hell into a short horror film. The process of adapting the Three Mouths of Hell, housed within the Hours of Catherine of Cleves, serves as an experiment in applying a dramaturgical approach to medieval studies. The process of adaptation and production, informed by critical research about the Hours of Catherine of Cleves and its Three Mouths of Hell, yields new frameworks for understanding the history of Catherine of Cleves, her Book of Hours, and the Three Mouths of Hell.

A tese que agora se apresenta pretende mostrar a importância dos Livros de Horas na sociedade portuguesa tardo-medieval e nas relações que a envolveram com as principais cortes europeias. Este estudo permitiu reconstituir o percurso de alguns códices, avaliar o prestígio que então granjeávamos junto das principais casas, a grande receptividade que a arte flamenga encontrou junto da nobreza portuguesa e o impacto que teve na produção nacional. A ausência de estudos, para a grande maioria dos códices, levou-nos à elaboração do levantamento exaustivo dos Livros de Horas manuscritos e fólios soltos que actualmente se conservam em Portugal, organizado por instituições, acrescido de dezasseis outros códices vinculados à corte portuguesa, pertencentes a entidades estrangeiras, e aos quais dedicamos, também, um brevíssimo estudo. Os setenta e oito exemplares que assinalámos em Portugal foram alvo de um estudo analítico que incluiu a identificação da origem e dos programas iconográficos (com indicação da secção em que estão inseridos) e a bibliografia específica para cada manuscrito. Os Livros de Horas de origem flamenga, maioritariamente provenientes da colecção real portuguesa, foram objecto de um estudo codicológico mais aprofundado que incluiu, para além dos aspectos atrás mencionados, a elaboração de fichas científicas desenvolvidas, a transcrição integral do texto e o seu confronto com a pintura e iluminura coevas, com o património de épocas precedentes e com a produção das gerações subsequentes, onde procurámos avaliar o seu impacto. Desse estudo advieram também novidades significativas relativas aos códices em análise, destacando-se a reconstituição do que consideramos ser o projecto inicial das ditas Horas ditas de D. Fernando ou D. Catarina, pretendendo-se agora que a sua visibilidade os posicione no centro da discussão nacional e internacional. Ao organizá-los por cronologias e ateliês pretendemos mostrar a evolução da linguagem pictórica que marcou a iluminura flamenga dos séculos XV e XVI, tendo a sua contextualização na produção coeva servido para melhor compreender as dinâmicas da produção do livro, da circulação de modelos, as escolhas da elites portuguesas e a grandeza dos códices que possuímos. A reconstituição do seu percurso institucional e as parcerias desenvolvidas com algumas instituições detentoras dos códices permitiram-nos avaliar e compreender danos infligidos em épocas mais recentes e reconstituir parte da história do livro.
The central thesis of this work is to show the importance of the Book of Hours, in the context of the late medieval Portuguese society and the relations that involved it with the main European courts. This study has allowed to reconstitute the course of some codices, to evaluate the prestige that we gained in the main European courts, the great receptivity that the Flemish art found within the Portuguese nobility and the impact that it had on the national production. The absence of studies, for the great majority of the codices, led us to the elaboration of the exhaustive survey of the handwritten Books of Hours and loose folios that are currently preserved in Portugal, organized by institutions, plus sixteen other codices linked to the Portuguese court that belong to foreign entities and to which we also dedicate a very brief study. The seventy-eight specimens we pointed out in Portugal were the subject of an analytical study which included the identification of the origin and the iconographic programs (with indication of the section in which they are inserted) and the specific bibliography for each manuscript. The Books of Hours of Flemish origin, mostly from the Portuguese royal collection, were the object of a more detailed codicological study that included, in addition to the aspects mentioned before, the elaboration of developed scientific records, the complete transcription of the text and its confrontation with the coeval painting and illumination, with the patrimony of previous times and with the production of the subsequent generations, where we tried to evaluate its impact. From this study there were also significant innovations related to the codices under analysis, highlighting the reconstitution of what we consider to be the initial project of the so-called Book of Hours said to belong to Prince Ferdinand or Queen Catherine, and it is now expected that their visibility will position them in the center of the national and international discussion. By organizing them in chronologies and workshops, we intend to show the evolution of the pictorial language which marked the Flemish illuminations of the 15th and 16th centuries, and its contextualization in the contemporary production served to better understand the dynamics of book production, the circulation of models, the choices of the Portuguese elites and the greatness of the codices that we possess. The reconstitution of its institutional course and the partnerships developed with some institutions that have the codices allowed us to evaluate and understand damages inflicted in more recent times and reconstitute part of the history of the book.