Dissertations / Theses on the topic 'Manierism'

L'œuvre de Christofle de Beaujeu a commencé à être redécouverte sous l'impulsion des anthologies de la poésie baroque de A.-M. Schmidt ou M. Raymond avant que G. Mathieu-Castellani ne lui fasse une place de choix dans ses ouvrage puis ne lui consacre un petit ensemble de textes ntitulé Entouré de silence, en 1994. La présente édition critique des Amours de Christofle de Beaujeu, publié en 1589, entend achever de rendre accessible une œuvre poétique originale. L'accent a bien sûr été mis sur les outils de compréhension du texte (glossaire, index, etc.). L'introduction qui ouvre ce travail s'attache, en revanche, à mettre en avant la structure générale de ce volumineux recueil néo-pétrarquiste de 393 pièces : certaines élégies aux traits stylistiques particuliers rythment la succession des odes et des stances tandis qu'un ensemble de sonnets nommé le Torrent des sonets fait figure de canzoniere dans le recueil. Ce travail a aussi pour but de clarifier, autant que faire se peut, le parcours biographique singulier d'un auteur qui se revendique soldat et publie un volume de poésie dans l'un des moments les plus troublés des guerres de religion. Ch. de Beaujeu met en avant sa participation au conflit, créant dès lors un ethos original de poète-militaire qui mêle amour et guerre mais aussi poésie et histoire. En effet, s'il reprend et parfois réécrit Ovide ou Virgile, il utilise aussi, de manière plus surprenante, la traduction d'Amyot des Vies des hommes illustres de Plutarque. L'utilisation du matériau historique renforce la place de l'univers guerrier dans le recueil. Du côté des auteurs modernes, Beaujeu fait également de nombreux emprunts à la traduction d'Antoine Le Maçon du Décaméron de Boccace, jusqu'à utiliser des gravures de l'édition de 1548 du texte italien pour la page de titre des Amours. Cette édition critique tente ainsi de lever un peu plus le voile sur Ch. de Beaujeu et permettra d'approfondir le travail sur ces textes complexes et riches<br>The works of Christofle de Beaujeu were first rediscovered in the anthologies of Baroque poetry by A.-M. Schmidt or M. Raymond. G. Mathieu-Castellani then drew greater attention on the poet in her own study and published a selection of his poems entitled Entouré de silence (1994). The present critical edition of Beaujeu’s Les Amours, first published in 1589, aims to make this work of poetry accessible as a whole. Though emphasis is put on the supporting materials (glossary, index, etc.), the introduction also endeavours to reveal the structure of this collection of 393 poems: elegies with strong stylistic features alternate with successions of odes and stanzas, while the group of sonnets entitled Torrent des sonets acts as a canzoniere. This study also aims to clarify, as far as possible, the uncommon biography of the author, who, claiming to be a soldier, published a volume of poetry amidst the most confused years of the Wars of Religion. Beaujeu emphasizes his participation in the conflict and thus gives birth to an original ethos of poet-warrior which combines love and war, but also poetry and history. This edition therefore endeavours to find which materials were used by the poet. Quoting, sometimes rewriting Ovid and Virgil, he also refers to Amyot’s translation of Plutarch’s Lives of the Noble Greeks and Romans. The use of historical material reinforces the pervasiveness of war in Les Amours. As to modern authors, Beaujeu draws his inspiration from the translation of Boccaccio’s Decameron by Antoine Le Maçon; he even goes as far as borrowing the etchings of the Italian edition of 1548 for the title page of his own work. In conclusion, this critical edition aims to lift the veil on the figure of Christophle de Beaujeu and will allow to deal in depth with these rich and complex texts

A partir d'une etude detaillee des manuels de bonne manieres du 19eme siecle et du 20eme siecle, cet ouvrage dresse l'inventaire des principes generaux qui sous-cendent les regles de politesse. Ces principes sont: - l'attenuation de la violence et la preservation de la securite physique. - le maintien de l'organisation hierarchique, - l'affirmation de l'appartenance au groupe et de la cohesion sociale. - la soumission de la conduite a un imperatif d'ordre, d'harmonie et de rationalite, - le souci de l'opinion, - le respect d'autrui considere comme un etre sensible, - la representation de rapports humaine idealises. La confrontation de ces principes avec les valeurs contemporaines permet de formuler un diagnostic moral sur notre epoque<br>Based on a comprehensive detailed study of etiquette book of the 19th and 20th centuries, this book reviews the general principles underlying the rules of politeness. These principles may be summed up as follows: - the attenuation of violence as a means to protect personal security - the preservation of the hierarchic organisation of society - the assertion of one's belonging to the group and the coherent structure of society - the submission of one's behaviour to the necessity of order, harmony and rationality - the consideration of other's people's opinion - the respect of other people as sensitive beings - the representation of idealized human relations. The confrontation of the aforesaid principles with contemporacy values makes it possible to draw up a moral diagnosis of our time

Le but de la présente thèse est de soumettre la fiction d’Edgar Allan Poe (1809-1849), en particulier ses nouvelles où figurent des narrateurs intradiégétiques, à une exploration phénoménologique et textuelle visant à montrer comment chez cet auteur l’écriture est mimétique de l’aliénation mentale. Pour ainsi examiner la façon dont la folie se situe au centre de ce corpus et l’informe en déployant des rythmes caractéristiques de la psychose et une symptomatique crédible, nous adoptons une perspective psychopathologique et phénoménologique, telle qu’inaugurée dans la Daseinsanalyse de Ludwig Binswanger et développée par nombre d’émules, dont Ronald D. Laing, Bin Kimura, etc. Dans son approche de la psychose, cette clinique phénoménologique s’organise autour de trois axes centraux : la présomption,le maniérisme et la distorsion, modes d’être au monde pathologiques et prévalents chez les sujets gauchis.La thèse s’appuie parallèlement sur les outils conceptuels de l’analyse littéraire et textuelle, en sorte de dégager les méthodes discursives mimétiques de désordres mentaux, systèmes où le pathos détermine le logos et réciproquement<br>The aim of the thesis is to submit the fiction of E.A. Poe (1809-1849), in particular his short stories featuring intradiegetic narrators to a phenomenological and textual exploration, the purpose of which is to show how in these works writing becomes mimetic of mental disturbance. In order to thus examine the way in which madness plays a central role in the corpus, shaping it by unfolding rhythms distinctive of psychosis and a credible symptomatology, we adopt a psychopathological and phenomenological perspective, such as inaugurated in psychiatrist Ludwig Binswanger’s Daseinsanalyse, developed by a number of disciples,among whom Ronald D. Laing, Bin Kimura, etc. In its approach of psychosis, this phenomenological clinical method is predicated upon three central vectors: presumption, mannerism and distortion, that is to say pathological modes of being in the world that are prevalent among mentally disturbed subjects. The dissertation relies at the same time on the conceptual instruments of literary and textual analysis, to reveal the discursive methods mimetic of mental disorders, namely systems where pathos determines logos and conversely

La ricerca si focalizza sulle espressioni artistiche a Crema durante il Cinquecento, prendendo in considerazione artisti, episodi particolari, commissioni pubbliche e private. Partendo dall’intervento di Benedetto Diana in Santa Maria della Croce, passando per la bottega di Vincenzo Civerchio, si giunge ad analizzare le figure di Aurelio Buso e Carlo Urbino, fino alla fine del secolo. Il lavoro presenta alcuni documenti inediti, quali uno che attesta la presenza di Aurelio Buso a Genova e altri che mostrano l’origine di Carlo Urbino .<br>This study is focused on the artistic expressions in Crema along the XVI century, considering artists, happenings, public and private commissions. Starting from the work of Benedetto Diana in Santa Maria della Croce, through the workshop of Vincenzo Civerchio, we arrive studying Aurelio Buso and Carlo Urbino, at the end of the century. This study presents come new documents, as one that certificate the journey of Aurelio Buso to Genua and others that show the origin of Carlo Urbino.

Il lavoro svolto per l’elaborazione di questa tesi si basa sulla raffigurazione dell’architettura nel genere della quadratura, un tipo di pittura illusoria, raffiguranti architetture, che utilizza la tecnica della prospettiva per creare l’illusione di uno spazio tridimensionale su un piano o una superficie voltata. Lo sfondato prospettico preso in esame consiste nell'affresco rappresentante “la caduta di Fetonte” realizzato da Pellegrino Tibaldi a Palazzo Poggi a Bologna nel 1551. E' stato eseguito un rilevo digitale della sala, mediante laser scanner a differenza di fase CAM2 Focus3D, a cui è seguita la redazione di elaborati grafici (utili per comprendere gli aspetti geometrici della sala), lo studio di trattati prospettici in un periodo storico compreso dal XVI al XVII e un'analisi della superficie pittorica (riferimenti geometrici quali assi, individuazione del punto “riguardante”). E' stata infine ricostruita, con software di modellazione tridimensionale, l'architettura illusoria rappresentata nella quadratura.

Ce sont les mains et les manieres etudiees dans la peinture manieriste au 16e siecle, qui nous ont permis d'approcher la defintion de l'acte createur dans la psychanalyse, a partir des references de freud et lacan. Il nous est apparu une premiere question, celle de la puissance de l'image dans la peinture manieriste. Des axes de recherche se sont alors presentes : qu'en est-il de l'objet regard dans la pulsion scopique ? d'ou provient la fascination ? pourquoi la peinture fait-elle appel a la beaute, produit-elle des emotions, engendre-t-elle une croyance ? nous avons alors aborde ces questions a partir d'autres concepts, tels que la representation, le signifiant, le phallus et le semblant. C'est a partir de ces nouvelles notions, que nous avons alors decouvert un autre versant de l'acte createur, celui du reel. C'est ainsi que nous avons pu voir comment l'acte createur mettait en tension ces deux poles, a savoir, la puissance de l'image et le reel.

¿Cómo afrontar hoy la historia del cine? Ésta es la pregunta a la que intenta responder el presente trabajo, nacido de la necesidad de contarla otra vez, así como de renovar los puntos de vista desde los que se cuenta. En lugar de "historia", se propone narrar un "relato", pues se trata de un texto urdido y contado por alguien, como siempre sucede. ¿Desde dónde narrar hoy ese relato del cine? Desde la indagación en los conceptos de "historia" y de "melancolía", que ayudarán a sentar las bases adecuadas para descubrir el funcionamiento de esa narración desde mediados de los años cincuenta, es decir, desde que un cierto cine -sobre todo el cine americano se hace conciencia en determinados ambientes -la cinefilia que nace en Francia en ese momento y empieza a contar por sí mismo. ¿Y cómo descubrir el modo operativo de ese relato? Rebuscando en las películas para encontrar los lazos que las unen, las tendencias que forman, las redes que construyen y que llegan hasta el presente, cuando parece haberse llegado a un punto límite. Proporcionar herramientas y ponerlas a trabajar, a modo de ejemplo para volver a pensar eso que llamamos "historia del cine".<br>How to made now film history? This is the question that this work want to answer, from the necessity of to explain again this history and its perspectives. Instead "history", we propose to make a "story", because all this it's about a text that somebody elaborates and explains, as always occurs. From where make today this "film story"? Of course, from the investigation on concepts of "history" and "melancholy", that fix the suitable base for the discovery of the operation modes of this story from mid-fifties of twenty century, when a certain cinema -american cinema, above all introduce its conscience in some environments -the french cinephilia of that moment, mainly and starts to tell things by himself. And in which way to find the modus operandi of this story? Searching in films and discovering the links that unites it, the trends that forms, the nets that builds and comes to the present, when it seems to exists a kind of limit. To give tools and to put it to work, like in a model, in order to re-think that what we call "film history".

Thesis (Ph. D.)--University of Wisconsin--Madison, 1992.<br>Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 315-326).

The Circle of architects of Albrecht of Wallenstein in early Baroque period. The first rare indications of early Baroque productions/ creations are appearing already in second decade of 17th century, mainly in the work of imperial architect Giovanni Mario Filippi. We can consider his work as a first stage of the architectonical production which was implemented for the one of the most important personality of the Thirty Year War - the duke Albrecht of Walenstein. The circle of Walenstein architects was created by three distinctive representatives, those proved successfully individually but also as a team working above the joint projects. They were able to fulfill the Wallenstein magnificent intentions. These architects were Andrea Spezza, Giovanni Pieroni and Nicola Sebregondi. These three Italians architects and builders were leading figures of the mentioned circle of which part were also Vincenzo Bocacci, Baccio Bianco and Giovanni Marini. Their activities is possible to trace on our territory in the period 1621-1634 except Giovanni Pieroni, who was focused after the duke death to the projects of fortification systems, mainly in Bohemia. Studies showed that the origin of architects, including the places where they have been raised and received the first training, was always important and influenced their...