2024-03-29T00:57:37Zhttp://tesionline.unicatt.it/dspace-oai/request
oai:tesionline.unicatt.it:10280/7472010-06-09T09:17:51Zhdl_10280_25
DocTA - Doctoral Theses Archive
advisorBRANCA, PAOLO LUIGI
advisorCASCETTA, ANNAMARIA
ITA
2010-04-19
2010-04-21T00:00:06Z
An analysis of Tawfiq al-Hakim's theatrical theory in the light of his Qālabu-nā al-masraḥī. The study aims at showing how in Tawfīq al-Ḥakīm's whole work is present, although in different ways, a performative teleology of playwriting.
authorPUGLIESI, GIROLAMO GIUSEPPE MARIA
editorCASCETTA, ANNAMARIA
Un canone per il teatro arabo. Una lettura de Qālabu-nā al-masraḥī di Tawfīq al-Ḥakīm
2010-04-21T00:00:06Z
Un'analisi della teoria teatrale di Tawfīq al-Ḥakīm a partire dal suo Qālabu-nā l-masraḥī. Lo studio intende dimostrare come in tutta l’opera di Tawfīq al-Ḥakīm sia presente, seppure in modalità diverse, una teleologia performativa della scrittura teatrale.
Pugliesi, Girolamo Giuseppe Maria. "Un canone per il teatro arabo. Una lettura de Qālabu-nā al-masraḥī di Tawfīq al-Ḥakīm", Università Cattolica del Sacro Cuore, XXI ciclo, a.a. 2008/09, Milano, [http://hdl.handle.net/10280/747].
Adobe PDF
http://hdl.handle.net/10280/747
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Previous issue date: 2010-04-19
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oai:tesionline.unicatt.it:10280/7502013-06-04T09:57:59Zhdl_10280_25
DocTA - Doctoral Theses Archive
advisorCASCETTA, ANNAMARIA
ITA
2010-04-19
2010-04-21T00:00:08Z
The thesis reconstructs the role of the female figure in the XVIII century salon in the lombardo-veneto area regarding the relationship between music, theatre and literature. The study focuses on four female figures: Francesca Manzoni, Luisa Bergalli, Maria Teresa Agnesi e Paolina Secco Suardo
authorFRATTALI, ARIANNA
editorCASCETTA, ANNAMARIA
La drammaturgia fra letteratura e musica nel Settecento: figure femminili nei salotti lombardo veneti
2010-04-21T00:00:08Z
La tesi ricostruisce il ruolo della figura femminile nel salotto settecentesco in area lombardo-veneta per quanto concerne il rapporto fra teatro musica e letteratura. Lo studio si concentra su quattro figure femminili in particolare: Francesca Manzoni, Luisa Bergalli, Maria Teresa Agnesi e Paolina Secco Suardo.
Frattali, Arianna. "La drammaturgia fra letteratura e musica nel Settecento: figure femminili nei salotti lombardo veneti", Università Cattolica del Sacro Cuore, XXII ciclo, a.a. 2008/09, Milano, [http://hdl.handle.net/10280/750].
Adobe PDF
http://hdl.handle.net/10280/750
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Previous issue date: 2010-04-19
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oai:tesionline.unicatt.it:10280/7512013-06-04T09:57:59Zhdl_10280_25
DocTA - Doctoral Theses Archive
advisorBOTTURI, FRANCESCO
ITA
2010-04-19
2010-04-21T00:00:08Z
This thesis is a critical analysis of the theoretical principles of Foucault’s genealogical method. The problem of the subject is inquired into its relationship with the statute of truth of the foucauldian philosophy. The aim is to show the problems and the contradictions of the sense of the genealogy.
authorREDAELLI, ENRICO
editorCASCETTA, ANNAMARIA
L'ERMENEUTICA DEL SOGGETTO IN MICHEL FOUCAULT
2010-04-21T00:00:08Z
La tesi è un'analisi critica dei presupposti teoretici del metodo genealogico di Foucault. Il problema del soggetto è perciò indagato in relazione a allo statuto di verità della filosofia foucaultiana. Lo scopo è mostrare i problemi e le contraddizioni a cui va incontro il "senso" del gesto genealogico.
Redaelli, Enrico. "L'ERMENEUTICA DEL SOGGETTO IN MICHEL FOUCAULT", Università Cattolica del Sacro Cuore, XXII ciclo, a.a. 2008/09, Milano, [http://hdl.handle.net/10280/751].
Adobe PDF
http://hdl.handle.net/10280/751
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Previous issue date: 2010-04-19
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oai:tesionline.unicatt.it:10280/7482010-06-09T09:17:53Zhdl_10280_25
DocTA - Doctoral Theses Archive
advisorGHISALBERTI, ALESSANDRO
ITA
2010-04-19
2010-04-21T00:00:07Z
The research, following the evolution of the idea of intentional in the script of Levinas, wants to focus the problem at the base of his choice to go through the intention itself. To be more precise, our goal is to demonstrate that the comprehension of conscience as intentional and representative existence make Levinas look for an experience of irreducible transcendence to representation, an experience that seems to be as an interruption of the correlation between idea and ideatum. In fact, the author gets to the experience of the transcendence through an act, which is impossible to go back to again, because every coming back to self is an attempt of the conscience to constitute the concept of Other. This conviction carries the separation between ontology and ethic. This separation implies the impossibility for the ethic conscience to get to a sense that could be intentional, that it means an activity without knowledge.
authorORGANISTI, UMBERTO JAMES
editorCASCETTA, ANNAMARIA
L'idea d'intenzionalità di Emmanuel Lévinas
2010-04-21T00:00:07Z
La ricerca, seguendo l’evoluzione dell’idea d’intenzionalità nell’opera di Lévinas, vuole mettere a tema il problema che è all’origine della sua scelta di superare l’intenzionalità stessa. In particolare, intendiamo mostrare che la comprensione della coscienza come esistenza intenzionale rappresentativa, conduce Lévinas a cercare un’esperienza della trascendenza irriducibile alla rappresentazione, e che si presenti come un’interruzione della correlazione tra idea e ideatum. Infatti, per il nostro autore si giunge all’esperienza della trascendenza attraverso un atto al quale è impossibile ritornare a se stesso, essendo ogni ritorno a se stesso il tentativo della coscienza di costituire l’alterità. Questa convinzione ha come conseguenza la separazione tra ontologia ed etica. Tale separazione implica l’impossibilità per la coscienza etica di accedere ad un senso che essa possa intenzionare, vale a dire una pratica senza sapere.
Organisti, Umberto James. "L'idea d'intenzionalità di Emmanuel Lévinas", Università Cattolica del Sacro Cuore, XXII ciclo, a.a. 2008/09, Milano, [http://hdl.handle.net/10280/748].
Adobe PDF
http://hdl.handle.net/10280/748
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Previous issue date: 2010-04-19
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oai:tesionline.unicatt.it:10280/7462013-06-04T09:57:55Zhdl_10280_25
DocTA - Doctoral Theses Archive
advisorCARAMEL, LUCIANO
ITA
2010-04-19
2010-04-21T00:00:06Z
The research whose results are recollected into this essay took its origin from the absence of specific studies about Wagner’s and Wagnerism’s influence on visual arts in Italy between 1880 and 1920. Starting from the analysis of Wagner’s conceptions of Gesamtkunstwerk and from the role assigned by Wagner to visual arts, I examined the triple influence of these ideas on the critical and aesthetical reflection and artistic production (painting, sculpture, illustration, caricature, scenography): on one side the iconography, including both Wagner’s portraits and works inspired to his dramas’ characters and situations; moreover, there’s the ‘musicalist’ tendence, typical of Symbolism, which aims to communicate feelings and emotions which are proper of music by the means of visual arts; eventually, the synaesthetical tendence towards the “Universal Artwork”.
authorBOLPAGNI, PAOLO
editorCASCETTA, ANNAMARIA
L'IPOTESI DI UN'ARTE WAGNERISTA IN ITALIA 1880-1920: FORTUNA ICONOGRAFICA, UTOPIA DEL GESAMTKUNSTWERK E SUGGESTIONE MUSICALISTA
2010-04-21T00:00:06Z
La ricerca condensata in questa tesi di dottorato trae spunto dall’assenza di studi specifici riguardo all’influenza di Wagner e del wagnerismo sulle arti visive in Italia tra il 1880 e il 1920. Partendo dall’analisi della concezione wagneriana del Gesamtkunstwerk e del ruolo attribuito da Wagner alle arti visive, se ne prende in esame il triplice influsso esercitato sulla riflessione critica ed estetica e sulla produzione artistica (pittura, scultura, illustrazione, cartellonistica, caricatura, scenografia): da una parte l’iconografia, che comprende sia i ritratti di Wagner, sia le opere ispirate ai personaggi e alle situazioni dei suoi drammi; vi è poi la tendenza “musicalista”, tipica del Simbolismo, che mira a comunicare emozioni, sensazioni e contenuti propri della musica con i mezzi delle arti visive; e infine l’orientamento sinestetico in direzione dell’“opera d’arte totale”.
Bolpagni, Paolo. "L'IPOTESI DI UN'ARTE WAGNERISTA IN ITALIA 1880-1920: FORTUNA ICONOGRAFICA, UTOPIA DEL GESAMTKUNSTWERK E SUGGESTIONE MUSICALISTA", Università Cattolica del Sacro Cuore, XXI ciclo, a.a. 2008/09, Milano, [http://hdl.handle.net/10280/746].
Adobe PDF
http://hdl.handle.net/10280/746
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Previous issue date: 2010-04-19
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oai:tesionline.unicatt.it:10280/10652013-06-04T09:57:57Zhdl_10280_25hdl_10280_62
DocTA - Doctoral Theses Archive
advisorALBERTINI OTTOLENGHI, MARIAGRAZIA
ITA
2011-04-11
2011-04-13T00:00:07Z
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.
authorCAVALLINI, GABRIELE
editorCASCETTA, ANNAMARIA
CREMA AL CROCEVIA DELLA MANIERA: EPISODI ARTISTICI FRA TRADIZIONE LOMBARDA, VIA ROMANA E VIA GENOVESE
2011-04-13T00:00:07Z
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 .
Cavallini, Gabriele. "CREMA AL CROCEVIA DELLA MANIERA: EPISODI ARTISTICI FRA TRADIZIONE LOMBARDA, VIA ROMANA E VIA GENOVESE", Università Cattolica del Sacro Cuore, XXII ciclo, a.a. 2009/10, Milano, [http://hdl.handle.net/10280/1065].
Adobe PDF
http://hdl.handle.net/10280/1065
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Previous issue date: 2011-04-11
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oai:tesionline.unicatt.it:10280/7492013-06-04T09:57:57Zhdl_10280_25
DocTA - Doctoral Theses Archive
advisorROVETTA, ALESSANDRO
ITA
2010-04-19
2010-04-21T00:00:07Z
The Antonio Lafrery ‘s “Indice” (1512-1577) is the catalog of his editorial production until the mid-seventies of the sixteenth century.
In this study the works cited therein are identified.
The news that emerge mainly concern the correspondence between the sections in which the index is structured and collected in a volume published by Lafrery, leading to new knowledge in relation to known "Speculum Romanae Magnificentiae" and " Tavole Moderne di Geografia ".
Then are studied the editor’s contact with humanists, collectors and patrons.
authorALBERTI, ALESSIA
editorCASCETTA, ANNAMARIA
L'INDICE DI ANTONIO LAFRERY: ORIGINI E RICOSTRUZIONE DI UN REPERTORIO DI IMMAGINI A STAMPA NELL'ETA' DELLA CONTRORIFORMA
2010-04-21T00:00:07Z
L’Indice di Antonio Lafrery (1512-1577) è il catalogo della sua produzione editoriale fino alla metà degli anni settanta del Cinquecento.
In questo studio vengono identificate le opere in esso citate.
Le novità che emergono riguardano soprattutto le corrispondenze tra le sezioni in cui l’Indice è strutturato e le raccolte in volume pubblicate da Lafrery, portandone a conoscenza di nuove rispetto ai noti “Speculum Romanae Magnificentiae” e “Tavole Moderne di Geografia”.
Sono poi indagati i contatti dell’editore con umanisti, collezionisti e mecenati.
Alberti, Alessia. "L'INDICE DI ANTONIO LAFRERY: ORIGINI E RICOSTRUZIONE DI UN REPERTORIO DI IMMAGINI A STAMPA NELL'ETA' DELLA CONTRORIFORMA", Università Cattolica del Sacro Cuore, XXII ciclo, a.a. 2008/09, Milano, [http://hdl.handle.net/10280/749].
Adobe PDF
http://hdl.handle.net/10280/749
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Previous issue date: 2010-04-19
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oai:tesionline.unicatt.it:10280/10642013-06-04T09:58:02Zhdl_10280_62hdl_10280_25
DocTA - Doctoral Theses Archive
advisorFLORES D'ARCAIS, FRANCESCA
ITA
2011-04-11
2011-04-13T00:00:06Z
My research examines the period of activity in Lombardy of Giusto de' Menabuoi, a painter of the 14 century. He was born in Florence and is mostly known for his paintings executed in Padua where he worked from 1370 until his death just before 1391. Approximately between 1348 and 1367 he worked also in Lombardy but little is known for sure about this period. For the research presented here, some works from this period have been studied: the frescoes of Viboldone and Brera, the polyptych from 1363 and the triptych from 1367), proposing an approach to dating and provide more evidence for the attribution. Finally there is a proposal for attributing an unpublished work by Giusto for a church in Monza. The reseach shows that during his long stay in Lombardy the stile of the painter underwent a number of changes in his use of more elegant and refined colours which influenced other Lombard painters of that period.
authorCASERO, ANDREA LUIGI
editorCASCETTA, ANNAMARIA
Giusto de' Menabuoi in Lombardia
2011-04-13T00:00:06Z
La ricerca prende in considerazione il periodo di attività in Lombardia di Giusto de’ Menabuoi, pittore del XIV secolo di origine fiorentina e noto soprattutto per le opere realizzate a Padova, dove lavorò dal 1370 fino alla morte avvenuta prima del 1391. Tra il 1348 e il 1367 circa lavorò anche in Lombardia ma su questo periodo le certezze sono molto poche. Sono state quindi prese in esame le opere date al pittore in questo periodo (affreschi di Viboldone e di Brera, polittico del 1363 e trittico del 1367), cercando di precisare meglio la possibile datazione e di rendere più sicura l’attribuzione. Infine è stata proposta l’attribuzione di un’opera inedita, dipinta da Giusto per una chiesa di Monza.
Dalla ricerca si ricava che durante il lungo soggiorno in Lombardia lo stile del pittore cambiò nell’uso di forme e di colori più eleganti e raffinati che influenzarono i pittori lombardi di quegli anni.
Casero, Andrea Luigi. "Giusto de' Menabuoi in Lombardia", Università Cattolica del Sacro Cuore, XXII ciclo, a.a. 2009/10, Milano, [http://hdl.handle.net/10280/1064].
Adobe PDF
http://hdl.handle.net/10280/1064
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Previous issue date: 2011-04-11
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oai:tesionline.unicatt.it:10280/10672014-05-21T07:52:20Zhdl_10280_62hdl_10280_25
DocTA - Doctoral Theses Archive
advisorCASCETTA, ANNAMARIA
ITA
2011-04-11
2011-04-13T00:00:08Z
A research that aims at examining the theatrical dance in the XVIII century is bound to face a problematic crux: the research object is not anymore. Some traces have remained, namely, a series of various materials able to show the causality of the cause – the vacant object – but not its form. The survey starts from the revolutionary works by G. Angiolini and J.G. Noverre and goes through different philosophicals texts of authors who were interested in the status of the gesture; it questions the bunch of effects which overcame the ballet d’action in order to look into the dance as a form of art and knowledge within the wider system of representation. Particularly, the research wants to show as the negative sign which marks this discipline and the XVIII critical debate on it has to be referred to the essential expressive nature of the gesture which led to a progressive shifting of the classic paradigm of the mimesis of nature from being “imitative-reproductive” to become “expressive-creative”
authorAIMO, LAURA
editorCASCETTA, ANNAMARIA
Mimesi della natura e ballet d'action: per un'estetica della danza teatrale (1751 - 1785)
2011-04-13T00:00:08Z
Una ricerca che si prefigga di studiare la danza teatrale nel Settecento s’imbatte inevitabilmente in un nodo problematico: l’oggetto della ricerca non è (più). Di esso sono rimaste soltanto alcune tracce, ovvero una serie di materiali eterogenei che si presentano come effetti capaci di mostrare la causalità della causa – l’oggetto vacante – ma non la sua forma. A partire dalle opere riformatrici di G. Angiolini e J.G. Noverre nonché dai testi di diversi filosofi coevi interessati allo statuto del gesto, la tesi interroga la congerie di effetti sopravvissuta al ballet d’action per approfondire la danza come forma artistica e forma del sapere all’interno del più ampio sistema della rappresentazione. Nello specifico la tesi si propone di mostrare come il segno negativo che contraddistingue variamente la disciplina tersicorea e il dibattito critico su di essa nel XVIII secolo sia da ricondurre più propriamente all’essenziale matrice espressiva del gesto stesso e abbia contribuito a un progressivo slittamento del paradigma classico della mimesi della natura da un’accezione “imitativo-riproduttiva” a una “espressivo-creativa”.
Aimo, Laura. "Mimesi della natura e ballet d'action: per un'estetica della danza teatrale (1751 - 1785)", Università Cattolica del Sacro Cuore, XXIII ciclo, a.a. 2009/10, Milano, [http://hdl.handle.net/10280/1067].
Adobe PDF
http://hdl.handle.net/10280/1067
Submitted by LAURA AIMO (3611639) on 2011-03-02T09:19:05Z
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Previous issue date: 2011-04-11
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oai:tesionline.unicatt.it:10280/10662013-06-04T13:46:29Zhdl_10280_62hdl_10280_25
DocTA - Doctoral Theses Archive
advisorBRANCA, PAOLO LUIGI
advisorBOTTURI, FRANCESCO
ITA
2011-04-11
2011-04-13T00:00:08Z
The thesis illustrates the thinking of contemporary Moroccan philosopher M.A. al- Jābirī (al-Jabri), a major Arab philosopher of the twentieth century. After a brief introduction, the thesis presents the theoretical structure of his thought. Then it contextualizes Jabri’s thought in the framework of contemporary Arab philosophy. The second chapter focuses on Jabri’s theory of moral philosophy, illustrating how the Moroccan thinker considers the developing of moral philosophy through the ages in the Arab Islamic context. The analysis is characterized by a philological-historical approach, although theoretical contributions developed by Jabri are not negligible. A final chapter follows to highlight some of the criticisms made against him - in particular by an Arab author, George Tarabishi, and an Italian scholar Massimo Campanini - compared to the vision of Jabri. The thesis concludes with some personal reflections of the editor.
authorMINETTI, STEFANO
editorCASCETTA, ANNAMARIA
LA QUESTIONE MORALE IN ‘ABID AL‐JĀBIRĪ
2011-04-13T00:00:08Z
La tesi illustra il pensiero del filosofo marocchino contemporaneo M.A. al-Jābirī (al-Jabri), uno dei principali filosofi arabi del XX secolo. Dopo una breve introduzione, la tesi illustra la struttura teoretica del pensiero di Jabiri e, dopo averlo contestualizzato nel panorama della filosofia araba contemporanea, si concentra sulla questione morale, illustrando come il pensatore marocchino ritenga si sia evoluta la filosofia morale in ambito arabo islamico. L’analisi si caratterizza per un approccio storico-filologico, benché i contributi teoretici elaborati da Jabri non siano trascurabili. Segue un ultimo capitolo che mette in evidenza alcune delle critiche mossegli – in particolare da un autore arabo, George Tarabishi, e da uno studioso italiano, Massimo Campanini – rispetto alla visione di Jabri. La tesi si conclude con alcune riflessioni personali del redattore di tesi.
Minetti, Stefano. "LA QUESTIONE MORALE IN ‘ABID AL‐JĀBIRĪ", Università Cattolica del Sacro Cuore, XXIII ciclo, a.a. 2009/10, Milano, [http://hdl.handle.net/10280/1066].
Adobe PDF
http://hdl.handle.net/10280/1066
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Previous issue date: 2011-04-11
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oai:tesionline.unicatt.it:10280/13492013-06-04T13:47:27Zhdl_10280_25hdl_10280_62
DocTA - Doctoral Theses Archive
advisorGHISALBERTI, ALESSANDRO
ITA
2012-03-13
2012-03-15T01:00:05Z
According to some recent studies, such as Colish’s and Rosemann’s, further investigation is likely to be needed in order to approach Peter Lombard’s Sentences. Hence this study aims at analysing the Sentences I within the Trinitarian theology of the XII century: the author’s systematic effort in collecting and ordering the main theological sources suggests new perspectives in the genre and in the themes. An historical-philological approach applies the textual analysis to the Lombardian work, after examining his theological method and language. In the dialectic between authority and investigation, the Master’s purpose turns out to be twofold: educational and apologetic, teaching scholars to avoid ‘errors’ and, consequently, heretical positions. So, within a ‘positive theology’, the main feature of Lombard’s collection is the transcendence and the supreme unity of God. On this base themes like the divine properties, the Son’s generation, the doctrine of the Holy Spirit and the divine omnipotence are investigated in the context of the medieval theological debates. For instance, the comparison between Peter Lombard and Peter Abelard on the Trinitarian topics highlights the Lombardian original account, in spite of his certain reception of some of the Abelardian methodological, and partly conceptual, issues.
authorBRAMBILLA PISONI, ESTER
editorCASCETTA, ANNAMARIA
Genesi e struttura della teologia trinitaria nel primo libro delle Sententiae di Pietro Lombardo
2012-03-15T01:00:05Z
Lo scopo di questa ricerca è l’analisi del I libro delle Sententiae di Pietro Lombardo nel quadro della teologia trinitaria del XII secolo. Un riscoperto interesse, grazie agli studi di Colish e Rosemann, invita ad ipotizzarne una lettura interpretativa che, riconoscendo l’ingente sforzo dell’autore nella raccolta e sistemazione delle fonti latine e greche, intende rintracciare una certa sistematicità ed alcune novità nel genere e nelle questioni affrontate. Un approccio storico-filologico applica l’analisi testuale ai nodi tematici più importanti della dottrina lombardiana a partire da una preliminare riflessione sul metodo e sul linguaggio adottati, da cui si evince l’intento didattico-apologetico dell’autore. Nella dialettica auctoritas/inquisitio si vuole infatti ridurre il rischio di incorrere nell’errore e da qui in posizioni eretiche. Il Lombardo espone una teologia positiva che mantiene costante il riferimento all’essenza del Dio trinitario nella sua unità e trascendenza; l’analisi di proprietates e nomi divini, la questione della generazione divina, la pneumatologia ed il tema De potentia Dei vanno collocati all’interno del dibattito del tempo. In tale contesto, il confronto con la teologia di Pietro Abelardo risulta funzionale a comprendere la distanza e la novità che le Sententiae rappresentano, pur nella indubbia ricezione di aspetti metodologici ed in parte concettuali dal maestro palatino.
Brambilla Pisoni, Ester. "Genesi e struttura della teologia trinitaria nel primo libro delle Sententiae di Pietro Lombardo", Università Cattolica del Sacro Cuore, XXIII ciclo, a.a. 2010/11, Milano, [http://hdl.handle.net/10280/1349].
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http://hdl.handle.net/10280/1349
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Previous issue date: 2012-03-13
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oai:tesionline.unicatt.it:10280/13502013-06-04T13:48:43Zhdl_10280_25hdl_10280_62
DocTA - Doctoral Theses Archive
advisorCASCETTA, ANNAMARIA
ITA
2012-03-13
2012-03-15T01:00:09Z
In the second half of the 18th century Milan became a very influent centre for the art of stage designing. This PhD thesis seeks to investigate the developments of the visual aspects of theatricality in a crucial period (1765-1792) for Milan. This study is based on iconographic sources, namely engravings and drawings. The analysis focuses on public and political events (wedding festivals, state funerals and royal entries) and, at the same time, on theatre. The research considers the development of stage design at the Regio Ducal Teatro and the Teatro alla Scala. It concentrates on the works of the most important scene-painters of the period: the brothers Fabrizio and Bernardino Galliari and Pietro Gonzaga. As a result, the study provides an analysis of the several components of visual representation and their features.
authorBARBIERI, FRANCESCA
editorCASCETTA, ANNAMARIA
Spettacolarità e scenografia a Milano tra età teresiana e giuseppina
2012-03-15T01:00:09Z
Nella seconda metà del Settecento Milano diventò un centro di riferimento per la scenografia a livello internazionale. La tesi studia l’evoluzione della spettacolarità e della scenografia in un periodo cruciale per la città (1765-1792) prendendo in esame non solo il teatro, ma anche gli aspetti connessi agli eventi festivi legati al potere. La ricerca è basata primariamente sulle fonti iconografiche, soprattutto disegni e incisioni, reperite negli archivi milanesi e nazionali; l’analisi di libretti, relazioni, periodici e altra documentazione ha inoltre offerto altri elementi utili alla delineazione dello scenario culturale di riferimento. In primo luogo, si prendono in esame eventi dinastici, quali i festeggiamenti nuziali, i passaggi e gli ingressi dei sovrani, le feste per nascita e le esequie. Sono inoltre considerati gli sviluppi della scenografia milanese prima al Regio Ducal Teatro e poi al Teatro alla Scala, con particolare riguardo all’opera di personalità di primo piano come i fratelli Galliari e Pietro Gonzaga. Ne emerge un quadro complesso che aspira a ricostruire la trama di rapporti che legano la scenografia all’universo della rappresentazione nella Milano del XVIII secolo.
Barbieri, Francesca. "Spettacolarità e scenografia a Milano tra età teresiana e giuseppina", Università Cattolica del Sacro Cuore, XXIV ciclo, a.a. 2010/11, Milano, [http://hdl.handle.net/10280/1350].
Adobe PDF
http://hdl.handle.net/10280/1350
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Previous issue date: 2012-03-13
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oai:tesionline.unicatt.it:10280/13512013-06-04T13:48:52Zhdl_10280_25hdl_10280_62
DocTA - Doctoral Theses Archive
advisorMARASSI, MASSIMO
ITA
2012-03-13
2012-03-15T01:00:10Z
This work introduces a way of understanding Kant’s problem of metaphysics in the first Critique, by suggesting that speculative reason can state a positive metaphysical knowledge. The suggested solution focuses on three issues: the first is methodological, the second is exegetical, the third is argumentative. From the methodological point of view, this dissertation proposes a new method in interpreting Kant’s tought, that is the problem-arising method. From the exegetical point of view, it shows metaphysics as the primary object of such a method, and explains in which sense it is possible to state a ‘problem of metaphysics’ in kantian works. From the argumentative point of view, this work gives particular attention to the transcendental argument. In conclusion this dissertation demonstrates that the Transcendental Deduction of the first Critique coincides with a synthesis between the object and the foundation of metaphyisics, and for this synthesis is made by the metaphysics its-self, it is a positive knowledge.
authorCOLOMBO, CHIARA
editorCASCETTA, ANNAMARIA
IL PROBLEMA DELLA METAFISICA NELLA CRITICA DELLA RAGION PURA DI KANT
2012-03-15T01:00:10Z
La tesi si propone di dare un contributo alla dibattuta valutazione del ruolo della metafisica nella Critica della ragion pura di Kant. L’argomento che sorregge la proposta consiste nell’affermazione della possibilità di rintracciare nella prima Critica una determinazione positiva del sapere metafisico. La tesi tenta una lettura delle competenze positive della ragione – considerata nel suo interesse speculativo – in ambito metafisico, tenendo conto del percorso che Kant intraprende in tal senso fin dagli scritti precritici. Tre sono le linee argomentative della ricerca: dal punto di vista metodologico, ci si propone di coniugare le due istanze presenti negli studi kantiani, quella storica e quella teoretica, riunendole in un unico criterio esegetico che ricerca nei testi i luoghi in cui le fonti storiche vengono accolte come il punto di inizio di una transizione culturale più che il legame con la tradizione. In secondo luogo, si ricostruisce il modo in cui Kant ha fatto della metafisica l’oggetto primario di questa problematizzazione. In terzo luogo, si discute l’evoluzione che la prova metafisica compie nel pensiero kantiano fino alla prima Critica. Qui, la metafisica, con un unico movimento, riesce nell’esibizione congiunta del suo sapere e della sua fondazione come scienza.
Colombo, Chiara. "IL PROBLEMA DELLA METAFISICA NELLA CRITICA DELLA RAGION PURA DI KANT", Università Cattolica del Sacro Cuore, XXIV ciclo, a.a. 2010/11, Milano, [http://hdl.handle.net/10280/1351].
Adobe PDF
http://hdl.handle.net/10280/1351
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Previous issue date: 2012-03-13
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oai:tesionline.unicatt.it:10280/13522013-06-04T13:53:26Zhdl_10280_25hdl_10280_62
DocTA - Doctoral Theses Archive
advisorFLORES D'ARCAIS, FRANCESCA
ITA
2012-03-13
2012-03-15T01:00:10Z
This study on the mural painting in Milan in the second half of the thirteenth century at the beginning of the fourteenth century, starting from the considerations of PietroToesca (1912); we analyze the individual frescoes trying to put them in a consistent chronological and stylistic; to understand better what the painting looked like before the arrival of Giotto in Milan , highlighting similarities and differences between the many stylistic variations present in Milan. For this purpose the individual paintings in the various religious buildings, are studied in their architectural context to better understand their importance in the artistic city.
authorRICCOBONO, FEDERICO
editorCASCETTA, ANNAMARIA
La pittura murale a Milano tra la seconda metà del XIII secolo e l'inizio del XIV secolo
2012-03-15T01:00:10Z
Si tratta di studio sulla pittura murale milanese dalla seconda metà del Duecento all’inizio del Trecento; partendo dalle considerazioni di Pietro Toesca (1912), si analizzano i singoli affreschi cercando di inserirli all’interno di un omogeneo percorso cronologico e stilistico; per comprendere meglio quale aspetto avesse la pittura milanese prima dell’arrivo di Giotto a Milano, evidenziando somiglianze e differenze tra le varie cadenze stilistiche presenti in Milano. A questo scopo i singoli dipinti, presenti nei vari edifici religiosi, vengono studiati nel loro contesto architettonico per comprendere meglio la loro rilevanza artistica nella città.
Riccobono, Federico. "La pittura murale a Milano tra la seconda metà del XIII secolo e l'inizio del XIV secolo", Università Cattolica del Sacro Cuore, XXIV ciclo, a.a. 2010/11, Milano, [http://hdl.handle.net/10280/1352].
Adobe PDF
http://hdl.handle.net/10280/1352
Submitted by FEDERICO RICCOBONO (3710910) on 2012-01-09T13:47:06Z
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Previous issue date: 2012-03-13
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oai:tesionline.unicatt.it:10280/18512013-06-04T13:57:26Zhdl_10280_25hdl_10280_62
DocTA - Doctoral Theses Archive
advisorTEDESCHI, FRANCESCO
ITA
2013-04-15
2013-04-17T00:00:25Z
The research analyses the teaching careers of Italian artists Costantino Nivola (1954-57, 1970) and Mirko Basaldella (1957-69) at the Graduate School of Design, Harvard University, focusing in particular on the Design Workshop, founded – with the contribution of Nivola, its first director – in 1956, and directed by Basaldella from 1957 to his death in 1969. The peculiar case of two artists so involved with archetypal shapes defying both abstraction and figure, but forces to teach courses based on “design”, makes it necessary to introduce the subject with two chapters of theoretical character, addressing the problematic definition of “design” and its importance on the 20th-Century evolution of the contents and methods of art education in the American university, and particularly on the assimilation of the Bauhaus model. Such cumbersome influence is used as a way to clarify the distance between the art produced by the contemporary American avant-garde and the art taught at college level, mirroring the co-existence of two different formulations of modernism. In the space created by such distance Nivola, Mirko, and also Bruno Munari – Visiting Professor at Harvard in 1967 – work as college teachers.
authorMCMANUS, KEVIN
editorCASCETTA, ANNAMARIA
ARTISTI ITALIANI NELLE UNIVERSITA' AMERICANE: IL CASO DI HARVARD (1954-1970)
2013-04-17T00:00:25Z
La ricerca analizza l’attività didattica degli artisti italiani Costantino Nivola (1954-57, poi 1970), e Mirko Basaldella (1957-69) presso la Graduate School of Design della Harvard University, focalizzandosi in particolare sul Design Workshop, fondato nel 1956 anche grazie al contributo di Nivola, suo primo direttore, e poi coordinato da Basaldella fino alla sua morte nel 1969. Il caso particolare di due artisti così legati a forme archetipiche equidistanti tra astrazione e figurazione, ma spinti dal metodo dell’università americana a tenere corsi legati al concetto di “design”, impone di premettere, in due capitoli di taglio teorico, un inquadramento del problema della definizione di tale concetto e della sua particolare incidenza sui contenuti e le categorie didattiche dell’arte nell’università americana nella sua evoluzione nel Ventesimo secolo, soprattutto in relazione all’importazione del Bauhaus. Il rapporto con questo ingombrante modello è affrontato anche per spiegare la distanza tra l’arte prodotta dall’avanguardia americana di quegli anni e quella insegnata a livello universitario, esiti rispettivi di due diverse formulazioni del “modernismo”: proprio in questa distanza si colloca il lavoro di docenti di Nivola e di Mirko, ma anche di Bruno Munari, invitato a Harvard per un semestre nel 1967.
Mcmanus, Kevin. "ARTISTI ITALIANI NELLE UNIVERSITA' AMERICANE: IL CASO DI HARVARD (1954-1970)", Università Cattolica del Sacro Cuore, XXIII ciclo, a.a. 2011/12, Milano, [http://hdl.handle.net/10280/1851].
Adobe PDF
http://hdl.handle.net/10280/1851
Submitted by KEVIN MCMANUS (3612880) on 2013-01-26T13:43:33Z
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Previous issue date: 2013-04-15
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oai:tesionline.unicatt.it:10280/18572013-06-04T13:57:42Zhdl_10280_25hdl_10280_62
DocTA - Doctoral Theses Archive
advisorFLORES D'ARCAIS, FRANCESCA
ITA
2013-04-15
2013-04-17T00:00:34Z
The thesis wants to focus on the continuity of the French influence on the evolution of European fashion during the eighteenth century to the Revolution.
The first three chapters are indispensable to understand the origin of this success. The fight between the French and the Spanish court during the sixteenth century was also a fight for the supremacy of their own fashion style.
The persistence in the eighteenth century of the court dress code for man and women that was elaborated during the reign of Louis XIV was functional to the maintenance of the guide role of the French court in Europe.
At the end of the century, the refusal of strictly court dresses for new kind of clothes is peculiar of the women living at the court, but the French court has the ability to invent new fashions using ideas coming from other countries.
authorPECCHENINI, FEDERICO
editorCASCETTA, ANNAMARIA
Evoluzione e caratteri formali dell'influenza francese sulla moda nobiliare del XVIII secolo
2013-04-17T00:00:34Z
La tesi vuole evidenziare il carattere continuativo che l’influenza francese ha esercitato sulla moda curiale nel XVIII, fino allo scoppiare delle Rivoluzione.
I primi tre capitoli, sono necessari per comprendere la nascita di questa fortuna. Lo scontro tra corona francese e corona spagnola si è caratterizzato nel XVII secolo anche come scontro di codici vestimentari.
Il perdurare delle “divise” di corte maschile e femminile nel XVIII perfezionate durante la seconda metà del regno di Luigi XIV è funzionale al mantenimento del ruolo guida: riconoscendo la necessità di uniformarsi agli abiti prescritti dal cerimoniale francese, le corti si appropriano non solo di un codice vestimentario, ma di una particolare immagine della monarchia.
Il monopolio francese sulla moda si basa su un’autorità che deriva innanzitutto da quella conseguita nel secolo precedente.
Alla fine del Settecento il rifiuto per gli abiti strettamente di corte che coincide con la creazione di alternative che possano soddisfare l’esigenza dell’apparire curiale segue una matrice quasi strettamente femminile: capacità della corte francese è quelle di elaborare spunti provenienti da altre culture e modificarle in chiave nazionale.
Pecchenini, Federico. "Evoluzione e caratteri formali dell'influenza francese sulla moda nobiliare del XVIII secolo", Università Cattolica del Sacro Cuore, XXIV ciclo, a.a. 2011/12, Milano, [http://hdl.handle.net/10280/1857].
Adobe PDF
http://hdl.handle.net/10280/1857
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Previous issue date: 2013-04-15
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oai:tesionline.unicatt.it:10280/18532013-06-04T13:54:43Zhdl_10280_25hdl_10280_62
DocTA - Doctoral Theses Archive
advisorCASCETTA, ANNAMARIA
ITA
2013-04-15
2013-04-17T00:00:30Z
The object of this research is the whole of the celebrations and preparations connected with the passage of Maria Theresa of Austria and the solemn entry of Archbishop Stampa into Milan in 1739, both exemplifications of the 18th century first half civic rituality and public ceremonials, and representations which engaged the city. A confrontation has also been made with the possesso of Maria Theresa, enacted in absentia in 1741.
By means of a comparative analysis of the primary sources – printed, hamdwritten and ichnographic as well – it has been possible to reconstruct the role of etiquette norms, ceremonials and of the entire dramaturgy of festival events.
The research has also brought to light the apparati set up by the Collegio dei Giureconsulti, so far ignored by studies. It has highlighted rhetorical mechanisms, actions, representational aspects which remain, some of them pertaining to the archetype sphere.
Even if simplified, the ceremonials still show a strong cult of regality. The triumphal entry proves to be a meaningful moment to bring the city back to the imaginary of the origins which constitutes its identity and to renovate a new era. The necessity of the feast, of ritualistic moments of representation and auto representation is pointed out; and also the dramaturgic and not ornamental role of decorative elements like the baldachin, the arch, the carriage, the portrait, in a culture which conferred great value to images.
authorMIGNATTI, ALESSANDRA
editorCASCETTA, ANNAMARIA
Ritualità e cerimoniali nella Milano della prima metà del Settecento
2013-04-17T00:00:30Z
Oggetto d’indagine è il complesso delle celebrazioni e dei preparativi connessi con il passaggio di Maria Teresa d’Austria ed il solenne ingresso dell’arcivescovo Stampa nel 1739, casi esemplificativi di ritualità cittadina e cerimoniali pubblici della prima metà del secolo, rappresentazioni che coinvolsero la città. A confronto è stato analizzato anche il rito di possesso di Maria Teresa, compiuto in absentia nel 1741.
Attraverso l’analisi comparativa delle fonti primarie, a stampa e manoscritte, nonché iconografiche, si sono ricostruiti il ruolo delle norme di etichetta, dei cerimoniali, l’intera drammaturgia degli eventi festivi. La ricerca ha altresì riportato alla luce gli apparati allestiti dal Collegio dei Giureconsulti, ignorati dagli studi. Ha evidenziato meccanismi retorici, azioni, aspetti della rappresentazione che permangono, alcuni dei quali appartengono alla sfera degli archetipi. Benché semplificati, i cerimoniali mostrano ancora marcato il culto per la regalità. L’ingresso trionfale si rivela momento significativo per ricondurre la città verso l’immaginario delle origini dell’identità cittadina e rifondare un tempo nuovo. Si evidenzia la necessità della festa, di momenti rituali di rappresentazione e di autorappresentazione; il ruolo drammaturgico e non esornativo di elementi di decoro, quali il baldacchino, l’arco, la carrozza, il ritratto, in una cultura che attribuiva ancora grande valenza alle immagini.
Mignatti, Alessandra. "Ritualità e cerimoniali nella Milano della prima metà del Settecento", Università Cattolica del Sacro Cuore, XXIV ciclo, a.a. 2011/12, Milano, [http://hdl.handle.net/10280/1853].
Adobe PDF
http://hdl.handle.net/10280/1853
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Previous issue date: 2013-04-15
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oai:tesionline.unicatt.it:10280/18522013-06-04T14:00:02Zhdl_10280_25hdl_10280_62
DocTA - Doctoral Theses Archive
advisorGALVAN, SERGIO
advisorCORRADINI, ANTONELLA
advisorCARLI, RENZO
ENG
2013-04-15
2013-04-17T00:00:29Z
The issue of the unity/unification of science has its roots in the history and theory of 20th Century epistemology. The present research addresses this issue and implements it in psychology and in clinical psychology, with both a theoretical and empirical approach. In particular, the topic of the fragmentation of psychology is connected to the philosophical reflection regarding the unity or plurality of the scientific method and to contiguous issue as the scientific language, the laws and science’s objects of interest. Within such a framework, the phenomenon of psychology’s fragmentation is examined in detail through the critical analysis of the proposals proposed in the unification literature. Then, some key problems regarding different levels of analysis, from socio-institutional to methodological, are highlighted, with regards to general psychology and clinical psychology. In this scenario, the empirical research is aimed to explore the emotional representations of Italian psychologist about their own discipline, as a science and as a profession. The comparison between the theoretical examination and the outcomes of the empirical research lead to the conclusion that is crucial for psychology to manage those conceptual tools which are able to better coordinate the relationships between data, theories and practical applications.
authorGAJ, NICOLO' MARIA
editorCASCETTA, ANNAMARIA
UNITY AND DISUNITY IN SCIENCE AND PSYCHOLOGY: AN EPISTEMOLOGICAL ANALYSIS AND AN EMPIRICAL RESEARCH ON CLINICAL PRACTICE
2013-04-17T00:00:29Z
Il tema dell’unità/unificazione della scienza è radicato nella storia e nella teoria dell’epistemologia del XX secolo. Il presente lavoro riprende tale tema e lo applica alla psicologia in generale e alla psicologia clinica in particolare, con un approccio sia teorico sia empirico. In particolare, la discussione sulla frammentazione della psicologia ha radici nella riflessione filosofica relativa all’unità o pluralità del metodo scientifico e a temi contigui, quali il linguaggio scientifico, le leggi e gli oggetti d’indagine della scienza. In questa cornice di riferimento, viene analizzato dettagliatamente il fenomeno della frammentazione della psicologia tramite l’esposizione critica delle proposte avanzate nella letteratura per la sua unificazione. Quindi, vengono evidenziati alcuni problemi centrali che riguardano diversi livelli di analisi, da quello socio-istituzionale a quello metodologico, in riferimento alla psicologia generale e alla psicologia clinica. E’ entro questo scenario che si situa la ricerca empirica, realizzata al fine di esplorare la rappresentazione emozionale della disciplina, in quanto scienza e professione, da parte degli psicologi italiani. La comparazione tra la disamina teorica e i risultati della ricerca empirica portano a concludere che per la psicologia è fondamentale riappropriarsi di quegli strumenti concettuali che possano meglio coordinare i rapporti tra dati, teorie e applicazioni pratiche.
Gaj, Nicolo' Maria. "UNITY AND DISUNITY IN SCIENCE AND PSYCHOLOGY: AN EPISTEMOLOGICAL ANALYSIS AND AN EMPIRICAL RESEARCH ON CLINICAL PRACTICE", Università Cattolica del Sacro Cuore, XXIV ciclo, a.a. 2011/12, Milano, [http://hdl.handle.net/10280/1852].
Adobe PDF
http://hdl.handle.net/10280/1852
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Previous issue date: 2013-04-15
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