Current Search: Zaho, Margaret (x)
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- Title
- METAMORPHOSIS OF LOVE: EROS AS AGENT IN REVOLUTIONARY AND POST-REVOLUTIONARY FRANCE.
- Creator
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Laffick, Jennifer N, Zaho, Margaret, University of Central Florida
- Abstract / Description
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This thesis chronicles the god of love, Eros, and the shifts of function and imagery associated with him. Between the French Revolution and the fall of Napoleon, Eros's portrayals shift from the Rococo's mischievous infant revealer of love to a beautiful adolescent in love, more specifically, in love with Psyche. In the 1790s, with Neoclassicism in full force, the literature of antiquity was widely read by the upper class. Ancient Greek texts reveal an important facet of the god of desire;...
Show moreThis thesis chronicles the god of love, Eros, and the shifts of function and imagery associated with him. Between the French Revolution and the fall of Napoleon, Eros's portrayals shift from the Rococo's mischievous infant revealer of love to a beautiful adolescent in love, more specifically, in love with Psyche. In the 1790s, with Neoclassicism in full force, the literature of antiquity was widely read by the upper class. Ancient Greek texts reveal an important facet of the god of desire; the fact that he is an agent, if not the patron, for homosexual, homoerotic love. This aspect of Eros directly collided with the heteronormative principles that existed in Revolutionary and Post-Revolutionary France, leaving French Neoclassicists with the challenge to reconcile the ancient role of Eros with the moralizing, rational ideals of society. Thus, the popularization of Eros and Psyche in French Neoclassical art exemplifies this attempt to create a heteronormative ideal couple to epitomize patriarchal France. Throughout my thesis I pose the question: How do depictions of Eros and Psyche produced in the years surrounding the French Revolution reflect the antique tastes of Neoclassical artists and the heteronormative society within which these pieces were produced?
Show less - Date Issued
- 2017
- Identifier
- CFH2000195, ucf:46037
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFH2000195
- Title
- MARSILIO FICINO'S ASTRAL PSYCHOLOGY: THE INNER COSMOS OF CARDINAL ALESSANDRO FARNESE ON THE ASTRONOMICAL CEILING FRESCO OF SALA DEL MAPPAMONDO AT CAPRAROLA.
- Creator
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Nagy, Renata R, Zaho, Margaret, University of Central Florida
- Abstract / Description
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This thesis intends to explore the relationship between the Neoplatonist doctrines of the Renaissance philosopher, Marsilio Ficino (1433-1499), and astrological images in the Renaissance. The astrological ceiling fresco located in the Room of Maps in the Villa Farnese at Caprarola is in the center of the argument, which I analyze based on the metaphysical works of Ficino, the Platonic Theology (1482) and the Three Books on Life (1492). Authors have examined the fresco decoration and Ficinian...
Show moreThis thesis intends to explore the relationship between the Neoplatonist doctrines of the Renaissance philosopher, Marsilio Ficino (1433-1499), and astrological images in the Renaissance. The astrological ceiling fresco located in the Room of Maps in the Villa Farnese at Caprarola is in the center of the argument, which I analyze based on the metaphysical works of Ficino, the Platonic Theology (1482) and the Three Books on Life (1492). Authors have examined the fresco decoration and Ficinian philosophy individually, but never together. This study is the first to recognize Ficino's influence on Renaissance astrological images in its entirety.The present work synthesizes scholarship on Ficino and astrological image interpretations and provides a Neoplatonic reading of the fresco in question. The results demonstrate that the ceiling fresco at Caprarola is a visual manifestation of the principal Ficinian doctrines. The predominant decorative figures (Phaeton, Argo, Capella, and Jupiter) located at the four corners of the ceiling, communicate the importance of contemplation and introspection, the proper management of one's vices and virtues, and the immortality of the soul. Together, they comprise the microcosm of the patron, Cardinal Alessandro Farnese (1520-1589). The decoration provides an insight into the inner world of Cardinal Farnese and represents his dominant personality traits. In the end, he triumphs over his sins, and his good deeds enable his soul to ascend to the divine sphere. The current study opens the door to conducting psychoanalyses of other historical figures, who were major patrons of the art and involved with Ficino's philosophy.
Show less - Date Issued
- 2018
- Identifier
- CFH2000347, ucf:45739
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFH2000347
- Title
- DISPLAYS OF MEDICI WEALTH AND AUTHORITY: THE ACTS OF THE APOSTLES AND VALOIS FETES TAPESTRY CYCLES.
- Creator
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Clyburn, Madison L, Zaho, Margaret Ann, University of Central Florida
- Abstract / Description
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The objective of my research is to explore Medici extravagance, power, and wealth through the multifaceted artistic form of tapestries vis-a-vis two particular tapestry cycles; the Acts of the Apostles and the Valois Fetes. The cycles were commissioned by Pope Leo X (1475-1521), the first Medici pope, and Catherine de' Medici (1519-1589), queen, queen regent, and queen mother of France. The motivation for such a project lies in analyzing what is traditionally considered as two independent...
Show moreThe objective of my research is to explore Medici extravagance, power, and wealth through the multifaceted artistic form of tapestries vis-a-vis two particular tapestry cycles; the Acts of the Apostles and the Valois Fetes. The cycles were commissioned by Pope Leo X (1475-1521), the first Medici pope, and Catherine de' Medici (1519-1589), queen, queen regent, and queen mother of France. The motivation for such a project lies in analyzing what is traditionally considered as two independent tapestry cycles by revealing their social, religious, political, and artistic significance through the powerful dynastic influence of the Medici. As Leo and Catherine were both aware of the contemporary social environment, their commission of the Acts of the Apostles and the Valois Fetes exemplify the Medici streak for ambition, familial dependence, and triumphalism. As Leo X (r. 1513-1521) governed from Rome, Catherine de' Medici (r. 1547-1559) presided over the French throne for nearly fifty years in some capacity. Both Medici enjoyed access to the wealth associated with the Papal Curia and Valois royal household accounts, respectively, investing an enormous sum on the tapestry cycles, only one of the numerous artistic commissions procured during the sixteenth century. Heedless of their iconography and embellishment, the Acts of the Apostles and Valois F�testestify to the wealth and power wielded through their patron's accessibility and resourcefulness to procure an estimable and luxurious commission.
Show less - Date Issued
- 2019
- Identifier
- CFH2000523, ucf:45696
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFH2000523
- Title
- PESTILENCE AND PRAYER: SAINTS AND THE ART OF THE PLAGUE IN ITALY FROM 1370 - 1600.
- Creator
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Ortega, Jessica, Zaho, Margaret, University of Central Florida
- Abstract / Description
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Stemming from a lack of scholarship on minor plague saints, this study focuses on the saints that were invoked against the plague but did not receive the honorary title of plague patron. Patron saints are believed to transcend geographic limitations and are charged as the sole reliever of a human aliment or worry. Modern scholarship focuses on St. Sebastian and St. Roch, the two universal plague saints, but neglects other important saints invoked during the late Medieval and early Renaissance...
Show moreStemming from a lack of scholarship on minor plague saints, this study focuses on the saints that were invoked against the plague but did not receive the honorary title of plague patron. Patron saints are believed to transcend geographic limitations and are charged as the sole reliever of a human aliment or worry. Modern scholarship focuses on St. Sebastian and St. Roch, the two universal plague saints, but neglects other important saints invoked during the late Medieval and early Renaissance periods. After analyzing the reasons why St. Sebastian and St. Roch became the primary plague saints I noticed that other "minor" saints fell directly in line with the particular plague associations of either Sebastian or Roch. I categorized these saints as "second-tier" saints. This categorization, however, did not cover all the saints that periodically reoccurred in plague-themed artwork, I grouped them into one more category: the "third-tier" plague saints. This tier encompasses the saints that were invoked against the plague but do not have a direct association to the arrow and healing patterns seen in Sts. Sebastian and Roch iconographies. This thesis is highly interdisciplinary; literature, art, and history accounts were all used to determine plague saint status and grouping, but art was my foundation. I examined important works of art directly associated with the plague and noted which saints appeared multiple times. The results from that assessment spurred further hagiographic and literary study. It was clear that these saints had multivarient connections to the plague. This study into the lives of the saints reaffirms their placement in the artistic and religious history of the pestilential epidemic of the Medieval and early Renaissance periods.
Show less - Date Issued
- 2012
- Identifier
- CFH0004290, ucf:44902
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFH0004290