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Impacts of Religion and Nationalism in Religiously Identified Conflicts
No full textThesis (B.A. in Political Science, Minor in History)--John Cabot University, Spring 2021.This thesis presents the connections and repercussions of the various forms of religion andnationalism in conflict and governmental regimes, and how religious sentiment, national orreligious unity, and patriotism have proven as relevant concepts in various instances of conflict,incited by religious or patriotic nature. This, mostly in cases of revolution and toppling ofgovernments, wars, and border disputes. The paper shall progress into the study of several casestudies: The Libyan Jamahiriya (republic) of its leader Muammar al-Gaddafi, and the correlationof radical Islam in Libya, North Africa, and the Middle East in the politics of the 20th century; theinfamous debacle in the Irish territories, with specific focus in the border disputes of the Republicof Ireland and Northern Ireland in the mid to late twentieth century. In this case, the socio-religioustensions, along with the dispute in the region over full Irish sovereignty or continued separation ofthe Irish Republic and the Northern territory under jurisdiction of the United Kingdom will be ofparticular interest; finally, the genocide of Bosnian Muslims during the Bosnian War of the 1990’s,and the motives behind the bloodshed and the socio-political tensions in the region of the ex-Yugoslavia throughout the conflict. It will be of paramount importance to depict religion andnationalism, with relative sub-concepts of religious and national unity’s contributions in the eventsthat have taken place. A conclusion shall examine if and how the tension/s, conflict/s, andbloodshed that have occurred ultimately have been incited by religious and nationalistic sentimentsand factors
The Representation of Nature in Virginia Woolf’s Novels
No full textThesis (B.A. in English Literature, Minor in History)--John Cabot University, Spring 2021.In Virginia Woolf’s novels, Nature is always present. It takes the form of the flowers in Mrs. Dalloway, the sea in To the Lighthouse, and the trees in Orlando. In all of these novels, Nature dominates the scenery, and the visions of Woolf’s protagonists. While its specific functions vary depending on the case, Nature generally represents an inspiration for selfdiscovery. It helps Clarissa and Septimus to discover the true essence of life; it teaches Lily how to be a woman and an artist in Edwardian England; it leads Orlando to embrace a new and androgynous gender identity. To see how Virginia Woolf gives such a great power to Nature, the four chapters of this thesis are going to analyze in detail the functions of flowers, the sea, and the trees in Mrs. Dalloway, To the Lighthouse, and Orlando. In particular, the thesis will consider Virginia Woolf’s representations of Nature in relation to those of the Romantics, and to the woman’s feminist ideas. Quite frequently, Woolf’s personal desire to promote change for both her sex and marginalized people becomes alive on the page
Where Does the Original End and the Copy Begin?
No full textThesis (B.A. in Art History)--John Cabot University, Spring 2021.The concept of ‘originality’ in art has been largely addressed by the literature over centuries in terms of its controversial nature. However, in the Renaissance period, the term needed to be reframed in light of the advancement of technology. Indeed, the creation and success of printmaking at that time represented a challenge to the previously undefined creative role of the artist. This wave of innovation affected the art market in multiple ways, posing questions that still remain unresolved. The possibility of reproducing in minute details the artworks of accomplished masters at an affordable price and in portable format, favored a fluid market of images and an exchange of models among artist and collectors. Nevertheless, the introduction of this revolutionary technique destabilized the role of the artist, who started to require recognition for his laboris et ingenii. The legal case between Albrecht Dürer vs. Marcantonio Raimondi presents an account of the divergent forces in action – on one side the desire to defend the creative role of the artist and his artistic production, and on the other hand the unregulated use of a new reproductive technology. In this scenario, in which the misattribution of artworks (either intentional or by unintentional) was very common, signatures started to be used to link the artworks to their creators. These countertendencies in the Renaissance period stimulated a further investigation on the definition of ‘fake’/ ‘forgery’ and ‘authenticity’, and their ethical as well as art historical implications. Elaborations on these terms are now more than ever relevant. Indeed, the law case of Albrecht Dürer vs. Marcantonio Raimondi stands as a precedent to understand the impact of modern technologies and media on copyright
Pop Goes the Pope: Religion and Popular Music in Italy
Get PDFMusic has maintained a long relationship with cult since ancient times, contributing to its efficacy and strengthening a communitarian identity. The advent of Christianity marked a sensible change in the way music was used, pioneering the very idea of listening as absolute, later extended to Western art music. The spread of popular music in the twentieth century impacted on religion too and the Christian world was particularly affected from the Second Vatican Council on, both within liturgy and in secular activities. A strong impulse to legitimate and even welcome sounds and practices from pop and rock culture was given by John Paul II, in 1997 during a concert featuring the future Nobel Prize Winner Bob Dylan. The article explores this changing relationship from an interdisciplinary perspective, borrowing from history, musicology, anthropology, sociology, theology, and cultural studies, as suggested by the ‘media, religion and culture’ approach. The first part reviews the historical steps leading to contemporary soundscape with respect to religion. The second part focuses on three case-studies, each representing a distinct point of view: that of traditional music revived, centered on collectivity; that of auteur music, centered on the power of the word; that of crossover pop, aimed at offering an aesthetic experience
The Ambiguity of Blasphemy Laws: The Protection of Religions and the Infringement of Human Rights Through the Analysis of Pakistan, Indonesia, and Egypt
No full textThesis (B.A. in Political Science, Minor in Communications and Legal Studies)--John Cabot University, Spring 2021.The purpose of this thesis is to understand how the implementation of blasphemy laws violates human rights principles of free speech and religion, utilized in a manner that opposes its intended aim. Beginning with a discussion of blasphemy, the different kinds, its debate, the subsequent effects of its utilization, and the international human rights framework encompasses blasphemy, this paper will analyze the manner in which rights to freedom of speech and religion are violated in the cases of blasphemy laws that specifically protect religions. Through an analysis of the three countries of Pakistan, Indonesia, and Egypt, each country will be presented with two cases of blasphemy and an examination of the legal structure and following international framework, using the International Covenant on Civil and Political Rights. While also providing quantitative data, placing each country within a measured context providing studies and reports of the severity of global blasphemy laws, the thesis will then proceed to drawing its conclusions from the relevant case studies. Finally, it finds blasphemy legislation aimed to specifically protect religion, along with other contextual factors such as democracy level and religious homogeneity, result in cases of religious violence or protest, either silencing opposition or discriminating against religious minorities, and ultimately abuse international human rights framework and values of freedom of speech, expression, and religion
An analysis of the 1546 Venetian edition of Andrea Alciato’s Emblematum Libellus
No full textMaster of Arts in Art History -- John Cabot University, Spring 2021.The subject for this thesis is an analysis of the 1546 Venetian edition of Andrea Alciato’s Emblematum Libellus. The Emblematum Libellus is an early example of a popular genre of published materials known as emblem books. Andrea Alciato (1492-1550), an Italian jurist and humanist working in Northern Italy and France, is widely considered the father of this genre as it was his set of epigrams, printed with accompanying illustrations, that were first published in 1531.
About forty editions of his emblem books were published during the author’s lifetime but this specific edition is interesting for several reasons. First, the emblems in this edition are new; the previous twenty-seven editions or printings were all based on a different set of epigrams, the now lost 1521 or 1522 set. Second, it is the only confirmed edition published in Italy during this Italian author’s lifetime. There are references to a possible Milan edition from 1521 or 1522, but no copy has ever been found nor evidence for its production. After this 1546 edition, Alciato’s emblem books were not printed in Italy again until a posthumous edition was published in Padua in 1621. The third reason is the collection of circumstances around its publication and source. The how and why behind this publication by Paolo Manuzio and how the publisher obtained the material is still quite mysterious. After this one Italian printing, Alciato resumed working almost exclusively with French printers until his death.
By analyzing the evidence in extant copies of the 1546 edition of the Emblematum Libellus and other editions of Alciato’s emblems published shortly before and after the 1546 Venetian edition, this work will be placed in the context of the author’s biography, the publisher’s biography, and the development of the new set of illustrated emblems. Close analysis of the image portion of the emblems in this volume as well as a brief analysis of the epigrams themselves provide additional evidence about the development of this work
Re-evaluating Late Pompeian Wall Painting in the House of the Ephebe
No full textMaster of Arts in Art History -- John Cabot University, Fall 2021.The last decades of Pompeii were a time of great change and innovation in the art of Roman wall painting. Due to the earthquake of 62 CE it is possible to locate homes which were painted in these final years. The House of the Ephebe is one such house that was nearly fully redecorated in these pivotal years, and is therefore an excellent resource to study changes occurring in this time. Two aspects of late Pompeiian wall painting which have been largely ignored in scholarship can be seen in this house; they are a glimpse of what was a larger movement within painting at the time. These aspects are an increasing use of monochrome backgrounds, particularly white but also other colors, and the function and importance of subsidiary figures such as floating cupids. While monochrome design palettes and floating cupid figures can be observed in other houses at Pompeii and other spaces in the bay of Naples, there is no location in which these ideas are more clearly and vibrantly seen than in the House of the Ephebe. This thesis will explore the prevalence of white monochrome painted rooms throughout the bay of Naples to suggest that between 62 and 79 CE they became increasingly more common – in total, appearing in over 30 homes at Pompeii. It will also discuss the importance and function of the floating cupid figures. The high preservation level of Room twelve of the House of the Ephebe makes it an unparalleled opportunity to study these figures and their interconnectivity with the mythological scenes with which they are paired. The close study of the interior fresco paintings of this house, which have been neglected otherwise for nearly a century, will be the trigger for a watershed moment in the study of ancient Roman wall painting, opening up new avenues of thinking about painted domestic spaces, particularly the way with which they were conceived by the artists, and the way that the viewer might have interacted with the space
Reexamining the Visual Impact of the Togate Body: Deviations and Codified Representations
No full textMaster of Arts in Art History -- John Cabot University, Fall 2021.In this paper I will examine the full bodied togate form in free standing statuary and monumental group sculpture as means of visual agency and demonstrative authority in Roman public spaces. The ideal of the gens togata has framed the scholarship around both statuary and reliefs of the togate statue body and has served to eliminate the narrative beyond a codification of sartorial symbols as indication of status and achievements. The previous discourse surrounding the togate statue body focused on the literature of ancient historical writers that connect it to a national costume and the Republican and Imperial ideal citizen, which correlates the depiction to the object it depicts. The toga undergoes two large upheavals and several smaller transitions stylistically, thus creates a visual format that remains successful in the continuity and micro-deviations. The visual dialogue of the togate consists of the juxtaposition and tension between the face and body, male and female depictions, and between other togate statue bodies. The authority of the statue relies on the object’s reception among others of similar appearance while maintaining a sense of individuality, communicating through the expectation of the viewers in appearance and style. Through an expanding examination of the togate statue body as means of an actual garment, an object, an ideal, and a codified language in and of itself, this paper seeks to examine the visual impact of these statue types among themselves and the public landscape of the Roman world
Journey Through the Otherworld: How the Female Characters of Children’s Literature Grow Up
No full textThesis (B.A. in in English Literature, Minors in Creative Writing and Communications)--John Cabot University, Spring 2021.The aim of this thesis is to establish a connection between the coming of age of the female characters of traditional children’s literature and their journey through the Otherworld–a landscape which stands separately from the world of adults. The Otherworld will be understood as the Freudian representation of the child’s id, a place which will have to be left behind in order for the child to grow towards maturity. The first part of the thesis analyzes the necessity of the coming of age process and what it entails for the protagonists of Peter Pan, Alice’s Adventures in Wonderland, The Secret Garden and The Wizard of Oz. Then, there will be a gender-based analysis of their journeys through the theme of motherhood and the relationship of the protagonists with the guide figures found in the Otherworld. Finally, the last chapter investigates the three functions that the adult characters have in these stories in relation to the coming of age process
Where Does the Original End and the Copy Begin?
No full textThesis (B.A. in Art History)--John Cabot University, Spring 2021.The concept of ‘originality’ in art has been largely addressed by the literature over centuries in terms of its controversial nature. However, in the Renaissance period, the term needed to be reframed in light of the advancement of technology. Indeed, the creation and success of printmaking at that time represented a challenge to the previously undefined creative role of the artist. This wave of innovation affected the art market in multiple ways, posing questions that still remain unresolved. The possibility of reproducing in minute details the artworks of accomplished masters at an affordable price and in portable format, favored a fluid market of images and an exchange of models among artist and collectors. Nevertheless, the introduction of this revolutionary technique destabilized the role of the artist, who started to require recognition for his laboris et ingenii. The legal case between Albrecht Dürer vs. Marcantonio Raimondi presents an account of the divergent forces in action – on one side the desire to defend the creative role of the artist and his artistic production, and on the other hand the unregulated use of a new reproductive technology. In this scenario, in which the misattribution of artworks (either intentional or by unintentional) was very common, signatures started to be used to link the artworks to their creators. These countertendencies in the Renaissance period stimulated a further investigation on the definition of ‘fake’/ ‘forgery’ and ‘authenticity’, and their ethical as well as art historical implications. Elaborations on these terms are now more than ever relevant. Indeed, the law case of Albrecht Dürer vs. Marcantonio Raimondi stands as a precedent to understand the impact of modern technologies and media on copyright