/library/oar/handle/123456789/91682 2025-11-16T20:50:41Z 2025-11-16T20:50:41Z /library/oar/handle/123456789/107472 2023-03-20T13:22:42Z 2019-01-01T00:00:00Z

Title: Religious patronage in Gozo : the Portelli family of prelates (1880-1930) Abstract: The primary aim of this thesis seeks to identify the various aspects which define the priest as patron. This is achieved by studying the artistic and social aspects of the Portelli family of prelates, and to establish a new model in terms of patronage studies applicable to the late 19th century and the early 20th centuries and how this family possibly reflects the general patterns of patronage but at the same time identifying also differences from these systems which justify aspects of a Micro-historical research. In so doing this research, other peripheral questions will attempt to be answered for instance, who were the Portelli family of prelates? What factors constituted their existence? And what were their roles as ecclesiastical art patrons? This study is made up of six chapters. The first serves as an introductory basis which touches upon the contributions to the field of patronage studies whilst also introducing the discipline of a micro-historical approach. This concludes with a discussion on the methods of how this research was carried out. The second chapter is mainly a contextual one which introduces the reader to a valid historical background formation of the Portelli family of prelates. Having established the context, the last part of the chapter adopts a biographical poise making the reader familiar with the personas central to this study. The next three chapters, form the core discussions of this dissertation and take an investigative approach with each chapter mainly dedicated to one prelate, but with possible links to the rest of the family. Nonetheless the main thrust of these chapters remains in line with the purpose of the research; highlighting the various roles of the ecclesiastic as patron. This starts with the third chapter, where the main protagonist is Don Salvatore Portelli and his role as art patron within the rural parish church of San Lawrenz, Gozo. After establishing the model and patronage patterns, the focus is than directed to the circumstantial factors which impacted the formation of the prelate and placed him at the helm of his parish. This discussion then shifts to the notion of the long serving parish priest who never fully paid for a work of art yet was the mind behind the artistic commissions. A clear understanding of his role as patron is clinched by an idiosyncratic analysis of a select number of artistic commissions undertaken by the said prelate. In this manner, the reader is brought to understand the patronage vision of the prelate who despite the rural situation of his parish, sought to distinguish his patronage from that of other parishes. A subsection of this chapter considers his patronage activities as viewed through print material. The fourth chapter directs the attention onto the figure of Don Pio M(aria) Portelli. The focus is on his role as a priest architect/designer. Having set the context for his artistic education at the Jesuit run Seminary in Gozo, the focus shifts to his practice as an architect. The edifices which he designed are mapped out to give a sense of the geographical influence this family of prelates held within the villages of Għarb and San Lawrenz. The church of Ta’ Pinu and the figure of Don Giuseppe Portelli dominate the discussions in the fifth chapter which starts by establishing the prelate’s kinship links to the devotion of ta’ Pinu. Then the chapter shows how these factors including the family’s publicised devotion through print material paved the path for Don Giuseppe Portelli becoming rector of this church. This is followed by an evaluation of Don Giuseppe’s role as rector and patron of this church with specific reference to his involvement in the artistic commissions. Opening to a wider perspective the discussion than deals the architectural vision of the shrine showing in essence that the patronage activates at Ta’ Pinu Church were not at all insular affairs. The dissertation ends with a final general conclusion outlining the main findings and conclusions drawn out in the core chapters. This dissertation is supplemented by a number photographic images, tables and documentary appendices to be found towards the end. It should be emphasised that the documentation and images have not been included for ornamentation but as an effective contribution to an integral and holistic understanding of the subject. They have been carefully selected to illustrate the argumentation and should be referred to while reading the text. Lastly a word on the quotations. The direct quotations in Italian and the vernacular referred to in this study, are directly extracted from period documentation, and as such, every respect has been paid to retain the authenticity of the alphabetical symbols which fluctuated during the time of print and therefore should not be mistaken for grammatical errors. Description: M.MALTESE STUD.

2019-01-01T00:00:00Z /library/oar/handle/123456789/95954 2022-05-20T08:36:27Z 2019-01-01T00:00:00Z

Title: Oil, lard and butter : a study into the fats used in Malta in the late 19th and early 20th centuries Abstract: This research was inspired by my love for Malta and all that is Maltese. It brings to conclusion my Master in Maltese Studies course, undertaken at the University of Malta. Being also a food lover, it seemed natural that I would concentrate on food. Following substantial debate with my tutor and a lot of reading, I decided to limit my focus to a particular (collective) item and a particular period. Since research on the use of fats in Malta appeared bleak and shrouded in perception, I decided, with the help and guidance of my tutor - Noel Buttigieg - to delve more into the use of fats under the British period. This work sets out to trace the history of the consumption of fats in Malta in the late 18th and the first half of the 19th century as it attempts to analyse developments to separate fact from fiction. It will shed light on whether, what is shrouded in perception, is based on history or if has been made up during the years, perhaps as a result of nostalgia. As it does this, it investigates whether there was a difference between the practices adapted by different sections of society when it came to the use of fats. It sets out to establish whether the British had influenced the choice of fats in Malta and to see how solid was the assertion, made in at least one academic paper, that the Maltese had not used olive oil since the Mediaval Period until recently. Working on this project was not easy. I had to juggle my time between work and studies, while dealing with a substantial number of personal problems, including the death of my father. My travels, and the support of those around me, kept me sane. I hope this work will prove useful. Description: M.MALTESE STUD.

2019-01-01T00:00:00Z /library/oar/handle/123456789/95951 2022-05-20T08:34:16Z 2019-01-01T00:00:00Z

Title: The survival of the Maltese language in Australia Abstract: Malta has a history of migration. Australia is a country built by migrants from all over the globe. People from Malta have been migrating to Australia since 1838 with Antonio Azzopardi being the first Maltese migrant to ever settle there (Agius, 2001). Since then, thousands of people from Malta have made Australia their homeland. The mass exodus of emigration from Malta started soon after the Second World War and continued up to the years after Independence in 1964. As Cohen (1997) describes it, the Maltese diaspora is a labour diaspora since the Maltese moved to Australia mainly due to the economic downturn and with hopes of better financial stability. I have often heard that there are more Maltese people living in Australia than there are on the Maltese Islands. This hearsay is often repeated and many Maltese seem to believe it. However, according to the latest Australian census of 2016, there are 243,344 people who are of a Maltese descent, who were either born in Malta or who have one Maltese parent. There are, of course, many more who are third or fourth generation Maltese. Yet the number of settlers in recent years has dwindled, probably due to better opportunities in Malta. One must point out also, that the migration questions forming part of the census are not clear and to the point, and therefore resulting in an unknown number of citizens end up stating that they are not Maltese and/or of Maltese ancestry. The Maltese Australians have been duly assimilated in their new homeland. With the vast majority being proficient in English. However, the Maltese language is still used among the Maltese community and seems to be nurturing a warm community spirit. There are a few who still have not mastered the English language and thus their only medium of communication is Maltese. The main aim of this thesis is to take a snapshot of the Maltese language in Australia in 2018. This study seeks to determine how, when and why is Maltese still being used among the Maltese diaspora. The research purports to trace and outline the survival of the Maltese language, since it is very evident from the 2016 census, that the Maltese community has been largely assimilated in Australia and has thereby become more proficient in the English language. The study was carried out in Melbourne and Sydney, the capital cities of the states of Victoria and New South Wales respectively. These two localities were chosen because they have the greatest number of Maltese Australians living there. Description: M.MALTESE STUD.

2019-01-01T00:00:00Z /library/oar/handle/123456789/95948 2022-05-20T08:33:32Z 2019-01-01T00:00:00Z

Title: The expression of identity through street theatre : a postcolonial example Abstract: This dissertation titled: "The Expression of Identity through Street Theatre: The Postcolonial Example", concentrates on the development of Maltese identity as a result of colonialism on two paradigms. The first refers to the discourse of how street theatre is a mirror of the effects of colonisation on culture and society. The second, how street theatre of a political and social nature helped shape Malta‘s fluid national identity. This is because, as the examples discussed in this dissertation demonstrate, street theatre in postcolonial Malta represents social movement and civil resistance. The historical implications of being colonised for so many hundreds of years, has shaped the way theatre is presented, used and how Maltese culture has been affected by such changes. Historical archives, interviews and readings from theorists such as Fanon, Spivak, Said, and Bhabha will inform the discussion of how the 'theatrical place‘ has surfaced in all realms of Maltese culture where religion and namely politics are the main driving forces of most theatrical performances. Three street theatre happenings will serve as a backdrop to this research as all three correlate to the Maltese preoccupation with religion and politics. These events are: the passion plays held yearly in Ħal Għargħur, the socio-political performances of a theatrical protest group notoriously known as 'Tan-Numri‘, active from 1984 to 1987, and the annual Carnival in Nadur, Gozo. Personally, my love for street theatre developed at an early age as both my parents have been very much involved in the Ħal Għargħur Passion Play since their childhood. I am also an active member of the Dwal Ġodda Theatre Group. I consider fellow members and contributors as my second family. My interest, as well as curiosity, in carnival was instilled by Prof Vicki Ann Cremona who was always keen to have undergraduates participate in field research. I cannot recall when my interest in 'Tan-Numri‘ came about, however, when members of 'Tan-Numri‘ reminisced about their youth and their active role as Maltese citizens, I felt envious that I did not get to witness all that and ended up feeling part of complacent society too comfortable or maybe too indifferent to take a stand. There were moments when description of events were over-romanticised or sounded heroic and although such recollections instilled a smile, they have not been included in this dissertation. I am grateful to all those who were willing to share their experiences, opinions and thoughts and to researchers who have published works about Malta‘s street theatre. These, have not only kindled further research but allowed me to appreciate local street theatre as a form of expression. Description: M.MALTESE STUD.

2019-01-01T00:00:00Z