Dissertations / Theses on the topic 'Italian Authos'

REDOSCHI, M.E. O autor \"florentino\" da literatura suíça em língua italiana: Francesco Chiesa. 2008. 90 pag. Dissertação (mestrado) - Faculdade de Filosofia Letras e Ciências Humanas, Universidade de São Paulo, São Paulo, 2008. A Suíça é um país situado no centro da Europa ocidental e conta com quatro idiomas oficiais: o alemão, o francês, o italiano e o romanche. A Confederação Helvética possui vinte e seis unidades administrativas, denominadas Cantões, formados ao longo da história, que contam com um alto grau de autonomia. O idioma de Dante está presente como língua materna de boa parte da população do Cantão de Ticino e de quatro vales alpinos no vizinho Cantão Grisões, onde divide espaço com o alemão e o romanche. É apresentado o contexto formativo do italiano falado na região, que se padronizou em torno da norma toscana a partir do Séc XVI, graças à qualidade das escolas mantidas por religiosos como São Carlos Borromeo. Eram utilizadas as gramáticas e métodos mais modernos disponíveis na época. Nesta encruzilhada de civilizações, de área habitada equivalente à cidade de São Paulo e ABCD, surgiu Francesco Chiesa. Foi o primeiro escritor suíço a efetivamente a desbravar o árduo mercado editorial italiano, colocando assim o nome de sua região definitivamente nos manuais de língua e literatura. À sua numerosa produção em poesia e prosa, soma-se a longeva biografia (1871-1973). Destacam-se suas atividades como professor de língua, historia da arte, jornalista e defensor do patrimônio artístico e cultural de origem lombarda de sua terra. Em 1925 seria publicado Tempo di marzo, que se tornaria sua obra mais conhecida no exterior. Um retrato da sociedade agrária do Ticino do início do novecentos, o romance é uma transposição lírica da realidade histórica da região. À medida que o garoto Nino transcorre o final de sua infância, passamos a conhecer melhor a geografia, usos e costumes do Ticino de antigamente. Por sua escrita límpida, fluída, quase \"manzoniana\" o romance foi discutido e ensinado nas escolas do norte da Itália, como exemplo de redação em italiano padrão. Completado em 1943, Io e i miei, é uma obra \'moderna\', dentro da estética Chiesiana. Lançado em pleno período da guerra, fatores logísticos impediram que o livro tivesse a merecida repercussão. Uma espécie de híbrido de conto e romance, lá são narrados os conflitos internos de uma família de viúvos recasados, da filha Serafina e do filho Manlio. São evidenciados sobretudo os dramas do pai. Um pessimismo e uma resignação lânguida, em contraste à jovialidade e alegria de Tempo di marzo, permeiam a narrativa. O registro melancólico dos vilarejos em decadência é comparado à extratos de Il fondo del sacco, escrito pelo romancista grisonês de temática realista Plinio Martini, cerca de trinta anos mais tarde. Francesco Chiesa foi o primeiro e o mais \"florentino\" dos escritores suíços de expressão italiana.
ABSTRACT REDOSCHI, M.E. The \"florentine\" author of Switzerland\'s literature in italian: Francesco Chiesa. 2008. 90 pag. Master\'s Thesis - Faculty of Filosofy, Letters and Human Sciences (FFLCH), Universidade de São Paulo, São Paulo, 2008. Switzerland is a country located at the center of western Europe with four official languages: German, French, Italian and Romansch. The Helvetian Confederation has twenty-six highly autonomous administrative units, called Cantons, formed throughout history. Dante\'s language is present as the mother tongue of the bulk of Canton Ticino\'s population as well in four alpine valleys on the nearby Canton Grisons. There it shares space with Swiss-German and Romansch. The background for the formation of the Italian spoken in the region, which had standardized around tuscan rules from the sixteenth century - thanks to the quality of schools maintained by clerics such as Saint Charles Borromeo - is presented. The most modern grammars and teaching methods available at the time were used. At this crossroads of civilizations, with an inhabited area equivalent to the city of São Paulo and a few nearby suburbs, appeared Francesco Chiesa. He was the first Swiss author to effectively brave the italian book market, thus inscribing his region\'s name forever on the Italian language and literature textbooks. Added to his prolific production in prose and verse, is his longevous biography (1871-1973). Worthy of note are his activities as professor of italian, art history, journalist and supporter of his land\'s lombardic cultural and artistic heritage. In 1925 would be published Tempo di marzo, which would become his best known work abroad. A portrait of agrarian Ticino society at the early nineteen-hundreds, the romance is a lyric transposition of the region\'s historical realities. As the boy Nino moves toward the end of his childhood, we get to experience the geography, customs and traditions of yesteryear Ticino. By virtue of his clear, fluid, almost \"manzonian\" writing, the novel was discussed and taught at Northern Italy schools. It was used as a model in italian composition classes. Finished in 1943, Io e i miei, is a \'modern\' work, within Chiesa\'s style. Released right in the middle of wartime, logistical factors prevented the book from having a much deserved accolade. A sort of hybrid between a short story and a novel, it narrates the internal conflicts of a family of remarried widowers, the daughter Serafina and the son Manlio. In evidence are the father\'s issues. A pessimistic tone, of quiet languishing and resignation, in contrast to the youthfulness and joy of Tempo di marzo strides the narrative. The melancholic account of deserted, decadent villages is compared to extracts of Il fondo del sacco, written third years later by the Grison native Plinio Martini, which had embraced realism themes. Francesco Chiesa was the first and most \"Florentine\" of Italian speaking Swiss authors.

This thesis constitutes the first detailed study of the life and works (published and unpublished) of the writer Giovanna Zangrandi (1910-1988). It is a study of the relationship between autobiography, fiction and history in her writing, in the light of recent developments in the criticism of autobiography and of feminist historiography and literary criticism. It aims to place Zangrandi's work in its historical and literary context and pays particular attention to the periods of fascism, the Resistance and neorealism. The thesis considers the nature of autobiography, and the implications of women writing about themselves, and analyses Zangrandi's use of autobiography, highlighting the inevitable intrusion of fiction into such writing. It uses that analysis, along with material including Zangrandi's unpublished diaries and testimonies of people who knew her, to write a biography of Zangrandi and to examine the way that she writes about the fascist period and the Resistance. The question of representing real life in fiction, rather than autobiography, is also discussed, with reference to Zangrandi's first novel and to neorealism. It is shown that, as well as her constant interest in the lives of women, her attitude to history and traditions of the Cadore, the mountainous region in the north of the Veneto, where she lived all her adult life and where nearly all her novels, short stories and autobiography are set, is of considerable importance. Her writing about the Cadore can be seen both as an attempt to write herself into those traditions, and as a means of expressing her commitment to improving society. Moreover, it is argued, her commitment takes the form of both autobiography and fiction as her concern to write about lived experience is balanced by a constant interest in the story-telling tradition of the Cadore and an interpretation of fiction that judges it to be an integral part of everyday life.

This dissertation provides a critical assessment of Laura Terracina (1519-c.1577) and her works. It argues that she was a consummate product of her age, embodying the tensions which ruled the Italian peninsula. Terracina published eight books and left a ninth in manuscript at the time of her death, winning legions of admirers and making her sixteenth-century Italy's most commercially successful female author. Yet in spite of her enormous popularity amongst her contemporaries, scholarship has largely neglected Terracina. This dissertation will open up an overdue field of enquiry into her life and works, exploring the significance of her role as a sixteenth-century female poet through the lenses of gender and class. By mapping her place in the literary landscape, it is hoped that this thesis will encourage scholars to afford Terracina the attention she so richly deserves. The first chapter of the dissertation situates Terracina as a poet of Naples, seeing her as a product of her family's political standing within the city, her academician status, and her own construction of an urban coterie of supporters. The second chapter considers the mechanics of the journey into print, assessing Terracina's own input and her close collaboration with male editors and publishers. It proposes a greater attribution of agency to Terracina than has thus far been made, arguing that she is, in fact, an important figure in the process of her texts reaching the hands of readers. The third chapter considers how the poet used her printed books as social tools, employing them to gain social and literary capital. The second section of the dissertation looks at two thematic strands within Terracina's poetry. Chapter four considers her political poetry, including her attitude towards the harm done to civilian populations across Europe. Chapter five looks at the religious dimension to Terracina's work, the spiritual poetry written in her later years, and the relationship this bears to her secular lyric. Finally, the dissertation concludes with a chapter on the contemporary reception of Terracina's texts, providing preliminary thoughts on how she was read, before closing with a consideration of her literary afterlife in the centuries that followed.

Thesis (Ph. D.)--University of Oregon, 2004.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 226-232). Also available for download via the World Wide Web; free to University of Oregon users.

As women's literature emerged in late nineteenth-century Italy, female authors encountered many obstacles. Foremost among them was the near-total absence of Italian female literary role models. Female writers often expressed ambivalence towards the writing of other women, which was considered inferior to male writing. However, their reverence for male writers revealed how conflictive their identities as writers were, and it was an impediment to the establishment of a serious women's literary tradition. In addition to such personal conflicts, these writers also faced the challenge of gaining acceptance by the male-dominated literary community and by their readers. These two groups expected that women's writing conform to a moral code which did not apply to men's writing. This thesis is an analysis of the specific problems that female novelist Bruno Sperani and others faced as they strove to establish themselves in Italian literature.

The thesis is divided into three parts. Part One treats Beni's life and works from his birth in 1553 to 1604. His birth, his ancestry, his early education, his early careers, his Jesuit career and its aftermath are described from documentary evidence. His works of this period, most of which are inextricably connected with his life, are also briefly treated, Part Two narrates the events of the remainder of his life: his writing, his teaching, his publishing, his polemical writing, his relationship with his family, his last illness and death. Part Three provides a more ample critical assessment of his major writings after 1604, grouped according to subject-matter. Chapters are devoted to his criticism of Tasso, to his linguistic writings, to his theory and practice of poetry, history and rhetoric. The conclusion summarizes the pattern of his life and reassesses his importance. The Bibliography is divided into two parts. The first contains Beni's writings in three sections: (a) published works, with a note on the Opera omnia; (b) MS works; (c) a chronological reference list of his (mostly unpublished) letters. Part Two contains all other works consulted, MS and printed.

La seconde moitié du XVIIIe siècle est une période de recherche et d’expérimentation dramatiques qui se traduisent, au sein de la programmation du théâtre de la Comédie-Italienne de Paris, en la conception d’une soixantaine de canevas italiens inédits, mis en scène par les acteurs-auteurs de la troupe italienne du théâtre, entre 1760 et 1779, année de la « suppression » du genre italien. À travers le dépouillement des sources périodiques, contenant les résumés des soirées et les récits des performances, des registres du théâtre, ouvrant l’accès aux effectifs des troupes, cette thèse propose la reconstitution du répertoire de pièces italiennes d’acteur et l’étude de la dramaturgie de ce spectacle parisien durant la seconde moitié du XVIIIe siècle. À partir des années 1760, la pratique de la scène, les modalités créatives et représentatives de la commedia dell’arte migrent vers les dramaturgies adjacentes à l’intérieur d’un répertoire mixte, français et italien, en donnant lieu à des phénomènes d’« hybridation » permettant de pérenniser la dramaturgie italienne et la « pratique » scénique des comédiens italiens, à l’intérieur des comédies des dramaturges français qui écrivent pour ce théâtre : J.-F. Cailhava de l’Estandoux et de J.-P. Claris de Florian. Il sera donc question de relire la « suppression » du genre italien en 1779, en les termes d’une « réexistence », en étudiant la portée globale du répertoire et de la dramaturgie italienne du point de vue de leur évolution, durant la seconde moitié du XVIIIe siècle, au sein du contexte productif et de la palette représentative de la Comédie-Italienne
The second half of the eighteenth century represents a period of research and experimentation in dramatics that manifest themselves, within the theater’s programs of the Comédie-Italienne. These experimentations materialize in approximately sixty unpublished Italian plots, directed by the actors-authors of the Italian company between 1760 and 1779, year of the “suppression” of the Italian genre. Sorting through periodical sources, that include summaries of the evening performances and performances’s telling, and theater’s registers, which give the access to the acting company, this thesis intends to recreate the company’s repertoire of Italian plays. The intention is also to study the dramatic art of this Parisian show during the second half of the eighteenth century. From the 1760s, the experience of the stage, the creative and representative modalities of the commedia dell’arte slide towards closed dramaturgies inside a mixed repertoire French and Italian. It generates “hybrid” phenomena that give the possibility to preserve the Italian dramatic art and the scenic “technique” of the Italian comic actors, within the plays of French playwrights who have written for this theater: J.-F. Cailhava de l’Estandoux et de J.-P. Claris de Florian. This thesis will provide a rereading of the “suppression” of the Italian genre in 1779, in terms of “rebirth”. Then it will analyze the complete impact of the Italian repertoire and the dramatic art inside the productive context and the representative range of the Comédie-Italienne from the outlook of their evolution during the second half of the eighteenth century
La seconda metà del XVIII secolo è un periodo di ricerca e sperimentazione drammatica che sfociano,nell’ambito della programmazione del teatro della Comédie-Italienne di Parigi, nella creazione di unasessantina di canovacci italiani inediti allestiti e rappresentati dagli attori-autori della compagnia italiana delteatro, tra il 1760 e il 1779, anno della « soppressione » del genere italiano. Attraverso lo spoglio delle fontiperiodiche, che contengono i riassunti degli spettacoli e i resoconti delle performance attoriali, le ricerched’archivio effettuate nei registri del teatro, che permettono di accedere agli effettivi delle troupes, la tesipropone la ricostituzione del repertorio italiano e lo studio della drammaturgia di questo teatro parigino dellaseconda metà del Settecento. A partire dal 1760 la pratica scenica, le modalità compositive e rappresentativedella commedia dell’arte migrano verso le forme drammaturgiche ad essa vicine all’interno di un repertoriobilingue, francese e italiano dando luogo a fenomeni di « ibridazione » che permettono la fissazione delladrammaturgia italiana e della pratica teatrale degli attori italiani, nella produzione francese degli autori checompogono per questo teatro : J.-F. Cailhava de l’Estandoux e J.-P. Claris de Florian. Lo studio dell’ampiezzadel repertorio e della drammaturgia italiana, considerati dal punto di vista dell’evoluzione che subiscono inseno al contesto produttivo e all’offerta rappresentativa della Comédie-Italienne, permette di rileggere la« soppressione » del genere italiano avvenuta nel 1779 come « riesistenza » e « perennizzazione » di questogenere
Die zweite Hälfte des 18. Jahrhunderts ist eine von dramaturgischer Forschung und Experimentierfreudigkeitgeprägte Periode, was sich in den Jahren 1760 bis 1779, Jahr der ‚Abschaffung’ des italienischen Genres,innerhalb des Programms des Pariser Theaters Comédie Italienne in der Konzeption von ungefähr 60unveröffentlichten neuen italienischen Kanevas, die von Schauspieler-Autoren der italienischen Truppe desTheaters inszeniert wurden, ausdrückt. Durch die Aufarbeitung publizistischer Quellen, die neben Kritikenund Inhalten dieser Abende auch Theaterregister beinhalten, und somit einen Zugang zum Personalbestandder Truppe eröffnen, wird in der vorliegenden Dissertation eine Rekonstruktion des Repertoires deritalienischen Schauspielerstücke sowie die Untersuchung der Dramaturgie dieser Pariser Vorstellungen derzweiten Hälfte des 18. Jahrhunderts vorgenommen. Ab den 1760er Jahren verlagern sich die Szenenpraxis,die kreativen und repräsentativen Modalitäten der commedia dell’arte hin zu benachbarten Dramaturgieneines gemischten, französisch und italienischen Repertoires hin und machen Platz für hybride Phänomene,was erlaubt, die italienische Dramaturgie und die Bühnenpraxis der italienischen Schauspieler innerhalb derKomödien französischer Dramaturgen, die für dieses Theater schreiben (J.-F. Cailhava de l’Estandoux und J.-P. Claris de Florian), zu einem festen Bestandteil zu machen. Es geht also darum, die „Abschaffung“ desitalienischen Genres 1779 hinsichtlich einer „Reexistenz“ noch einmal zu überdenken, indem man denglobalen Beitrag von „italienischem“ Repertoire und „italienischer“ Dramaturgie aus Sicht ihrer Entwicklungin der zweiten Hälfte des 18. Jahrhunderts im Kontext der Produktion und der Darstellungspalette derComédie Italienne untersucht

My final dissertation is aimed at analyzing the economic-legal scenario existing between China and Europe concerning the automotive industry and in particular the dynamics in the auto supply chain, highlighting the differences and similarities and the opportunities to increase trade and market share between these two powerful areas. In the first chapter I will briefly outline the scenario before the 2020 reform of Foreign Investment Law, then analyzing the background which brought to this important change and what this reform brings as opportunity for foreign investors. Moreover, I will focus on the impact of the reform on the OEMs suppliers and on the aftermarket competitors. In the second chapter I will distinguish the two main segments of market characterizing the auto supply chain as in China as worldwide, which are: the suppliers of the automakers, so suppliers of original equipment and the supplier of spare parts, so suppliers of auto parts which most of the times are identical to the original equipment but are sold in the aftermarket as they have not brand identity. I will focus on the structure and dynamics of these two different markets in China, trying to understand which of them is more successful and profitable in the Chinese automotive market. In the last chapter I will present a case study, the Bimecc case, which is a presentation of the company for which I have been working as trainee during my last academic year. In my period of training, I have tried to first understand deeply what the company core business and customers are, and on this basis, I have been searching the better strategy for the company to enter the Chinese market, as it has always been one of the main goals that the company has decided to reach in the next few years. All the information reported in the thesis are updated on all the latest news of 2021 and sometimes based on personal consideration for the future perspective of automotive supply market, as this sector is facing a transitional period.

Questo lavoro guarda al contributo che la letteratura italiana ha dato relativamente alla costruzione e alla sedimentazione, nell'immaginario comune e nella percezione pubblica, dell'identità geografica e culturale del Mezzogiorno, ovvero di quella «consapevolezza geopolitica» di cui parlava Edward Said a proposito di altre aree del globo. Per fare ciò, sono stati identificati e presi in esame due diversi momenti che nella storia d'Italia si sono contraddistinti per una forte ridiscussione dell'immagine delle regioni meridionali del paese. I decenni immediatamente successivi all'Unità, infatti, sono stati caratterizzati da ampi dibattiti in merito al ruolo che il Sud doveva avere all'interno della nuova nazione, e in tale quadro il campo letterario appare aver avuto una funzione tutt'altro che marginale, contribuendo insieme ai campi editoriale, artistico, culturale e politico, a sviluppare le diverse rappresentazioni del Mezzogiorno. Il ventennio fascista, poi, ha dovuto fare i conti con strategie descrittive che del Sud avevano fatto una problematica regione dell'immaginario, di cui si erano messi in risalto in prevalenza gli aspetti di alterità rispetto al resto d'Italia, e le ha riformulate in maniera complessa e disorganica, calandole poi (spesso a fini propagandistici) all'interno di dialettiche che ruotavano intorno alle opposizioni città/campagna, centro/periferia e tradizione/innovazione.

The aim of this research paper is to analyse the literary works and the writers of Italian origin who have actively contributed to the creation of Italian-Canadian immigration literature, and above all, that referent to the Montreal milieu. For this and other reasons, it distinguishes itself from other Italian-Canadian productions and precisely due to this reality, the objective of this research is to: (1) examine its role, its characteristics, the difficulties its writers experience, its literary artistic value and the recognition it receives in our literary environment; (2) compare the creative approach adopted by some writers to the perfect example, Primo Levi; (3) expose its contents and reoccurring themes; (4) examine the question of the literary language of expression of these works; (5) demonstrate the social usefulness of this literary production.

Nous voulons démontrer l’importance du moment biographique et formatif d’Amelia Rosselli qui précède son écriture et le rôle de ses premiers écrits plurilingues qui représentent la préhistoire de sa trilogie italienne et d’autres œuvres de sa maturité littéraire. Pour ce faire, cette thèse étudie, dans ses deux premières parties, l’exil de la famille Rosselli, victime de la persécution politique pendant le ventennio fasciste et la proto-formation culturelle, franco-anglo-américaine, de la poétesse, entre musique, littérature et politique. Nous dressons une synthèse de l’influence du néoréalisme du poète Rocco Scotellaro et de l’ethnologue Ernesto de Martino. Dans la troisième partie, cette étude analyse, dans une perspective intertextuelle, les Primi Scritti de 1952 à 1963 et décrit l’idiome de la poétesse, caractérisé par l’alternance et le mélange, parfois dans le même texte, de l’italien, de l’anglais et du français. Parallèlement nous montrons comme le plurilinguisme d’Amelia Rosselli ne se limite pas à une simple triglossie. Son plurilinguisme englobe d’autres langues : le latin, l’italien et le français du moyen âge, l’anglais élisabéthain, la langue des analphabètes de la Basilicate, les formes populaires du Sud de l’Italie et de Rome. Nous soutenons l’importance des études anthropologiques et ethnomusicologiques qu’elle a suivies de 1952 à 1953 et nous montrons en quoi le livre-enquête Contadini del Sud du lucanien Rocco Scotellaro a été déterminant pour Amelia Rosselli, ainsi que d’autres textes, afin de décrire la richesse de sa préhistoire littéraire. Pendant l’analyse des textes des origines, nous dégageons la naissance de trois poétiques d’Amelia Rosselli, de l’espace, de l’éclipse du moi poétique et de la blessure qui se montrent interdépendantes, s’entrelacent et se développent au cours des années 60 et 70
We would like to show the importance of Amelia Rosselli’s formative and biographical moment that precedes her writing as well as the role of her first multilingual works that represent the prehistory of her Italian trilogy and of other works of her literary maturity. To do so, this thesis studies, in its first two sections, the exile of the Rosselli family, victim of political persecution throughout the fascist ventennio, as well as the poet’s Franco-English-American proto-formation, amongst music, literature and politics. We will draw up a synthesis of the neorealist influence of the poet Rocco Scotellaro and of the ethnologist Ernesto de Martino. In the third section, this study will analyse, in an inter-textual perspective, the Primi Scritti (1952-1963) and will describe the poet’s idiom, characterized by alternation and mixture, of Italian, French, and English, sometimes in the same text. In parallel we will show how Amelia Rosselli’s multilingualism is not limited to a simple triglossie. Her multilingualism includes other languages: Latin, Italian and French from the Middle Ages, Elizabethan English, the spoken language of the illiterate from Basilicata, plus popular forms of speech from the south of Italy and from Rome. We uphold the importance of the anthropological and ethno-musicological studies carried out by Amelia Rosselli from 1952 to 1953. We will also show how the book of investigation Contadini del Sud by the Lucanian Rocco Scotellero was determining for her, as well as other texts, to be able to describe the treasures of her literary prehistory. Throughout the analysis of the texts of the origins we will uncover the birth of Amelia Rosselli’s three poetics: that of space, of the eclipse of oneself, and that of the wound, together to be seen as interdependent, entwined, and that will further develop themselves during the 60’s and the 70’s

Nuestro trabajo tiene como objetivo estudiar algunos tópicos clásicos en la obra castellana de Garcilaso de la Vega, de acuerdo con la conceptualización que venía de la antigüedad grecolatina. Para ello pretendemos estudiar el significado de la tópica en la literatura clásica, los autores que la usaron y la aplicación que Garcilaso le da en su obra.
Our work has as goal to study some classical topics on the Garcilaso de la Vegas Spanish work, according to the concepts that used to come from the Greco Latin Ancient. In order to do that, we hope to study the topics meaning in the classic literature, the authors that used it and the use Garcilaso gives to it on his work.

Questa tesi rilegge l'opera di Manganelli, cercando di sfrondare l'aneddotica fiorita attorno alla sua figura e di motivare i giudizi critici spesso limitativi del suo lavoro. La tesi è suddivisa in tre parti: una prima dedicata agli scritti giovanili di Manganelli, visti in parallelo con opere più mature (Centuria, Encomio del tiranno) e il rapporto con Leopardi, Pavese, Edmund Wilson, facendo ricorso anche a materiale inedito; nella seconda parte viene tentata una lettura (volutamente forzata) di Hilarotragoedia come un effettivo 'trattatello' retorico, da sviscerare Lausberg alla mano; infine, una terza parte indaga il rapporto di Manganelli con la letteratura inglese e la sua attività di traduttore.

Les Livres de Famille florentins des XIVe-XVe siècles (dont la Cronica domestica de Donato Velluti), sont dédiés à la célébration de la famille. L'auteur y conduit néanmoins un discours personnel, l'expression de soi se manifestant dans son rapport conscient à sa propre écriture, et dans la dimension autobiographique que comporte le récit généalogique. Dans l'histoire de la famille, le regard porté sur les autres, désormais plus attentif aux individualités, met en évidence les structures familiales, avec la place prépondérante qu'y occupe le père. Le père écrivain " gouverne " les siens par sa conduite, et par l'écriture de son livre : il s'y applique à éduquer les âmes et à protéger les corps, mais aussi à former des citoyens, s'efforçant d'assurer la durée de la famille, sa puissance économique et son pouvoir dans la cité, transmettant les valeurs de sa classe sociale, tout en exprimant ses inquiétudes face à la fuite du temps et à l'évolution des mœurs et des mentalités
The XIVth-XVth Florentine family diaries (and among them the Cronica domestica of Donato Velluti), are dedicated to the celebration of the family. However, the author leads a personal discourse : the expression of self appears through his conscious relation with his own writing, and in the autobiografical dimension of the genealogical account. In the history of the family, the glance related to the others, from now on more attentive with individualities, highlights the family structures, especially the dominating place held by the father. The father writer " governs " his family group by his own behaviour and by the writing of his book : in this book, he endeavours not only to educate the souls and to protect the bodies, but also to form citizens, with the purpose of ensuring the continuity of the family, her economic strength and her politic power in the city, transmitting the values of his social class, while expressing his concerns in front of the escape of time and the evolution of the customs and mentalities

Homme-théâtre, Dario Fo s’inscrit dans un continuel processus de définition de l’auteur comme acteur et de l’acteur comme auteur, qui passe par une affirmation de sa double place en scène et dans la vie publique. Il se fait ainsi le créateur d’une façon de faire du théâtre non pas radicalement neuve mais singulière et qui se distingue dans le panorama théâtral de son temps en envahissant d’autres domaines d’activité et de compétence, ce qui lui permet de conquérir une reconnaissance globale à la fois comme histrion et comme intellectuel. La première partie de la thèse analyse les processus de création pour voir comment Dario Fo se montre auteur en tant qu’écrivain, en tant que comédien et en tant que metteur en scène ou plutôt chef de troupe. La deuxième partie prend en considération la façon dont la figure d’auteur est présentée au public : dans la construction d’un réseau de sens qui donne une cohérence à l’ensemble de l’œuvre, dans la fixation de cette œuvre par des processus d’édition, de captation et d’archivage, et par la diffusion des spectacles en Italie et dans le monde, en présence de l’acteur-auteur ou non. La troisième partie, enfin, revient sur la construction d’une autorité intellectuelle, dans l’élévation de Fo au statut de porte-parole politique et de maître à penser
Dario Fo is a theatre-man whose work ceaselessly redefines the author as an actor and the actor as an author, in a process that claims his dual position on stage and in public life. He thus creates an approach to theatre that, though not radically new, distinguishes itself in the theatrical landscape of his time, by encroaching on other fields of activity and competency, earning him a global recognition as an actor and intellectual. The first part of this study analyzes the creative process and shows how Dario Fo stages himself as an author through writing, acting and directing. The second part considers how the authorial figure is presented to the public : as part of a larger network of references that lends coherence to his work as a whole, in the fixation of this work through publishing, audio and video-recording and archiving, and through the circulation of his productions in Italy and the world, with or without his presence. The third part analyzes the construction of his intellectual authority, his promotion to the status of political spokesman and mentor

2012/2013
Abstract Approcciando il tema delle emigrazioni dei giovani italiani appare importante rintracciare nella storia la dinamica migratoria dei flussi che hanno caratterizzato il passato del nostro Paese. In quest’ottica è stata strutturata l’analisi della storia dell’emigrazione italiana a cui è dedicato il primo capitolo che ha, pertanto, lo scopo di delinearne le principali caratteristiche in termini di cause, destinazioni e impatto sul sistema nazionale dei flussi di emigrazione nel corso dei secoli. Dal momento che il fenomeno ha radici lontane nel tempo, si è proceduto con una disamina delle principali caratteristiche che esso ha assunto nel corso dell’Età medievale, moderna e contemporanea. Su quest’ultima fase, per ragioni di prossimità temporale, ci si è maggiormente soffermati, analizzandone più nel dettaglio le caratteristiche e i flussi che l’hanno caratterizzata. Il secondo capitolo ha lo scopo di fornire un’analisi complessiva della mobilità italiana oggi, utilizzando le fonti di dati ufficiali a disposizione (Dati Aire; iscrizioni e cancellazioni anagrafiche da e per l’estero 2010-2012 Istat, dati provenienti dagli schedari consolari del Ministero degli Affari Esteri). L’intento è quello di restituire un’istantanea delle principali caratteristiche socio-demografiche della porzione di popolazione italiana residente all’estero che le rilevazioni ufficiali sono in grado di raggiungere. Questi due primi capitoli hanno la finalità di ripercorrere il presente e il passato dell’emigrazione italiana, ponendo anche in rilievo quanto il fenomeno dipenda dal contesto sociale e demografico da cui origina. La Seconda Parte si apre con il terzo capitolo, dedicato allo studio dei principali paradigmi che la sociologia delle migrazioni ha messo in campo nel corso degli anni per analizzare il fenomeno migratorio nel suo complesso. Il fine di questo percorso di analisi è quello di fornire un quadro generale sul tema attraverso l’esposizione dei principali paradigmi interpretativi prodotti nel corso degli anni. Ciò che si desidera porre in rilievo definendo quelli che sono i principali fattori che portano i soggetti a compiere la scelta di emigrare, è la complessità del fenomeno e quanto questo incida nel complesso della vita del soggetto. Il quarto capitolo ha invece lo scopo di realizzare un’analisi diacronica del concetto di identità così come viene approcciata nell’ambito della sociologia. L’analisi di tre tra i principali approcci sociologici al tema (il funzionalismo, l’interazionismo simbolico e la fenomenologia sociale), verrà utilizzata come strumento di comprensione degli elementi che, nella contemporaneità, risultano più o meno adatti per condurre una lettura calata nel contesto della post-modernità. L’analisi giunge dunque ad una riflessione alla luce delle nuove necessità messe in campo della società liquida e multiculturale che innalza il grado di incertezza e pone il soggetto davanti ad una serie sempre più ampia di scelte e opzioni. A questo proposito, attraverso le posizioni di Baumann, Beck e Hall che ben sintetizzano il contesto fluido e incerto nel quale gli individui sono inseriti, vengono delineati i presupposti sociali nel quale le emigrazioni dei giovani italiani oggi prendono forma e, di conseguenza, vengono gettate le basi per l’interpretazione delle loro testimonianze a riguardo. In un contesto in cui la vita è essa stessa “creatrice di differenze” (Maalouf 2009), ciò che accomuna gli esseri umani è, infine, la loro diversità. L’analisi così impostata consente di comprendere come si sviluppa l’auto percezione degli intervistati a fronte anche dell’esperienza migratoria in corso. Essa appare funzionale a comprendere la necessaria evoluzione del concetto a fronte delle esperienze di plurilocalismo (Albera, Audenino e Corti citati in Luconi 2011) e di mobilità vissute oggigiorno dai giovani emigranti italiani. Stabiliti nella Prima e nella Seconda parte i principi teorici, il lavoro si chiude con una Terza Parte che comprende il capitolo conclusivo contenente l’analisi della metodologia della ricerca utilizzata per la conduzione della rilevazione. A partire dai presupposti legati alla scelta del metodo, viene presentata la traccia utilizzata per le interviste semi-strutturate, condotte tra novembre 2012 e ottobre 2013. Dal momento che lo scopo del questionario è quello di riprodurre le biografie in transizione dei soggetti intercettati, ponendo l’accento sull’evoluzione del percorso migratorio che ne deriva, ampio spazio viene dato all’analisi delle testimonianze emerse dal racconto dei soggetti intercettati dalla ricerca. Essa, ponendo in rilievo la storia e le motivazioni legate dell’evento migratorio così come vengono raccontate e percepite dal soggetto, ha come finalità quella di rendere evidenti alcune delle caratteristiche legate all’emigrazione dei giovani dall’Italia. Analizzare i perché e i per come alla base di questa scelta pone in evidenza come, nell’attuale contesto economico e sociale, l’emigrazione non sia esclusivamente supportata dalla ricerca di migliori condizioni economiche ma come essa sia anche l’esempio e la testimonianza della nascita di una nuova mentalità appartenente ad una élite globale (Bauman 2006) per cui la mobilità è prima di tutto un valore.
XXVI Ciclo
1983

La religiosità e i processi di auto-identificazione di giovani con background musulmano in Occidente soggiacciono a una doppia dinamica: da un lato, essi devono misurarsi con una narrazione negativa che dipinge l’Islam come “altro” e “diverso”; dall’altro, la loro religione subisce un processo di deculturazione (Roy 2004), ovvero lo scollegamento tra cultura e Islam in contesto di emigrazione. Sulla base di uno studio qualitativo, (60 interviste biografiche e osservazione partecipante) condotto in due città italiane (Milano e Torino), la tesi indaga come giovani con background musulmano articolino la loro appartenenza religiosa attraverso le loro pratiche quotidiane (Ammerman 2007), comparando in particolare giovani attivi nel mondo associativo religioso (impegnati in particolare come volontari o staff del ramo italiano dell’organizzazione umanitaria Islamic Relief) e giovani non interessati al coinvolgimento in organizzazioni religiose. La ricerca esamina così le pratiche religiose, nonché le risorse impiegate per la costruzione della propria identità, tra giovani musulmani “iper-visibili” (pubblicamente attivi e devoti - Jeldtoft 2013) e “non-visibili” (i cui sentimenti di appartenenza alla comunità di riferimento sono meno ovvi) sviluppando una tipologia di “riflessività religiosa” ed esplorando forme di visibilizzazione e invisibilizzazione della religiosità.
In Western countries, the religiosity and self-identification of youths with a Muslim background is shaped by a double dynamic: on one hand, they face negative discourses that cast Islam as “Different” and “Other”; on the other, their religion undergoes a process of deculturation (Roy 2004) - that is, the disconnection between culture and Islam in contexts of emigration. On the basis of a qualitative study (60 in-depth interviews and participant observation) carried out in two Italian cities (Milan and Turin), this thesis investigates how Italian descendants of Muslim migrants articulate and live their religious belonging, by analysing the “everyday lived religion” (Ammerman 2007) of youths acting as volunteers or staff members in the Italian branch of Islamic Relief (the largest Sunni international humanitarian NGOs) and of youths who are not active or involved in any religious or ethnic/national organisation. Hence, the study examines how feelings of religiosity and resources mobilized for identity-building differ between “hyper-visible” young Muslims - i.e. publicly active, vocal and devout (Jeldtoft 2013) - and “non-visible” ones - who have less of an obvious group bound. The study develops a typology of different forms of “religious reflexivity” and explores forms of visible and invisible religiosity.

La religiosità e i processi di auto-identificazione di giovani con background musulmano in Occidente soggiacciono a una doppia dinamica: da un lato, essi devono misurarsi con una narrazione negativa che dipinge l’Islam come “altro” e “diverso”; dall’altro, la loro religione subisce un processo di deculturazione (Roy 2004), ovvero lo scollegamento tra cultura e Islam in contesto di emigrazione. Sulla base di uno studio qualitativo, (60 interviste biografiche e osservazione partecipante) condotto in due città italiane (Milano e Torino), la tesi indaga come giovani con background musulmano articolino la loro appartenenza religiosa attraverso le loro pratiche quotidiane (Ammerman 2007), comparando in particolare giovani attivi nel mondo associativo religioso (impegnati in particolare come volontari o staff del ramo italiano dell’organizzazione umanitaria Islamic Relief) e giovani non interessati al coinvolgimento in organizzazioni religiose. La ricerca esamina così le pratiche religiose, nonché le risorse impiegate per la costruzione della propria identità, tra giovani musulmani “iper-visibili” (pubblicamente attivi e devoti - Jeldtoft 2013) e “non-visibili” (i cui sentimenti di appartenenza alla comunità di riferimento sono meno ovvi) sviluppando una tipologia di “riflessività religiosa” ed esplorando forme di visibilizzazione e invisibilizzazione della religiosità.
In Western countries, the religiosity and self-identification of youths with a Muslim background is shaped by a double dynamic: on one hand, they face negative discourses that cast Islam as “Different” and “Other”; on the other, their religion undergoes a process of deculturation (Roy 2004) - that is, the disconnection between culture and Islam in contexts of emigration. On the basis of a qualitative study (60 in-depth interviews and participant observation) carried out in two Italian cities (Milan and Turin), this thesis investigates how Italian descendants of Muslim migrants articulate and live their religious belonging, by analysing the “everyday lived religion” (Ammerman 2007) of youths acting as volunteers or staff members in the Italian branch of Islamic Relief (the largest Sunni international humanitarian NGOs) and of youths who are not active or involved in any religious or ethnic/national organisation. Hence, the study examines how feelings of religiosity and resources mobilized for identity-building differ between “hyper-visible” young Muslims - i.e. publicly active, vocal and devout (Jeldtoft 2013) - and “non-visible” ones - who have less of an obvious group bound. The study develops a typology of different forms of “religious reflexivity” and explores forms of visible and invisible religiosity.

Questa tesi rilegge l'opera di Manganelli, cercando di sfrondare l'aneddotica fiorita attorno alla sua figura e di motivare i giudizi critici spesso limitativi del suo lavoro. La tesi è suddivisa in tre parti: una prima dedicata agli scritti giovanili di Manganelli, visti in parallelo con opere più mature (Centuria, Encomio del tiranno) e il rapporto con Leopardi, Pavese, Edmund Wilson, facendo ricorso anche a materiale inedito; nella seconda parte viene tentata una lettura (volutamente forzata) di Hilarotragoedia come un effettivo 'trattatello' retorico, da sviscerare Lausberg alla mano; infine, una terza parte indaga il rapporto di Manganelli con la letteratura inglese e la sua attività di traduttore.

Une longue enquête nous a permis de réunir un volumineux corpus constitué de sources iconographiques, archéologiques et littéraires concernant les sacrifices en Etrurie. Nous avons montré qu'au moins au départ, la religiosité semble presque exclusivement tournée vers le culte des défunts, fondement du pouvoir des grands princes de l'Orientalisant. Les rites pratiqués consistent principalement dans des libations de sang et/ou de vin et probablement des offrandes. Au VIième siècle avant J. C. , au moment où disparaissent les grands princes, on voit clairement apparaître des sanctuaires aux portes des nécropoles et d'autres sanctuaires, qui existaient auparavant hors des zones de nécropoles mais qui étaient très peu aménagés, semblent retenir toute l'attention des bâtisseurs étrusques. Nous avons mis en évidence que les espaces sacrificiels pouvaient prendre des formes différentes mais qu'ils devaient obligatoirement répondre à des impératifs formels pour que les rites soient opérants. Grâce aux Grecs, les Etrusques adoptèrent deux systèmes de communication qu'ils ne maîtrisaient pas ou très mal auparavant : l'écriture mais également les images peintes, gravées ou moulées sur les supports les plus divers. L'analyse typologique et thématique de ces représentations nous a permis suivre, l'apparition, l'évolution des formes d'autels et leur disparition au fil des siècles. Si l'autel avait une position centrale dans le culte, la notion d'espace sacrificiel est fondamentale pour comprendre le fonctionnement des sacrifices en Etrurie. L'analyse de ces espaces sacrificiels permet de montrer l'originalité des sacrifices étrusques par rapport aux sacrifices grecs et romains
A long investigation allowed us to collect a voluminous corpus of iconographical, archaeological and literary sources dealing with sacrifices in Etruria. We showed that, at the beginning,"religiosity" seemed to be exclusively turned towards the cult of Deceased and Ancestors. It founds and assures the power of the Great Princes. The rites observed consist principally in libations of blood and/or wine, and probably offerings. In the 6th century B. C. , when the Great Princes disappeared, we can clearly see the emergence of sanctuaries at the entries of necropolis. The other sanctuaries, who existed before out of the zones of necropolis but which were less developed, seemed to catch the attention of Etruscan builders. We showed that the sacrificial sites should have several forms, but they had obligatorily to be built according to formal constraints. Thus the rites would be done. From the Greeks, the Etruscan adopted two systems of communication less mastered before: writing, and images painted, engraved or molded on varied supports. Typological and thematic analysis of those representations allowed us to follow the emergence and the evolution of altars forms and there disappearance across the centuries. If the altar had a central position in the cult, the notion of "sacrificial site" is fundamental to understand the functioning of sacrifices in Etruria. The analyses of these sacrificial sites show the originality of Etruscan sacrifices compared with Greek or Roman sacrifices

Ce travail de recherche s’interroge sur l’usage des langues dialectales dans le théâtre italien contemporain. De fait, celles-ci restent une source d’inspiration importante dans les créations les plus innovantes des trente dernières années, malgré l’affirmation de l’italien sur tout le territoire national depuis l’Unité. Cette étude s’interroge sur les valeurs et les enjeux de ces langues dialectales dans un théâtre actuel qui est, pour une part importante, le fait d’acteurs-auteurs : ainsi, la relation qui s’établit entre l’artiste, à la fois créateur et interprète, et la langue théâtrale, s’appuie sur une approche de l’élément langagier qui est aussi fondamentalement pré-cognitive, voire corporelle.Après avoir élucidé dans un premier temps les dynamiques linguistiques à l’œuvre dans le théâtre italien depuis l’Unité, cette étude se resserre autour de la pratique de cinq acteurs-auteurs contemporains : Marco Paolini, Ascanio Celestini, Spiro Scimone (Compagnia Scimone Sframeli), Emma Dante (Compagnia Sud Costa Occidentale) et Enzo Moscato. L’analyse du parcours de chacun de ces artistes, ainsi que d’une œuvre en particulier, se propose d’établir une cartographie du théâtre italien contemporain puisant dans les dialectes la matière de sa langue théâtrale. Il s’agit de mettre en évidence les lignes de fuite de créations qui interrogent trois notions clés au cœur de l’analyse : le temps, le territoire et l’identité, notions qu’une réflexion constante sur le concept de limite et de frontière affine et redéfinit progressivement
This doctoral dissertation deals with the use of dialectal languages in the contemporary Italian theater. Indeed, these languages remain an important source of inspiration in the most innovating creations of the last thirty years, in spite of the paramount place the Italian language has come to have in the whole national territory since the Italian Unification. This study deals with the values and with what is at stake in these dialectal languages in today's theater which is, most of the time, created by actors-authors: therefore, the relationship between the artist, who is both creator and performer, and dramatic language, relies on a way of tackling the linguistic element that is fundamentally precognitive and corporal as well.After having cleared up the linguistic dynamics in the Italian theater since the Unification ; the study focuses on the work of five contemporary actors-authors: Marco Paolini, Ascanio Celestini, Spiro Scimone (Compagnia Scimone Sframeli), Emma Dante (Compagnia Sud Costa Occidentale) and Enzo Moscato. Studying the work of these artists, as well as a specific play, intends to draw up a cartography of the contemporary Italian theater that is inspired by dialect languages to create its own dramatic language. The study aims to lay emphasis on the convergence lines of creations which deals with three key notions, at the core of the study: time, territory and identity. These three notions will be progressively redefined and precised by working on the idea of limit and boundary
Questo lavoro di ricerca si interroga sull’uso delle lingue dialettali nel teatro italiano contemporaneo. Infatti, esse restano un’importante fonte d’ispirazione nelle creazioni più innovative degli ultimi trent’anni, nonostante l’affermarsi dell’italiano sull’intero territorio nazionale a partire dall’Unità. Questo studio si interroga sui valori e sul peso di queste lingue dialettali nel teatro odierno che, in larga parte, viene realizzato da attori-autori: perciò, la relazione che si stabilisce tra l’artista, insieme creatore ed interprete, e la lingua teatrale è fondata su un approccio fondamentalmente pre-cognitivo, e perfino corporeo, dell’elemento linguistico.Dopo aver chiarito, in un primo momento, le dinamiche linguistiche in atto nel teatro italiano sin dall’Unità, questo studio si accentra intorno alla pratica di cinque attori-autori contemporanei: Marco Paolini, Ascanio Celestini, Spiro Scimone (Compagnia Scimone Sframeli), Emma Dante (Compagnia Sud Costa Occidentale) e Enzo Moscato. L’analisi del percorso di ognuno di questi artisti, nonché di una loro opera in particolare, mira a stabilire una cartografia del teatro italiano contemporaneo che attinge dai dialetti la materia della propria lingua teatrale. Si tratta di evidenziare le linee di fuga di creazioni che interrogano tre nozioni-chiave al cuore dell’analisi: il tempo, il territorio e l’identità, nozioni affinate e progressivamente ridefinite da una costante riflessione sul concetto di limite e di confine

This thesis deals with the image of the black madonna, a pre-Christian female deity, in the works of four Italian-Canadian authors: the works include Nina Ricci's novel Lives of the Saints, Frank G. Paci's novel Black Madonna, Vittorio Rossi's play The Last Adam, and Marco Micone's play Addolorata. The black madonna, the central figure of this thesis, is not an exclusively Italian phenomenon. Most people probably associate her with the image of the Southern European, predominantly old, often Italian peasant woman, who is dressed in black clothes from head to toe. The black madonna statues, however, are possibly connected with the veneration of a female divinity, the Great Mother, Great Goddess, primordial goddess, and even earth mother. In his early myth and folklore collection, Sir George Frazer concluded that the "great Mother Goddess (of Western Asia), the personification of all the reproductive energies of nature, was worshipped under different names but with a substantial similarity of myth and ritual" (Frazer 299). (Résumé abrégé par UMI.)

Thesis (Ph. D.)--University of Oregon, 2003.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 211-226). Also available for download via the World Wide Web; free to University of Oregon users.

Texte remanié de: Diss.--Philosophische Fakultät--Dusseldorf--Heinrich-Heine-Universität, 1991. Titre de soutenance : Zur spätantiken Entstehung der Säulen des Hauptaltarciboriums von San Marco in Venedig.
Bibliogr. p. 309-361. Index.

Plagiarism may have accompanied acts of creation, either endorsing or contradicting them. Esteemed as a general rule of literature or censured as literary larceny, it embodies the disavowal of authorship in the intellectual works of others and thus breaches their right to be acknowledged as authors, while also feasibly deceiving the public and, in any case, contradicting the universal rule of creative imitation. Historically entangled with the concepts of counterfeiting and piracy, it only later reached an autonomous collocation as a violation of the moral right of attribution. Placed in the broadest context of copyright law, it yet struggles against its confinement to a strict legal characterisation, given its colourful appearance and inherent inconsistency according to the type of works or field of knowledge to which it relates, thus refuting any unyielding interpretation. In such a mutable context, the purpose of this research, which revolves around the systems of Italy and the United Kingdom, is to explore a view of plagiarism that appreciates the different instances in which a genuine borrowing or a deceitful practice appear, considering the dimension of copyright infringement, but also looking at other possible legal and non-legal means of construal. Given these premises, an accurate exploration of the phenomenon requires a preliminary consideration of the manifold literature on the subject, which increasingly progresses together with the development of technology and social practices. Furthermore, its literal absence in statutory law does not impede finding a collocation in the context of the judiciary, which is analysed with reference to the legal systems of both Italy and the United Kingdom. This does not infer that courts deliver a flawless and unfailing interpretation of plagiarism. On the contrary, a careful reading of the ruling confirms that the narrow realm of copyright law is shrinking. However, the unpredictability of the statutory and judicial approach towards plagiarism may also be welcomed as an attempt by the law to acknowledge the difficulty to appraise its complexity. Therefore, the present study openly adopts an interdisciplinary and comparative analysis that may help to describe its controversial legal breadth while also possibly unravelling any other principled range.

A large part of Canadian literature being produced today is being done by immigrants and the children of immigrants. Struggling between the dominant culture and the history and traditions of their parents, whom they desire to honor, these writers adopt modes of representation ranging from the elegiac to the ironic.
Nino Ricci's first book Lives of the Saints begins from the perspective of Vittorio as an adult, but the narrative that the reader follows is developed from his perspective as a child focusing on his ethnic roots. The narrative structure is two-fold: it is a combination of the objectivity of a child's innocent observations with a child's sense of wonder and magic and a strong influence from the adult narrator's voice.
This thesis will examine the narrative approach, the rhetorical devices and the use of myth that Ricci harnesses in his novel in order to show how his work is marked with ambiguity and paradox which points to the psychological condition of immigrants in Canada. The discussion will also focus on some of the literary models that influenced Ricci's narrative, such as Alice Munro, Carlo Levi and Corrado Alvaro.

L’obiettivo del lavoro è stato quello di riflettere sulle opinioni che gli studenti hanno sull’auto-valutazione e proporre l’utilizzo del modello KWL come supporto. La tesi sostiene che gli studenti abbiano bisogno di sperimentare nuove metodologie in grado di dare loro maggiore responsabilità e maggiore autonomia nel processo d’apprendimento. Al progetto hanno partecipato studenti e docenti dell’Universidad Autónoma de Madrid, dell’Università di Padova, Verona e Venezia. Mediante un questionario e un’intervista semi-strutturata con gli studenti, si sono raccolte opinioni in merito alle pratiche auto-valutative. In aggiunta, utilizzando il modello KWL, sono emerse ulteriori riflessioni a riguardo. Dai dati raccolti emerge il riconoscimento delle difficoltà nell’utilizzare pratiche auto-valutative, poiché poco suggerite dai docenti, e il tentativo spontaneo di adottare strumenti più inclusivi e più naturali, come il peer feedback, permettendo uno sviluppo più profondo delle conoscenze.

Dans ce travail on essaye de donner une définition et une historicisation de ce qu’on appelle « littérature italienne de la migration ». Il y a tout de suite une distinction à faire entre les écrivains étrangers qui écrivaient en italien avant le grand flux migratoire des années ’80 et ceux qui sont issus de cette vague, dont la thèse s’occupe dans une manière plus spécifique (années 1989-2007). Les changements sociaux et culturels que les nouveaux immigrés ont apporté, ont transformé l’Italie de pays d’émigration en pays d’immigration. Au niveau littéraire ces écrivains ont d’abord utilisé un langage standard, pour se faire comprendre du public et pour témoigner les difficultés du voyage migratoire et de l’intégration ;les dernières œuvres, pourtant, analysées dans la deuxième partie de la thèse, ont été écrites par des écrivains qui manipulent plus facilement la langue italienne, utilisant un plurilinguisme témoin d’un lien très stricte entre oralité et écriture, et entre langue d’origine et langue d’accueil. Enfin, les oeuvres des écrivains italophones postcoloniaux et de ceux issus de la deuxième génération peuvent rapporter la littérature italienne contemporaine avec des autres situation (France, Allemagne, Angleterre, Etats Unis) qui semblent très similaires.

ENGLISH: On this work we want to give a definition about “Italian Migrant Literature”. There is a difference between writers came in Italy before or after the migration’s fluxes on the 80’s. With this social and cultural changes, Italy became immigration country. First, migrant writers used a standard language, to have a big public and to talk about migration. Last works are more interesting because they use a plurilingualism that can show the relationship between oral and write. Finally, Postcolonial Italian writers and Second Generation writers make a connection with the literary situation in the other countries (France, Germany, Britain, United States).

Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

Les migrations planétaires, massivement produites par les renversements historiques et politiques de la fin du siècle dernier, sont en train de bouleverser les ordres nationaux actuels et de soumettre les populations à un nouveau mélange identitaire et linguistique dont résultent des cultures hybrides et la remise en question de la légitimité des canons littéraires nationaux. Les littératures transnationales plurilingues sont en train de dessiner la carte de plus en plus vaste d’un nouvel univers littéraire constitué d’écrivains omniprésents, inclassables, dont la production narrative et poétique échappe aux définitions de genre et met l’accent sur les dynamiques linguistiques inhérentes à ces écritures en transit. Comment s’intègre l’Italie dans cette nouvelle scène littéraire plurilingue ? Avec quels résultats et quelles perspectives ? Après un premier chapitre introductif – un cadre général de la littérature transnationale italophone à partir de ses débuts officiels, à l'aube des années 90 –, cette recherche s'orientera spécifiquement vers l’étude de l'italophonie poétique. En remontant de manière inédite aux débuts des années 60, la production transnationale italophone sera analysée pour la première fois à travers un panorama chronologique et raisonné des voix poétiques, où se dégagent les plus représentatives. Nous mettrons l’accent sur la littérarité des textes, qui seront toujours remis en perspective avec la poésie italienne contemporaine pour délimiter la relation entre les différentes expressions de l’écriture poétique en italien qui vient s’imposer au fil du temps
The mass planetary migrations set into motion by the historical and political transformations of the last years of the 20th century are disrupting current national status quos, while populations are undergoing a re-mixture of identities and languages that has produced hybrid cultures and, from the strictly literary point of view, a challenge to the legitimacy of national canons. The pluri-language transnational literatures are drawing an ever-wider map of a new literary universe made up of ubiquitous, unclassifiable writers whose production in prose and poetry escapes genre definitions, emphasizing the linguistic dynamics inherent to these writings in transit. How does Italy fit into this new pluri-language literary scenario? With what results and prospects? After a first introductory chapter, in which a general framework of Italian-language transnational literature is presented from its official beginnings at the start of the Nineties until today, my research focuses specifically on poetic Italophony. Locating its birth back in the early Sixties – the decade when the first « compelled » migrations to Italy began –, transnational Italian-language production is for the first time analyzed through a chronologically ordered panorama of poetic voices, against which the most representatives ones are silhouetted. Stress is laid on the literariness of the texts, and Italian contemporary poetry is always present, in perspective, to trace the relationship that is being created over time between the different expressions of poetic writing « in Italian »

Cette thèse explore les reconfigurations contemporaines du féminisme en Italie, et en particulier les pratiques, les représentations et les narrations de femmes engagées contre l’homophobie et le racisme à partir des relations postcoloniales et d’un sens libre de la différence sexuelle.Ces femmes composent des ensembles de résistances où sont en train d’émerger des positionnements politiques nouveaux, dont les « devenirs engagées » excédent ou resignifient de façon inédite des catégories occidentales telles que « lesbienne », « féministe », « migrante », « culture » etc. Il s’agit de sujets excentriques qui travaillent les séparatismes dans les mouvements sociaux, et mettent en échec les polarisations idéologiques à partir d’expériences des différences agissant comme des instances conflictuelles vitales : elles inaugurent des formes de participation fondées sur un besoin de coalitions et de transversalité.De l’analyse des itinéraires corporels, des pratiques et des cartographies des mouvements il ressort que les vecteurs de connexion principaux entre les actrices sociales marquées par la multiplicité sont les généalogies et les origines ainsi que les dimensions de l’in/visible et de la représentation.Cette ethnographie terrona s’inscrit dans une généalogie d’anthropologie postexotique qui se fondant sur une implication autoethnographique de la chercheuse, propose une révision des relations entre les participantes à la recherche, et de l’idée de terrain.Cette thèse relie des expériences de recherche à Paris, à Palerme et à Vérone, respectivement dans le Sud et dans le Nord-est de l’Italie, et thématise les formes de compétition culturelle et les représentations du Sud et du Nord italiens par une perspective postcoloniale
This thesis explores the current reconfiguration of feminism in Italy, particularly the practices and self-representations of women who struggle against racism and homophobia from a postcolonial standpoint and with a freely interpreted sense of sexual difference. These women create spaces of resistance that allow the emergence of new political positionalities, which go beyond western categories of ‘lesbian’, ‘feminist’ and ‘migrant’ by re-signifying them in novel ways. These “eccentric subjects” (de Lauretis 1999) work on the separatisms inside social movements, confounding their ideological polarizations by living difference as instances of vital conflict. They thus open up forms of participation based on the need for transversality. The analysis of the activists’ bodily itineraries and of the movements’ practices and cartographies shows that two main elements of connection exist between these women, who are characterized by multiplicity: on the one hand, their genealogies and origins; on the other, the dimensions of visibility, invisibility and representation.This terrona ethnography draws on a post-exotic anthropological tradition predicated on the researcher’s auto-ethnographic implication, and on a revision of the relation between research participants and the notion of the field. The thesis connects experiences in Paris, Palermo (southern Italy) and Verona (northeast Italy), problematizing forms of cultural competition and the representation of (different parts of) Italy from a postcolonial perspective

Cette thèse explore les reconfigurations contemporaines du féminisme en Italie, et en particulier les pratiques, les représentations et les narrations de femmes engagées contre l’homophobie et le racisme à partir des relations postcoloniales et d’un sens libre de la différence sexuelle.Ces femmes composent des ensembles de résistances où sont en train d’émerger des positionnements politiques nouveaux, dont les « devenirs engagées » excédent ou resignifient de façon inédite des catégories occidentales telles que « lesbienne », « féministe », « migrante », « culture » etc. Il s’agit de sujets excentriques qui travaillent les séparatismes dans les mouvements sociaux, et mettent en échec les polarisations idéologiques à partir d’expériences des différences agissant comme des instances conflictuelles vitales : elles inaugurent des formes de participation fondées sur un besoin de coalitions et de transversalité.De l’analyse des itinéraires corporels, des pratiques et des cartographies des mouvements il ressort que les vecteurs de connexion principaux entre les actrices sociales marquées par la multiplicité sont les généalogies et les origines ainsi que les dimensions de l’in/visible et de la représentation.Cette ethnographie terrona s’inscrit dans une généalogie d’anthropologie postexotique qui se fondant sur une implication autoethnographique de la chercheuse, propose une révision des relations entre les participantes à la recherche, et de l’idée de terrain.Cette thèse relie des expériences de recherche à Paris, à Palerme et à Vérone, respectivement dans le Sud et dans le Nord-est de l’Italie, et thématise les formes de compétition culturelle et les représentations du Sud et du Nord italiens par une perspective postcoloniale
This thesis explores the current reconfiguration of feminism in Italy, particularly the practices and self-representations of women who struggle against racism and homophobia from a postcolonial standpoint and with a freely interpreted sense of sexual difference. These women create spaces of resistance that allow the emergence of new political positionalities, which go beyond western categories of ‘lesbian’, ‘feminist’ and ‘migrant’ by re-signifying them in novel ways. These “eccentric subjects” (de Lauretis 1999) work on the separatisms inside social movements, confounding their ideological polarizations by living difference as instances of vital conflict. They thus open up forms of participation based on the need for transversality. The analysis of the activists’ bodily itineraries and of the movements’ practices and cartographies shows that two main elements of connection exist between these women, who are characterized by multiplicity: on the one hand, their genealogies and origins; on the other, the dimensions of visibility, invisibility and representation.This terrona ethnography draws on a post-exotic anthropological tradition predicated on the researcher’s auto-ethnographic implication, and on a revision of the relation between research participants and the notion of the field. The thesis connects experiences in Paris, Palermo (southern Italy) and Verona (northeast Italy), problematizing forms of cultural competition and the representation of (different parts of) Italy from a postcolonial perspective

This project outlines the discovery and digitization of previously unpublished correspondence composed by late 19th century author and literary critic, Marcel Schwob. Inspired by the inquiry of Bibliothèque Nationale Librarian Bernard Gauthier, Professor Daryl Lee alerted me to the presence of Marcel Schwob materials at BYU. I found that former BYU Professor John Green established a Marcel Schwob Memorial Collection and successfully published two books using the materials he gathered: Chroniques and Correspondance Inédite. After thoroughly researching the catalogued Schwob materials at BYU and comparing the contents to other Schwob publications, I found 72 previously unpublished letters. The majority of the letters (62) were written by Schwob to family members, and the remaining 9 letters were written to Schwob by colleagues. International interest in Marcel Schwob materials is one of many indicators representing renewed interest in the author, his work, and his influence. Recent publications also reflect growing Schwob interest. In Marcel Schwob, d'hier et d'aujourd'hui (2002), Christian Berg and Yves Vadé shed new light on Schwob through the observations of his contemporaries and modern-day essays on the importance of his contes. In addition, Jean Lorrain: Lettres à Marcel Schwob (2006) furthers the effort to better understand Schwob through a collection of correspondence. In light of this renewed interest, I determined that the previously unpublished correspondence would serve as a useful research tool for Schwob scholars. With the guidance and assistance of employees at the Harold B. Lee Library, I subsequently converted the correspondence into a digital publication. Creating a digital publication is a multifaceted undertaking requiring the involvement and expertise of different individuals and library departments. I successfully learned how to use both the hardware and software involved in the digitization process, thereby facilitating my completion of project deliverables, including: scanning and transcribing the letters; writing letter summaries (in both French and English), extracting names, and completing other metadata; uploading metadata using the Lee Library's external database; establishing authority control records; writing website content (in both French and English), and publicizing the project. This document contains the major deliverables found in the digital publication, specifically the website content, the letter transcriptions, and the metadata.

La ricerca si propone, a partire dal caso specifico e paradigmatico di Massimo Bontempelli e in stretto riferimento al contesto italiano primonovecentesco, di delineare l’intensa relazione che intercorse tra gli intellettuali e gli organi corporativi del regime fascista. Il quale, per estendere il proprio raggio d’azione (anche) alla cultura, si servì di una serie di apparati istituzionali che veicolavano, spesso in modo sinergico, robuste forme di sussistenza. La figura di Massimo Bontempelli si rivela in tal senso emblematica: le importanti funzioni assolte dapprima in seno al Sindacato Autori e Scrittori (di cui fu segretario dal 1927 al 1928), e in un secondo momento all’interno della Reale Accademia d’Italia lo rendono uno dei protagonisti della scena culturale del tempo. La ricostruzione dell’attività istituzionale dello scrittore funge perciò da viatico per penetrare nelle retrovie delle istituzioni medesime e, di conseguenza, indagare la rete politico-culturale sottesa a una delle espressioni più dirette di quei circuiti clientelari: i premi letterari. Concepiti essenzialmente quali strumenti di potenziamento del sistema culturale, i concorsi letterari erano volti a proteggere e incoraggiare l’attività dei letterati italiani, tanto dal punto di vista economico quanto da quello giuridico. Ma erano anche un terreno di scontro tra uomini forti del mondo intellettuale, i quali si davano battaglia perché a vincere fossero i candidati che meglio rappresentassero la linea letteraria di cui erano portavoce. Così lo stesso Bontempelli, il quale, essendo stato – per un certo periodo di tempo – detentore del ruolo di dominus all’interno della macchina dei premi, cercò di proteggere e premiare la linea novecentista di cui era patrocinatore. Accanto a pochi arbitri v’erano tanti outsiders: per contrasto, e per restituire la ricchezza del dibattito letterario di quegli anni, uno sguardo è stato dedicato anche a chi dall’ingranaggio di quella macchina era stato escluso o aveva voluto mantenere le distanze. A latere di questa indagine (che trova collocazione in un’appendice corredata da una tabella sinottica dei premi letterari e da un dettagliato regesto), la ricerca pone l’accento sulla ricomposizione, più generale, del profilo bontempelliano, in specie in relazione alle sue tante altre attività istituzionali (e collaterali a esse). Infine, il campo d’analisi viene circoscritto al Bontempelli “propagandista” e antologista: funzioni, queste ultime, da una parte corroboranti le istanze delle politiche culturali del fascismo, dall’altra inscritte nel solco di un rapporto problematico e controverso col regime, che gli sarebbe costato caro, fors’anche in termini di fortuna critica.
By examining the specific, paradigmatic case of Massimo Bontempelli, with particular reference to early twentieth-century Italy, this study aims to outline the intense relationship that existed between intellectuals and the corporate bodies of the fascist regime. In order to expand its range of action also to culture, the regime made use of a series of institutional apparatuses, often working synergistically, which provided significant forms of sustenance. Massimo Bontempelli was emblematic of this approach, given the important positions he held first within the Authors and Writers Union (secretary from 1927 to 1928), and later in the Royal Academy of Italy, which made him a central figure in the cultural scene of the time. The reconstruction of the writer's institutional activities offers a behind-the-scenes view of these institutions and, consequently, allows us to investigate the political and cultural network underlying one of the most direct expressions of those patronage circuits, i.e. literary awards. Conceived as tools to strengthen the cultural system, literary competitions were intended to protect and encourage the activity of Italian writers, from both a financial and a legal point of view. However, they were also a battleground between the great minds of the world, who fought to ensure the awards went to the candidates that best represented the literary movement for which they were the mouthpiece. Thus Bontempelli, as holder - for a certain length of time - of the role of 'master' of the awards machine, endeavoured to protect and reward the Novecento cultural movement of which he was the patron. While the arbiters were just a handful, the outsiders were many. To offer a contrasting view, and render the richness of the literary debate of those years, this study also explores those who were either excluded by the machine or chose to keep their distance. On the fringes (within an appendix including a concise overview of the literary awards in question, in addition to a detailed list), the study also dedicates considerable space to a more general description of Bontempelli, focussing in particular on his many other institutional activities (and those relating to them). Finally, the field of analysis is circumscribed to Bontempelli's work as a propagandist and an anthologist, roles which while fuelling the demands of the cultural policies of fascism, was nevertheless characterised by a problematic and controversial relationship with the regime, which would cost him dearly in the future, perhaps also in terms of critical acclaim.

Prenant appui sur une historicisation critique des postulats méthodologiques et idéologiques au fondement des catégories d’humanisme civique et de républicanisme, la thèse entend renoncer à une lecture uniquement théorique de l’œuvre des humanistes florentins et restituer aux textes leur statut d’énoncés historiques. L’enjeu est de redessiner les lignes portantes d’une tradition civile et républicaine propre à la réalité florentine dont les penseurs des guerres d’Italie (Savonarole, Guichardin, Machiavel) seront les dépositaires critiques. Un travail d’interprétation de la correspondance familière de Coluccio Salutati (1331-1406) constitue le socle de la recherche et fait apparaître la dimension juridique de la pensée du chancelier, et ce à double titre : d’une part elle révèle l’omniprésence d’un lexique juridique qui fournit l’essentiel de l’arsenal interprétatif de l’analyse politique, et d’autre part, elle définit un « office d’exhortation » qui constitue la théorie politique de Salutati non pas simplement comme une rhétorique propagandiste mais aussi comme un discours réformateur. L’apport de Leonardo Bruni (1370-1444) est ainsi réévalué dans le sillage de l’humanisme politique de Salutati, et se distingue de ce dernier surtout par la valeur nouvelle accordée à l’histoire dans l’élaboration d’une langue et d’une science de la vie civile
Starting from a critical historicization of the methodological and ideological foundations of categories such as civic humanism and republicanism, this thesis investigates the works of the Florentine humanists not only from the point of view of political theory but also in relation to their historical significance. The aim is to redefine the structural lines of a republican tradition characteristic of Florentine history, a tradition which the thinkers of the Italian Wars (Savonarola, Guicciardini, Machiavelli) inherited and criticized. An extensive reading of the private letters by Coluccio Salutati (1331-1406) constitutes the central part of this work and reveals the juridical character of the Chancellor’s thought : on the one hand, the juridical vocabulary is omnipresent in the letters and provides the core of the hermeneutic tools necessary to political analysis ; on the other hand, it helps defining an « office of exhortation » which discloses Salutati’s urge for reform rather than his role of propagandist. New light is then shed on Leonardo Bruni’s contribution to political thought as Bruni is seen following the path of Salutati’s political humanism. Leonardo Bruni (1370-1444), in comparison with his master, stresses the superiority of history, but finds himself equally involved in the formulation of a language and a science of political life

Cette thèse se propose de discuter la formation des alternances récurrentes dans les skarns et la précipitation oscillante par métasomatose en contexte métamorphique. On commence par discuter deux types d'alternances de Rio Marina (Ile d'Elbe, Italie). Les directions des bandes sont parallèles à la zonation des skarns ou au contact entre le skarn et le calcaire. Les études géochimiques montrent que les skarns à alternances et les skarns ordinaires sont formés sur des calcaires massifs et homogènes et que la formation des skarns nécessite des apports importants de silice et de fer et de lessivages de calcium et de gaz carbonique. La comparaison des alternances de Rio Marina avec d'autres exemples d'alternances a permis d'énoncer les règles suivantes: (1). Les alternances apparaissent généralement sous 2 formes: des strates alternantes ou des structures orbiculaires. (2) Les épaisseurs des bandes varient de 0,2 mm a 6 mm ; les épaisseurs des bandes claires et des bandes sombres sont les mêmes dans la plupart des cas. (3) Dans les alternances, il y a au moins un minéral qui est constitué non seulement d'un élément provenant de la dissolution des carbonates comme Ca et Mg mais aussi d'un élément provenant du fluide comme Si et Fe. le deuxième minéral dans les alternances est compose essentiellement d'éléments provenant du fluide comme Si et Fe. La formation des bandes requiert le couplage de la précipitation des minéraux en alternances et de la dissolution de la roche carbonatée. Des modèles qualitatifs sont établis pour discuter le mécanisme possible d'apparition de ce type de structure spatiale.

Nous voulons démontrer que le plurilinguisme n’est pas un procédé accessoire, mais une fonction majeure de la littérature. Pour ce faire, cette thèse étudie l’écriture de trois auteurs italiens plurilingues : Amelia Rosselli (1930-1996), Edoardo Sanguineti (1930-2010) et Patrizia Vicinelli (1943-1991). La première partie analyse le plurilinguisme littéraire d’un point de vue théorique, historique et formel. Après avoir défini les concepts essentiels, nous dressons une synthèse argumentée des études fondatrices sur ce sujet. Parallèlement, nous montrons comment le plurilinguisme se développe dans la deuxième moitié du XXe siècle. Enfin, nous dégageons les caractéristiques formelles récurrentes des textes plurilingues, du micro-texte au macro-texte, et proposons plusieurs typologies. De plus, nous soutenons que le plurilinguisme a un rôle crucial dans la pensée, les émotions et les images véhiculées par les textes littéraires. La deuxième partie explore trois caractéristiques majeures de cet imaginaire plurilingue : la subjectivité, la représentation de l’espace mondial et la conscience métalinguistique. Le plurilinguisme a enfin des conséquences globales sur les logiques de réception et de traduction, comme le montre la troisième partie. Plus généralement, le lecteur lui-même est toujours plongé dans une traduction potentielle. Après avoir examiné les questions théoriques que pose la traduction du plurilinguisme, nous critiquons différentes traductions de nos auteurs en plusieurs langues. Nous insistons sur les cas particuliers de l’autotraduction et de la traduction réalisée avec l’auteur
My aim is to demonstrate that multilingualism is not an incidental process, but a substantial function in literature. Therefore, this thesis studies the works of three italian multilingual authors: Amelia Rosselli (1930-1996), Edoardo Sanguineti (1930-2010) and Patrizia Vicinelli (1943-1991). The first part analyses literary multilingualism from a theoretical, historical and formal point of view. After defining essential concepts, I give a detailed overview of the founding studies on this topic. At the same time, I point out how multilingualism raises during the second half of the XXe century. Then I identify the main formal patterns of multilingual texts, from microtext to macrotext, and propose different typologies. Moreover I argue that multingualism plays a leading role in thoughts, emotions and images conveyed by literary texts. Thus the second part focuses on three major features of the multilingual imagination: the subjectivity, the representation of world space and the metalinguistic awareness. Multilingualism has finally a global impact on the reception and the translation of texts, which is the topic of the third part. The reader himself is always engaged in a potential translation. After investigating the general questions raised by the translation of multilingualism, I criticize different translations of our authors in several languages. I also emphasize the specific issue of self-translation and translation written with the author

En 1999, un roman intitulé L’œil de Carafa et signé Luther Blissett connaît un vif succès. L'ouvrage présente la particularité de comporter une mention dite de “copyleft”, autorisant sa reproduction libre et gratuite. Derrière le pseudonyme se dissimule un collectif ouvert et international, porté par de nombreux artistes et activistes médiatiques, qui s'illustre également par diverses actions et happenings. Un an plus tard, les auteurs du roman créent un nouveau projet littéraire, sous le pseudonyme Wu Ming (“anonyme” en chinois). Le collectif prône la libre diffusion de l'écrit et à travers ses publications de théorie littéraire, il suscite la polémique dans le monde des lettres italiennes. En rupture avec la figure de l'écrivain qui s'est imposée depuis une trentaine d'années, Wu Ming prend appui sur le développement des nouvelles technologies, et plus particulièrement sur l'essor d’Internet, pour imposer une nouvelle conception de la création littéraire et de la diffusion des œuvres.L'analyse ici proposée interroge le caractère novateur du positionnement éthique et littéraire de Luther Blissett et de Wu Ming, en examinant leurs productions à l'aune de trois modèles de référence : l'avant-gardisme, le postmodernisme et la littérature engagée. En confrontant les engagements des deux collectifs à leur fonctionnement concret et, in fine, à leurs œuvres, elle vise à déterminer si les projets Luther Blissett et Wu Ming sont annonciateurs d'un changement de paradigme en littérature, rendu possible notamment par les nouveaux moyens de communication, ou si au contraire ces auteurs, en dépit de leurs singularités, s'inscrivent dans des schémas littéraires déjà existants
In 1999, the novel Q, authored by Luther Blisset, enjoyed considerable success. One of its special characteristics is that it bears a copyleft notice allowing free reproduction of the work. Indeed, an open, international group artists and media activists hides behind this peculiar nom de plume and has distinguished itself at various public actions and happenings. About a year later, the authors of the novel set out a new project under the pseudonym Wu Ming (a Chinese translation of “anonymous”) and advocated free circulation of written works. Their publications in literary theory have given rise to controversy in the Italian literary circles. Breaking with the figure of the author that has reigned supreme over the past three decades, Wu Ming is building on new technologies and more specifically on the Internet in order to enforce a new conception of both literary creation and the circulation of works.This dissertation investigates the novelty of the ethical and literary position of Luther Blissett and Wu Ming and looks into their productions in relation to avant-gardism, postmodernism and littérature engagée. In cross-examining the stakes and functioning of both projects with their actual creations, we aim to determine whether Luther Blissett and Wu Ming are heralding a change in literary paradigm or if, in spite of their singularities, these authors do not actually fit into existing patterns

La question principale à laquelle nous avons tenté de répondre est la suivante : est-ce que la variabilité des matières premières (caractéristiques pétrographiques et morphologie des supports) a conditionné la production des hommes préhistoriques dans le temps et dans l’espace ? La mise en place de fiches descriptives technologiques spécifiques pour chaque catégorie d’objets nous a permis d’analyser les caractères techniques propres à chaque produit et de sélectionner les variables principales qui ont joué un rôle important dans l’évaluation des contraintes et ont guidé la production lithique. L’analyse critique des contextes lithostratigraphiques et la prise en compte des diversités techniques, technologiques ou chronologiques des industries permettent de reconsidérer les paradigmes à la base de la différentiation des techniques : produits du façonnage bifacial (biface, ébauche), système de production Levallois, système de production Discoïde. Ces termes ont trop longtemps masqué la variabilité exprimée par la production technique des tailleurs du Paléolithique. C’est vers l’analyse de la pluralité des comportements humains et des sociétés qu’il faut se diriger maintenant
The use of geomaterials different from flint in Early and Middle Paleolithic. Economical technical and functional choices after the study of two sites : Sainte-Anne I (Haute-Loire, France) (MIS 5-7) and Notarchirico (Basilicata, Italy) (MIS 14-17).We tried to answer the question: has the variability of raw materials (from petrographical characteristics and morphological aspects) influenced prehistoric knappers during the production both in time and space? The creation and use of specific descriptive files for each category of objects allowed us to analyze the technical characteristics of the products and to select the variables that played a major role in the assessment of needs at the base of the lithic production. Critical analysis of the litho-stratigraphic contexts and consideration of technical, technological or chronological diversity allows to reconsider the paradigms underlying the differentiation of the techniques: products façonnage (double sided, ébauche), Levallois production system, discoid production system. These terms have for too long concealed the variability of the characters in Paleolithic lithic production. We have now to reconsider the purposes of lithic studies and to aim to decipher the plurality of individuals and palaeolithic societies behaviours
L’utilizzazione delle rocce diverse dalla selce nel Paleolitico antico e medio : scelte economiche, tecniche e funzionali, sulla base dello studio dei siti di Sainte-Anne I (Haute-Loire, France) (SIO 5-7) e di Notarchirico (Basilicata, Italia) (SIO 14-17).La questione principale alla quale abbiamo tentati di rispondere è la seguente: la variabilità delle materie prime (caratteristiche petrografiche e morfologia dei supporti) ha condizionato gli uomini preistorici durante la produzione nel tempo e nello spazio? La creazione e l’utilizzo di schede di analisi specifiche per ogni categoria di oggetti ci ha permesso di analizzare i caratteri tecnici specifici dei prodotti e di selezionare le variabili principali che hanno giocato un ruolo importante nella valutazione delle necessità alla base della produzione litica. L’analisi critica dei contesti lito-stratigrafici e la considerazione delle diversità tecnica, tecnologica o cronologica delle industrie permette di riconsiderare i paradigmi alla base della differenziazione delle tecniche: prodotti del façonnage bifacciale (bifacciale, ébauche), sistema di produzione Levallois, sistema di produzione Discoide. Questi termini hanno per troppo tempo celato la variabilità dei caratteri che durante il Paleolitico era necessario prendere in considerazione nella produzione litica. Adesso bisogna dare un nuovo indirizzo agli studi, indirizzandoli verso la presa di coscienza della pluralità dei comportamenti umani e delle società paleolitiche

À côté de la jeune histoire de l’archéologie sous-marine égyptienne qui est retracée dans ce travail, les expériences similaires dans le monde méditerranéen sont beaucoup plus anciennes. Elles remontent au XVe siècle avec la découverte d’une épave du Ier siècle ap. J.-C. dans le lac Nemi, puis à la récupération d'une partie de la cargaison de l'épave antique d'Anticythère en 1901 grâce aux pêcheurs d'éponges grecs, ainsi qu’à la découverte en 1907 de l'épave romaine de Mahdia en Tunisie. Elles constituent des événements marquants dans le domaine de l'archéologie sous-marine. Mais l’archéologie sous-marine s’est développée de manière spectaculaire avec l’invention du scaphandre autonome par les français Jacques-Yves Cousteau et l’ingénieur Émile Gagnan. Cette invention provoqua une véritable révolution dans le domaine des activités sous-marines en 1942-1943. Ensuite les découvertes se succédèrent dans le bassin méditerranéen pendant plus d’un demi-siècle et de nombreux pays à travers le monde décidèrent de la mise en place de service archéologique spécialement dédié aux activités subaquatiques et sous-marines.Cette thèse porte sur une politique de gestion des vestiges immergés en Egypte, à la lumière des autres expériences en Méditerranée, afin d’attirer l'attention sur la richesse du patrimoine subaquatique égyptien à travers une étude dans le détail et dans son ensemble de l’action du Conseil suprême des Antiquités de l’Égypte et des diverses missions étrangères travaillant en Egypte. Elle propose une politique de protection efficace du patrimoine culturel subaquatique en Egypte, et des suggestions de développement du tourisme archéologique sous-marin et subaquatique, pour transformer ces richesses englouties en vecteur économique, tout en assurant leur protection adéquate par une législation spécifique qui n’existe pas encore en Egypte
Beside this short history of underwater archeology in Egypt which is described in this work, similar experiences in the Mediterranean are much older, they go back to the fifteenth century with the discovery of a wreck from the first century AD, in Lake Nemi, later, the recovery of some objects from the ancient wreck of Anticythère in 1901 by the Greek fishermen of sponge, and the discovery in 1907 of the Roman wreck of Mahdia in Tunisia, are remarkable in the field of underwater archeology. But the underwater archeology has developed with the invention of the aqualung by the French Jacques-Yves Cousteau and the engineer Emile Gagnan. This invention caused a revolution in the field of underwater activities in 1942-1943. Then the underwater discoveries in the Mediterranean were succeeded and increased for more than a half century, and many countries around the world decided the establishment of an archaeological service specifically dedicated to underwater activities. This study focusses on management policy of underwater archaeology in Egypt, in the light of other experiences in the Mediterranean, in order to draw attention to the importance of the Egyptian underwater archaeology through a study in details of the activities of the Supreme council of Antiquities in Egypt and of the different foreign missions working in Egypt and to propose an effective protection policy of underwater cultural heritage in Egypt, also to develop the tourism of underwater archaeology, and to transform these vestiges in an economic vector, while ensuring an adequate protection by specific legislation that does not exist yet in Egypt

Nous voulons démontrer que le plurilinguisme n’est pas un procédé accessoire, mais une fonction majeure de la littérature. Pour ce faire, cette thèse étudie l’écriture de trois auteurs italiens plurilingues : Amelia Rosselli (1930-1996), Edoardo Sanguineti (1930-2010) et Patrizia Vicinelli (1943-1991). La première partie analyse le plurilinguisme littéraire d’un point de vue théorique, historique et formel. Après avoir défini les concepts essentiels, nous dressons une synthèse argumentée des études fondatrices sur ce sujet. Parallèlement, nous montrons comment le plurilinguisme se développe dans la deuxième moitié du XXe siècle. Enfin, nous dégageons les caractéristiques formelles récurrentes des textes plurilingues, du micro-texte au macro-texte, et proposons plusieurs typologies. De plus, nous soutenons que le plurilinguisme a un rôle crucial dans la pensée, les émotions et les images véhiculées par les textes littéraires. La deuxième partie explore trois caractéristiques majeures de cet imaginaire plurilingue : la subjectivité, la représentation de l’espace mondial et la conscience métalinguistique. Le plurilinguisme a enfin des conséquences globales sur les logiques de réception et de traduction, comme le montre la troisième partie. Plus généralement, le lecteur lui-même est toujours plongé dans une traduction potentielle. Après avoir examiné les questions théoriques que pose la traduction du plurilinguisme, nous critiquons différentes traductions de nos auteurs en plusieurs langues. Nous insistons sur les cas particuliers de l’autotraduction et de la traduction réalisée avec l’auteur
My aim is to demonstrate that multilingualism is not an incidental process, but a substantial function in literature. Therefore, this thesis studies the works of three italian multilingual authors: Amelia Rosselli (1930-1996), Edoardo Sanguineti (1930-2010) and Patrizia Vicinelli (1943-1991). The first part analyses literary multilingualism from a theoretical, historical and formal point of view. After defining essential concepts, I give a detailed overview of the founding studies on this topic. At the same time, I point out how multilingualism raises during the second half of the XXe century. Then I identify the main formal patterns of multilingual texts, from microtext to macrotext, and propose different typologies. Moreover I argue that multingualism plays a leading role in thoughts, emotions and images conveyed by literary texts. Thus the second part focuses on three major features of the multilingual imagination: the subjectivity, the representation of world space and the metalinguistic awareness. Multilingualism has finally a global impact on the reception and the translation of texts, which is the topic of the third part. The reader himself is always engaged in a potential translation. After investigating the general questions raised by the translation of multilingualism, I criticize different translations of our authors in several languages. I also emphasize the specific issue of self-translation and translation written with the author

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This master degree main objective is the analysis and the study of the dramatical workmanship composition Six Personages in Search of an Author , witch is studied here as Seis Personagens em Busca de um Autor by Luigi Pirandello (1867-1936), staged for the first time in 1921, in Rome / Italy, reaching success in the entire world and deeply influencing the art of the teatral representation of the century XX. The objectives of the research send to analyze the modern elements gifts in the text Six Personages in Search of an Author and to the verification of the specific items on this modern pirandellian text in debate with modernity and contemporality. Basically, here, the analysis if guideline in the reflection on the existence of a tension between tradition and renewal, characteristic of the modernity in general way and specific way of the workmanship of Pirandello. It is treated, therefore, of formal examining the renewal as crisis of the tradition while factor of revelation and denudation as crisis of the modern world that is present like a mean form in the workmanship of Pirandello and in the Modern Drama . The literary analysis of the pirandellian text was based, initially, in the theoretical debate on the question of the literary sorts for the definition of the concept of Modern Drama . For this issue, this thought followed a line that begins with Hegel, goes to Georg Lukács and finishes with Peter Szondi. Advancing in this way, it was turned back to the proper theoretical texts of Pirandello, mainly O Humorismo , wrote in 1903, that involves the modernity of the drama and how it would be articulated, later, in an artistic form. A critical historical pillar helped to support the recital of this work that had as purpose understand and context this workmanship of Pirandello in its time and the present time. It was established, a parallel between two authors: the Italian, contemporary Pirandello, Antonio Gramsci and the german, Walter Benjamin. This debate in allowed in such a way to invest them in the analysis of the tension between form and content, renewing the art of drama of Pirandello culturally (as content) and the respective esthetic way (as form)
Trata, a presente dissertação, da análise e do estudo da obra dramática Seis Personagens em Busca de um Autor, de Luigi Pirandello (1867-1936), encenada pela primeira vez em 1921, em Roma, Itália, alcançando sucesso no mundo todo e influenciando profundamente a dramaturgia do século XX. Os objetivos da pesquisa remetem à analise dos elementos modernos presentes no texto Seis Personagens em Busca de um Autor e à verificação das especificidades desse moderno pirandelliano em debate com a modernidade e a contemporaneidade. Basicamente, aqui, a análise se pauta na reflexão sobre a existência de uma tensão entre tradição e renovação, característica da modernidade de modo geral e de modo específico da obra de Pirandello. Trata-se, portanto, de formalmente examinar a renovação como crise da tradição enquanto fator de revelação e desnudamento de uma crise do mundo moderno que se apresentaria como uma forma fundamental na obra de Pirandello e no Drama Moderno . A análise literária do texto pirandelliano alicerçou-se, inicialmente, no debate teórico sobre a questão dos gêneros literários para a definição do conceito de Drama Moderno . Para tanto, esse pensamento seguiu uma linha que parte de Hegel, passa por Gyorgy Lukács e se finaliza com Peter Szondi. Avançando neste caminho, voltou-se aos próprios textos teóricos de Pirandello, principalmente O Humorismo, escrito em 1903, que compreende a modernidade do drama e como se articularia, posteriormente, numa forma artística. Sustentou ainda a fundamentação deste trabalho um pilar crítico-histórico que teve como finalidade compreender e contextualizar a obra de Pirandello em seu tempo e na atualidade. Estabeleceu-se, assim, um paralelo entre dois autores: o italiano, contemporâneo a Pirandello, Antonio Gramsci e o alemão Walter Benjamin. Esse debate nos permitiu investir na análise da tensão entre forma e conteúdo, renovando a dramaturgia de Pirandello tanto culturalmente (como conteúdo) quanto esteticamente (como forma)

In the last 50 years, flooding has figured as the most frequent and widespread natural disaster globally. Extreme precipitation events stemming from climate change could alter the hydro-geological regime resulting in increased flood risk. Near real-time precipitation monitoring at local scale is essential for flood risk mitigation in urban and suburban areas, due to their high vulnerability. Presently, most of the rainfall data is obtained from ground‐based measurements or remote sensing that provide limited information in terms of temporal or spatial resolution. Other problems may be due to the high costs. Furthermore, rain gauges are unevenly spread and usually placed away from urban centers. In this context, a big potential is represented by the use of innovative techniques to develop low-cost monitoring systems. Despite the diversity of purposes, methods and epistemological fields, the literature on the visual effects of the rain supports the idea of camera-based rain sensors but tends to be device-specific. The present thesis aims to investigate the use of easily available photographing devices as rain detectors-gauges to develop a dense network of low-cost rainfall sensors to support the traditional methods with an expeditious solution embeddable into smart devices. As opposed to existing works, the study focuses on maximizing the number of image sources (like smartphones, general-purpose surveillance cameras, dashboard cameras, webcams, digital cameras, etc.). This encompasses cases where it is not possible to adjust the camera parameters or obtain shots in timelines or videos. Using a Deep Learning approach, the rainfall characterization can be achieved through the analysis of the perceptual aspects that determine whether and how a photograph represents a rainy condition. The first scenario of interest for the supervised learning was a binary classification; the binary output (presence or absence of rain) allows the detection of the presence of precipitation: the cameras act as rain detectors. Similarly, the second scenario of interest was a multi-class classification; the multi-class output described a range of quasi-instantaneous rainfall intensity: the cameras act as rain estimators. Using Transfer Learning with Convolutional Neural Networks, the developed models were compiled, trained, validated, and tested. The preparation of the classifiers included the preparation of a suitable dataset encompassing unconstrained verisimilar settings: open data, several data owned by National Research Institute for Earth Science and Disaster Prevention - NIED (dashboard cameras in Japan coupled with high precision multi-parameter radar data), and experimental activities conducted in the NIED Large Scale Rainfall Simulator. The outcomes were applied to a real-world scenario, with the experimentation through a pre-existent surveillance camera using 5G connectivity provided by Telecom Italia S.p.A. in the city of Matera (Italy). Analysis unfolded on several levels providing an overview of generic issues relating to the urban flood risk paradigm and specific territorial questions inherent with the case study. These include the context aspects, the important role of rainfall from driving the millennial urban evolution to determining present criticality, and components of a Web prototype for flood risk communication at local scale. The results and the model deployment raise the possibility that low‐cost technologies and local capacities can help to retrieve rainfall information for flood early warning systems based on the identification of a significant meteorological state. The binary model reached accuracy and F1 score values of 85.28% and 0.86 for the test, and 83.35% and 0.82 for the deployment. The multi-class model reached test average accuracy and macro-averaged F1 score values of 77.71% and 0.73 for the 6-way classifier, and 78.05% and 0.81 for the 5-class. The best performances were obtained in heavy rainfall and no-rain conditions, whereas the mispredictions are related to less severe precipitation. The proposed method has limited operational requirements, can be easily and quickly implemented in real use cases, exploiting pre-existent devices with a parsimonious use of economic and computational resources. The classification can be performed on single photographs taken in disparate conditions by commonly used acquisition devices, i.e. by static or moving cameras without adjusted parameters. This approach is especially useful in urban areas where measurement methods such as rain gauges encounter installation difficulties or operational limitations or in contexts where there is no availability of remote sensing data. The system does not suit scenes that are also misleading for human visual perception. The approximations inherent in the output are acknowledged. Additional data may be gathered to address gaps that are apparent and improve the accuracy of the precipitation intensity prediction. Future research might explore the integration with further experiments and crowdsourced data, to promote communication, participation, and dialogue among stakeholders and to increase public awareness, emergency response, and civic engagement through the smart community idea.
Negli ultimi 50 anni, le alluvioni si sono confermate come il disastro naturale più frequente e diffuso a livello globale. Tra gli impatti degli eventi meteorologici estremi, conseguenti ai cambiamenti climatici, rientrano le alterazioni del regime idrogeologico con conseguente incremento del rischio alluvionale. Il monitoraggio delle precipitazioni in tempo quasi reale su scala locale è essenziale per la mitigazione del rischio di alluvione in ambito urbano e periurbano, aree connotate da un'elevata vulnerabilità. Attualmente, la maggior parte dei dati sulle precipitazioni è ottenuta da misurazioni a terra o telerilevamento che forniscono informazioni limitate in termini di risoluzione temporale o spaziale. Ulteriori problemi possono derivare dagli elevati costi. Inoltre i pluviometri sono distribuiti in modo non uniforme e spesso posizionati piuttosto lontano dai centri urbani, comportando criticità e discontinuità nel monitoraggio. In questo contesto, un grande potenziale è rappresentato dall'utilizzo di tecniche innovative per sviluppare sistemi inediti di monitoraggio a basso costo. Nonostante la diversità di scopi, metodi e campi epistemologici, la letteratura sugli effetti visivi della pioggia supporta l'idea di sensori di pioggia basati su telecamera, ma tende ad essere specifica per dispositivo scelto. La presente tesi punta a indagare l'uso di dispositivi fotografici facilmente reperibili come rilevatori-misuratori di pioggia, per sviluppare una fitta rete di sensori a basso costo a supporto dei metodi tradizionali con una soluzione rapida incorporabile in dispositivi intelligenti. A differenza dei lavori esistenti, lo studio si concentra sulla massimizzazione del numero di fonti di immagini (smartphone, telecamere di sorveglianza generiche, telecamere da cruscotto, webcam, telecamere digitali, ecc.). Ciò comprende casi in cui non sia possibile regolare i parametri fotografici o ottenere scatti in timeline o video. Utilizzando un approccio di Deep Learning, la caratterizzazione delle precipitazioni può essere ottenuta attraverso l'analisi degli aspetti percettivi che determinano se e come una fotografia rappresenti una condizione di pioggia. Il primo scenario di interesse per l'apprendimento supervisionato è una classificazione binaria; l'output binario (presenza o assenza di pioggia) consente la rilevazione della presenza di precipitazione: gli apparecchi fotografici fungono da rivelatori di pioggia. Analogamente, il secondo scenario di interesse è una classificazione multi-classe; l'output multi-classe descrive un intervallo di intensità delle precipitazioni quasi istantanee: le fotocamere fungono da misuratori di pioggia. Utilizzando tecniche di Transfer Learning con reti neurali convoluzionali, i modelli sviluppati sono stati compilati, addestrati, convalidati e testati. La preparazione dei classificatori ha incluso la preparazione di un set di dati adeguato con impostazioni verosimili e non vincolate: dati aperti, diversi dati di proprietà del National Research Institute for Earth Science and Disaster Prevention - NIED (telecamere dashboard in Giappone accoppiate con dati radar multiparametrici ad alta precisione) e attività sperimentali condotte nel simulatore di pioggia su larga scala del NIED. I risultati sono stati applicati a uno scenario reale, con la sperimentazione attraverso una telecamera di sorveglianza preesistente che utilizza la connettività 5G fornita da Telecom Italia S.p.A. nella città di Matera (Italia). L'analisi si è svolta su più livelli, fornendo una panoramica sulle questioni relative al paradigma del rischio di alluvione in ambito urbano e questioni territoriali specifiche inerenti al caso di studio. Queste ultime includono diversi aspetti del contesto, l'importante ruolo delle piogge dal guidare l'evoluzione millenaria della morfologia urbana alla determinazione delle criticità attuali, oltre ad alcune componenti di un prototipo Web per la comunicazione del rischio alluvionale su scala locale. I risultati ottenuti e l'implementazione del modello corroborano la possibilità che le tecnologie a basso costo e le capacità locali possano aiutare a caratterizzare la forzante pluviometrica a supporto dei sistemi di allerta precoce basati sull'identificazione di uno stato meteorologico significativo. Il modello binario ha raggiunto un'accuratezza e un F1-score di 85,28% e 0,86 per il set di test e di 83,35% e 0,82 per l'implementazione nel caso di studio. Il modello multi-classe ha raggiunto un'accuratezza media e F1-score medio (macro-average) di 77,71% e 0,73 per il classificatore a 6 vie e 78,05% e 0,81 per quello a 5 classi. Le prestazioni migliori sono state ottenute nelle classi relative a forti precipitazioni e assenza di pioggia, mentre le previsioni errate sono legate a precipitazioni meno estreme. Il metodo proposto richiede requisiti operativi limitati, può essere implementato facilmente e rapidamente in casi d'uso reali, sfruttando dispositivi preesistenti con un uso parsimonioso di risorse economiche e computazionali. La classificazione può essere eseguita su singole fotografie scattate in condizioni disparate da dispositivi di acquisizione di uso comune, ovvero da telecamere statiche o in movimento senza regolazione dei parametri. Questo approccio potrebbe essere particolarmente utile nelle aree urbane in cui i metodi di misurazione come i pluviometri incontrano difficoltà di installazione o limitazioni operative o in contesti in cui non sono disponibili dati di telerilevamento o radar. Il sistema non si adatta a scene che sono fuorvianti anche per la percezione visiva umana. I limiti attuali risiedono nelle approssimazioni intrinseche negli output. Per colmare le lacune evidenti e migliorare l'accuratezza della previsione dell'intensità di precipitazione, sarebbe possibile un'ulteriore raccolta di dati. Sviluppi futuri potrebbero riguardare l'integrazione con ulteriori esperimenti in campo e dati da crowdsourcing, per promuovere comunicazione, partecipazione e dialogo aumentando la resilienza attraverso consapevolezza pubblica e impegno civico in una concezione di comunità smart.