Rozprawy doktorskie na temat „Italian Chairs”

The goal of my thesis is to analyse how the food&wine Italian firms can use and take advantage of their local quality and knowledge in the global value chains. In particular, I will study the different ways in which these companies can develop a process of internationalization. I will illustrate how quality of food&wine Italian products could change with the internationalization of the totality or a part of the production processes, and which could be the advantages or the problems of such strategy. In order to bring material examples and to make up a base for my analysis I will expose a few case studies of food&wine Italian firms that have carried out a process of internationalization, highlighting the need of making distinctions depending on the case. In fact, different products have got different features, therefore my aim is not to give a general and universal model, but rather to study the different strategic solutions that firms have put into practice. In particular I will study the following cases: _Rigoni di Asiago _Masi Agricola _Casa Vinicola Zonin _Brazzale

La Toscane conserve un groupe de quatre chaires historiées, réalisées entre 1260 et 1310 par Nicola et Giovanni Pisano, chaires uniquement reconnues comme des chefs d'oeuvres de la sculpture "gothique" italienne. Victimes par le passé de démembrements, puis de restaurations hasardeuses, ces chaires n'ont pas encore livré toutes les subtilités de leurs programmes iconographiques. C'est au niveau de la logique qui régit l'ordonnancement des parties figurées sur la structure architectonique qu'il s'agit de s'interroger afin de retrouver toute l'ampleur du discours théologique global. L'analyse débute sur un rappel des principes liturgiques sur lesquels se fonde la conceptionet l'utilisation médiévale de la chaire, puis effectue un tour d'horizon de diverses solutions formelles mises en oeuvre sur une aire temporelle et géographique plus ample afin de dégager des termes de comparaison utiles à une plus juste appréciation de la spécificité du travail des Pisani. .
Tuscany keeps a group of four pulpits, sculpted between 1260-1310 by Nicola and Giovanni Pisano, which are known as the greatest Italian gothic sculpture masterpieces. Those monuments have been dismembered and the subsequent restaurations have lost part of the original meaning, as the order of the figures has been forgotten. The present study tries to look for the logic that ties all figures within a coherent and unificated signification. It begins with a recall of the liturgical principles on which the pulpit is built, as the monuments exist as an active part of the christian ritual before they're considered as works of art. The analysis of the production of pulpits on a larger geographical and historical scale is also useful to observe with a better accuracy the originality of the Pisani's work. .

The central topic of this work is the analysis of the incremental use of GVCs in Italian Companies; the factors and events that keep on leading more and more companies locating the different stages of the production process across different countries. The strenghts and weaknesses, the opportunities and threats will then be made clearer by taking into consideration the standing out case of Luxottica Group, one of the wordlwide leaders of the Eyewear sector.

En italie meridionale, a l'epoque romane, l'ambon est un meuble d'une valeur insigne. On l'utilise pour la benediction du cierge le soir du samedi saint. C'est aussi le lieu de la parole et l'un des pole les plus importants de la celebration eucharistique apres l'autel. Il recut donc dans les regions des abruzzes et de la campanie un decor qui souligne son importance liturgique et exalte la hautespiritualite de sa fonction. L'examen des techniques et du style des sculptures de ces ambons - d'une qualite artistique remarquable - nous a permis d'apporter des precisiions sur l'evolution de la sculpture dans ces regions. Grace a l'etude du repertoire iconographique, riche et original, nous avons pu mieux comprendre l'importance que les clercs accorderent a la proclamation de l'evangile au sein du dispositif cultuel.

The study investigates how small and medium sized companies can integrate themselves in the manufacturing chain of Global Players in the automotive industry using a qualitative approach (interviews) and a value chain perspective

Orientador: Luiz César Marques Filho
Acompanha volume das figuras
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: O sepulcro do Papa Júlio II foi finalizado por Michelangelo em 1545 em San Pietro in Vincoli, em Roma. O projeto final contou com 7 esculturas: 4 do artista e 3 de seus discípulos. Alguns estudiosos têm considerado que ele reuniu esculturas feitas em diversos momentos para se ver livre de uma encomenda que durou 40 anos. As recentes abordagens do significado das esculturas da Vida Ativa e da Vida Contemplativa apontam para a existência de um programa iconográfico definido. Antonio Forcellino afirma que Michelangelo se inspirou no conteúdo do livro Il Beneficio di Cristo para idealizar essas esculturas. Enrico Guidoni diz que o mestre se baseou nas iniciais de Vittoria Colonna e Faustina Mancini para concebê-las. Para Marina Gandini as duas alegorias femininas representam as formas de vida de Moisés, enquanto Maria Forcellino entende que Michelangelo teria tomado Maria Madalena e Santa Caterina como modelo ao criá-las. Quando elaborou essas esculturas, Michelangelo mantinha estreitos laços de amizade com alguns integrantes do movimento reformador italiano e comungava dos mesmos preceitos doutrinários das correntes religiosas dos valdesiani e dos "spirituali" do Circolo di Viterbo. Ao introduzir aquelas duas alegorias no monumento, o artista teria perenizado naqueles mármores a relação entre fé e obras - simbolização daquelas duas formas de vida no mundo cristão -, no tocante à justificação, tal qual essa questão era vista por aqueles reformadores, ou seja, de que apenas a fé detinha o mérito de justificar o pecador diante de Deus, sendo essa fé operadora das boas obras. Ao concebê-las o mestre não teria se baseado em qualquer escrito específico e sim em suas próprias reflexões e conversas mantidas com os interlocutores daquelas correntes sobre a questão da justificação
Abstract: The sepulcher of the pope Jules II was finished by Michelangelo in 1545 at the Church of Saint Peter in Chains, in Rome. The final project counted on 7 sculptures: 4 of them by Michelangelo?s own hands and 3 sculptures made by his assistents. Some Scholars have considered that him assembled sculptures made in different moments of his life to be free of an order that lasted 40 years. The recent approaches on the meaning of the sculptures of Activ Life and Contemplative Life point to the existence of an iconographic programme previously defined by the master. Antonio Forcellino says Michelangelo was inspired by the content of the little book Il Beneficio di Cristo to idealize these sculptures. Enrico Guidoni tells that the master had based on the first letters of the Vittoria Colonna and Faustina Mancini?s names to creat them. To Marina Gandini these sculptures are the two forms of the lives of Moses and for Maria Forcellino Michelangelo took Mary Magdalene and Saint Catherine as models to make them. When he worked on these sculptures Michelangelo had narrow ties of friendship with some persons of the italian reformed movement and communicated some doctrinaire ideals of the religious corrents of the valdesiani and the "spirituali" of the Circle of Viterbo. By introducing that two alegories in that sepulchral monument the artist has immortalized on that marbles the relationship between faith and good works - symbolizations of that two forms of life in the Cristian world -, concerning the justification question, like this question was seen by those reformers, that is to say, that only the faith had the merit to justify the sinner before God, being the good works operated by the faith. In creating them the master did not base in any specific written, but in both his own reflections and the talks he had with the interlocuters of those religious groups on the justification question
Doutorado
Historia da Arte
Doutor em História

La produzione agricola industriale su larga scala e il commercio di prodotti sono sempre più connessi a fenomeni di deforestazione e degradazione delle foreste tropicali. Tale fenomeno è descritto tramite il concetto di ‘rischio di deforestazione’ o forest-risk. I prodotti agricoli i cui processi produttivi implicano deforestazione e rimozione della vegetazione autoctona, sono classificati beni a rischio deforestazione (forest risk commodities). Carne bovina, soia, olio di palma e legname – i beni a rischio deforestazione – sono considerati ‘i grandi 4’ tra le forest-risk commodities. A causa della complessità dei sistemi globali di produzione e commercio alcuni beni sono indirettamente legati a tale rischio, poiché derivano da aree deforestate senza essere essi stessi causa diretta di deforestazione. Questa dimensione del rischio viene spesso tralasciata e permane un tema secondario nel dibattito sulla deforestazione derivata dalla produzione e il commercio di beni di consumo. La distinzione tra beni con un legame causale diretto con la deforestazione e beni che includono nella propria filiera il rischio di deforestazione incide su come la responsabilità della deforestazione viene attribuita e considerata sia tramite misure legali che tramite standard volontari di auto-regolamentazione. Pertanto risulta necessario sviluppare una concettualizzazione migliore per concordare una terminologia da utilizzare sia nella letteratura accademica che in quella informale e raggiungere delle decisioni politiche basate su un approccio scientifico. Nella ricerca effettuata si è voluto espandere la concettualizzazione di deforestation risk facendo riferimento al caso delle pelli bovine (di qui in avanti semplicemente, pelli) e in particolare al caso della produzione di pelli/prodotti di conceria in Brasile. Il focus sulle pelli ha molteplici ragioni. In primo luogo, mentre il ruolo degli allevamenti zootecnici come causa di deforestazione in Brasile è soggetto ad una crescente attenzione da parte dell’opinione pubblica, la filiera di produzione delle pelli rimane ancora inesplorata. Fatta eccezione per poche imprese leader del settore dei prodotti in pelle, il dibattito sulla trasparenza di questa filiera e il rischio di deforestazione ad essa associato è praticamente assente. In secondo luogo, la filiera della pelle è di norma molto più complessa rispetto a quella della carne bovina e coinvolge numerosi attori sia a livello nazionale che internazionale, ivi compresi gli intermediari, le concerie, le case di moda, ecc. Ciò crea delle discontinuità nella tracciabilità della pelle e complica l’identificazione del rischio di deforestazione lungo la filiera. Infine, la pelle è un bene che per propria stessa natura è legato a rapporti di forza squilibrati tra gli attori della filiera. Una terza ragione per la scelta del settore della pelle è data dal fatto che, poiché la pelle è spesso considerata un prodotto di scarto secondario della carne bovina, ne consegue che gli attori coinvolti nella filiera sostengono di avere uno scarso potere di negoziazione per imporre i loro standard e delle condizioni di non-deforestazione ai produttori. Al contempo, gli attori a valle della filiera, come le case di moda, sono maggiormente esposti a rischi di natura reputazionale rispetto alle imprese del settore della carne. In conseguenza di tale situazione vi è il fatto che la pelle è un bene con costi e benefici distribuiti in maniera asimmetrica all’interno della filiera. Mentre a monte gli allevatori mancano delle risorse per rispettare standard di sostenibilità e spesso non beneficiano di nessuna compensazione economica per il pellame dei propri bovini, i prodotti finiti in pelle sono visti come beni di lusso, con elevati margini di guadagno per le aziende che li producono e commerciano. Questa ricerca impiega sia dati primari che secondari. I dati primari sono principalmente di tipo qualitativo e derivano da trentanove interviste semi-strutturate e audio-registrate condotte sotto forma sia di colloqui vis-à-vis che a distanza (video-chiamate) durante una missione in Brasile tra maggio e agosto 2018. Tali dati sono stati utilizzati prevalentemente ai fini dell’analisi del discorso (discourse analysis) presentata nel secondo capitolo e come riferimenti interpretativi e di lettura del contesto per l’analisi dei dati quantitativi secondari presentata nei rimanenti capitoli. I dati e le informazioni secondari sono stati derivati da un’estesa analisi della letteratura e analisi di dati statistici relativi a mattatoi, registri su pelli bovine grezze e semilavorate e processi di deforestazione; sono stati inoltre considerati dati geospaziali relativi alle aree deforestate e alla localizzazione dei mattatoi e delle concerie; da ultimo sono stati considerati dati relativi al commercio di pelli e prodotti derivati tra Brasile e Italia. Nessun intervallo di tempo specifico è stato selezionato a priori per l’analisi dei dati: le serie temporali sono state selezionate a seconda della disponibilità di dati e delle necessità relative alle singole tipologie di analisi impiegate. Dai risultati emerge che la filiera delle pelli ha un rischio deforestazione significativo nonostante il pellame non sia un prodotto primario dell’allevamento bovino e un fattore diretto di deforestazione. Il rischio si colloca principalmente nel legame con le attività zootecniche e di allevamento, nell’incompleta tracciabilità della filiera così come nel commercio interno e internazionale di pelle. Le pelli prodotte in Brasile e importate per essere successivamente lavorate in Italia incorporano un livello significativo di rischio di deforestazione a causa degli intensi scambi commerciali tra i due Paesi. Il rischio di deforestazione legato alle pelli è affrontato in maniera diversa dai diversi discorsi esistenti sul tema e pone in evidenza come l’articolarsi della trama di ciascun discorso comporti l’attenzione sia su aspetti visibili che invisibili rispetto alla sostenibilità, all’equità e alla legalità delle filiere in questione. I risultati mettono in risalto l’importanza del ruolo e della voce degli agricoltori di frontiera, mostrando come la loro visione e interpretazione informi un discorso politico incentrato sul tema della sopravvivenza e del sostentamento. È quindi necessaria una maggiore attenzione da parte dell’opinione pubblica sulle filiere produttive, ivi comprese quelle delle pelli e dei prodotti derivati, e in particolare sulle relazioni non eque di potere, così come sull’importanza di un’inclusione significativa di gruppi vulnerabili della popolazione. L’industria del pellame e i grandi marchi dovrebbero essere più proattivi, inviando al mercato un chiaro segnale per cui la deforestazione e altre forme di illegalità non possono essere tollerate. Una piena tracciabilità della filiera e il coinvolgimento dei produttori è imprescindibile se l’industria mira a produrre e commerciare prodotti che non siano responsabili di o coinvolti in processi di deforestazione.
Large-scale industrial agricultural production and commodity trade are increasingly linked to deforestation and forest degradation in the tropics. This link is described via the concept of ‘deforestation risk’. Agricultural products whose production or extraction involves deforestation and native vegetation clearing are classified as forest-risk commodities. Beef, soybean, palm oil, and timber - the commodities with deforestation risk - are considered the “big four” of forest-risk commodities. Due to the complexity of global production and trade systems there are commodities that possess the risk of originating from deforested areas without being direct deforestation/forest degradation drivers. This dimension of the risk is either overlooked or held as secondary in the debates about commodity-driven deforestation. Differentiation between commodities with direct causal links and those with the exposure to deforestation in their supply chain has impact on how responsibility and accountability is constructed both through legal measures and self-regulatory voluntary standards. Better conceptualization is needed to approximate the usage of the terms both in grey and academic literature and to achieve science backed policy decisions. By referring to the case of bovine leather (hereinafter just leather) and the case of Brazilian leather production we aim to expand the conceptualization of deforestation risk. We focus on leather for multiple reasons. First, while the role of cattle in driving deforestation in Brazil is subject to increasing public scrutiny, the leather commodity chain largely remains in the shadow. Except for a few leading firms in leather goods, public discussion about transparency across the leather supply chain and associated deforestation risk is mostly absent. Second, leather supply chains are more complex compared to beef and involve many national and international players, including intermediary sellers, tanneries, fashion houses, etc. This creates traceability gaps and complicates identifying deforestation risk along the chain. Third, leather is a commodity with inherently uneven power relations among the actors in the supply chain and with costs and benefits unevenly distributed across the chain. Often considered a waste or by-product to beef meat, actors in the leather supply chain argue to lack important negotiation power to impose their standards and no deforestation conditions upon producers. At the same time, downstream actors of leather supply chain, such as fashion brands, are more susceptible to reputational risks compared to that of beef. While upstream farmers lack resources to adhere to sustainability standards and hardly get any financial compensation for the skin of their cattle, finished leather products are often regarded as luxury products presenting very high price margins for producing/trading brands. This research employs both primary and secondary data. Primary data is mostly qualitative and entails thirty-nine semi-structured, recorded, and transcribed interviews, in the form of both face-to-face and video call interviews conducted during extended field visit to Brazil in May-August 2018. This data is mainly used for the discourse analysis in the second chapter and for interpretative and contextual purposes to analyse the secondary quantitative data in the other chapters. Secondary information consists of extensive literature review, statistical data on annual slaughter, bovine hide/leather registry and annual deforestation, geospatial data on deforestation, slaughterhouse and tannery locations, as well as, trade statistics on Brazilian-Italian leather trade. No specific time frame was chosen to analyse the data and time series for each data set were selected according to availability and the specific requirements of each type of analysis. The results show that bovine leather supply chains possess significant risk of embedded deforestation despite leather not being a primary product of cattle ranching and driver of deforestation. The risk reveals itself in the link with cattle ranching, incomplete supply chain traceability, as well as in interstate and international leather trade. The Brazilian-Italian bovine leather has significant level of embedded deforestation due to intensive trade relations. Different discourses articulate deforestation risk of bovine leather differently and highlight how the storylines of each discourse bring attention both to what is made visible and invisible in relation to sustainability, legitimacy, and fairness. The results emphasise the importance of the role and voice of frontier settlers, by presenting how their storylines inform a political discourse on livelihoods. There is a need for increased public scrutiny of supply chains, including the leather one, and for special attention to unequal power relations and the importance of meaningful inclusion of vulnerable groups and populations. The leather industry and big brands need to be more proactive by sending clear market signals that deforestation and other illegalities are not tolerated. Full coverage and traceability of the supply chain and engagement with the producers is necessary if the industry wants to produce and trade deforestation-free products.

Este trabalho analisa o aspecto lírico-religioso de três canções marianas, recolhidas do Cancioneiro Popular do imigrante italiano na Região de Colonização Italiana e se propõe revelar, sob o aspecto das metáforas e das metonímias, a representação de Maria. Para tanto, este estudo dialoga com temas imprescindíveis para a obtenção de resultados, como História, Cultura, Identidade, Regionalidade, Mariologia, Metáforas, Metonímias (a Teoria de Metáforas Conceituais) e música. Assim sendo, a dissertação está estruturada sobre quatro capítulos que norteiam a análise e a interpretação. A saber: o Primeiro Capítulo entrelaça a História e a Cultura, procurando fazer uma revisão de aspectos relevantes da história da imigração italiana na RCI na Região Nordeste do Estado, focando a importância da religião e ou da fé desde os primórdios desse processo. A partir disso, há a análise sobre Região, Identidade e Religiosidade. O Segundo Capítulo destaca o Cancioneiro Popular e assim, o aspecto da Tradição Oral Popular. Aprofunda o aspecto da cultura popular expressada com o canto e traz em evidência a caracterização do Canto Mariano (origens, ritualismo e devoção do imigrante italiano). Demonstra, ainda, aspectos da devoção mariana, tão presente e viva junto ao imigrante, pois Maria é descrita como sendo a mãe que está sempre presente e junto aos seus filhos (povo). O Terceiro Capítulo, por sua vez, concentra a análise dos aspectos da Teoria da Metáfora Conceitual, da Simbologia e, também, da interpretação e pesquisa sobre as Virtudes, objetivando a análise da figura da mulher idealizada , ou ainda, da representação da mãe - Maria (Madonna). Por fim, no Quarto Capítulo, tem-se a Metodologia e a Análise das canções marianas, ou seja, a análise do corpus das canções: Beléssa di Maria; Maria Consolatrice; O Bèla mia Speransa, que motivam este estudo. Esta parte segue o método da análise semântica com base em George Lakoff (e colaboradores) que permeiam o estudo das metáforas conceituais. Há, também, a posição etnográfica, onde é destacada a pesquisa de campo realizada para conhecer opiniões e perspectivas do povo, indo além da análise do pesquisador. Após isso, é feita a síntese com os resultados obtidos pela pesquisa/estudo.
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This study analyzes the religious lyrical aspect of three Marian songs, collected from the book Cancioneiro Popular do Imigrante Italiano na Região de Colonização Italiana, and also intends to clarify, using metaphors and metonymies, the representation of Mary. To do that, this study takes into consideration imprescindible issues such as History, Culture, Identity, Religiosity, and Mariology, Metaphors, Metonymies (Conceptual Metaphor Theory) and music. This dissertation is structured upon four chapters as follows: the first chapter links History and Culture, trying to revise some relevant points of the history of the Italian immigration on the RCI in the Northeast Region of our state, focusing on the importance of religion and/or faith since the beginning of that process. Therefore, there is the analysis about the Region, Identity and Religiosity. The second chapter highlights the Cancioneiro Popular and then, the Popular Oral Tradition. Also, it deepens the aspect of popular culture expressed by the songs and brings into evidence the characterization of the Marian Songs (origins, ritualism and devotion of the Italian immigrant). Moreover, it shows some aspects of the Marian devotion, so present and alive within the immigrant, because Mary is described as the mother who is always with her children (the people). The third chapter, in turn, focus on the analysis of aspects of the Conceptual Metaphor Theory , of the Symbolism, and also of the interpretation and research regarding the Virtues, aiming at analyzing the idealized woman´s portrait , or still, the representation of the mother Mary (Madonna). At last, presented in the fourth chapter are the Methodology and the Analysis of the Marian Songs, that is, the analysis of the corpus of songs: Beléssa di Mary, Mary Consolatrice and O Bela mia Speransa that motivate the study. This part follows the method of semantic analysis, based on George Lakoff (and collaborators) that permeates the study of the conceptual metaphors. There is the ethnographic position as well, where is emphasized the field work carried out to know opinions and perspectives of the people, going beyond the researcher´s analysis. After that, the synthesis is done with the obtained results by the research/study.

Le ms. Grec 2631 de la Bibliothèque nationale de France (Paris) est un Lexicon Etymologicum copié au XIIIe siècle en Italie du Sud. Il contient 48 feuillets palimpsestes provenant d'un graduel-responsorial-antiphonaire rédigé en l'an mil pour une église de la région de Turin. La notation neumatique dite de Novalèse trouve dans ce palimpseste sa première attestation connue et en fait le plus ancien manuscrit liturgique d'Italie du Nord. La séparation des séries d'antiennes et de répons en deux unités codicologiques distinctes, l'ordonnancement inhabituel des séries en font un document à part. Dans le graduel, des messes communes (apôtres, martyrs, etc. ) complètent un sanctoral propre réduit à quelques fêtes, tandis que les messes de saints faisant appel au répertoire commun sont réunies en une table d'incipit. Aux formulaires du temporal et du sanctoral s'ajoutent plusieurs messes votives ainsi que de nombreux chants de processions, parmi lesquels se trouvent de nombreuses pièces rares ou inédites. Du point de vue du répertoire comme de la notation musicale, le Palimpseste de Turin révèle des liens avec les sources provenant de la Péninsule italienne, du Nord de la France, de la vallée du Rhône, de Normandie, d'Aquitaine et d'Espagne. Il est représentatif de la diversité des traditions musico-liturgiques qui caractérise l'Italie du Nord, région au centre d'un important réseau d'échanges à cette époque
Ms. Greek 2631 of the Bibliothèque nationale de France (Paris) is a Lexicon Etymologicum copied in South Italy in the 13th century which contains 48 palimpsest leaves from a notated graduale, responsoriale and antiphonale. Written for a church of the area of Turin ca. 1000, it is the earlierst example of the so-called Novalesa neumatic notation and the first liturgical source from the North of Italy including extensive musical notation. The palimpsest of Turin is an unusual document. Antiphons and responsories of the office are copied in separate codicological items and the arrangment of the series is quite unique. The sanctorale of the graduale contains only a few feasts and is completed by common masses, whereas most of the saints' masses are gathered in a table of incipits. Several votive masses and processional chants bring a lot of new compositions or rare ones. The repertory and the musical notation reveal relations not only with the Italian peninsula, but also with the North of France, the Rhône Valley, Normandy, Aquitaine and Spain. It is representative of the variety of traditions that can be found in North Italy, a region which was not only the meeting point of several influences coming from the places cited above, but also influenced some of them. The edition of the Palimpsest of Turin is provided with indexes of the chants and several tables comparing its content with various sources from the 8th to the 15th century

Après avoir répertorié les figures de la sainteté féminine employées dans les peintures publiques provençales et alpines du XVe siècle, l'étude constate un sanctoral visuel limité (Marie-Madeleine, vierges martyres), l'absence des saintes locales, et explore les modalités de ces choix (polysémie de la sainteté, agencements visuels). Retables, peintures murales et exempla forment le corpus principal, complété par l 'hagiographie, les calendriers et les prix-faits. L'usage des saintes se révèle limité dans certains media (peinture, exempla), en décalage à la fois avec la popularité des pèlerinages et la féminisation de la spiritualité contemporaine. L'étude recherche les usages communs de la sainteté féminine et les conventions visuelles attachées à la figure centrale de Marie-Madeleine et au groupe homogène des vierges martyres qui fonctionne en série. La fonction visuelle de l'attribut, les formes de l'identité, les classifications sont analysées. La figure de sainte Lucie, les mécanismes particuliers de l'attribut-organe et les variations visuelles sur le genre des saintes, témoignent de l'inventivité suggestive des images, et conduisent à préciser la notion polysémique de sainteté
After listing the examples of female saints used in the Proven cal and Alpine public paintings in the XVth century, this study notes limited sanctoral representations (Mary Magdalen, martyr virgins), the absence oflocal saints, and explores the consequences of these choices (polysemy of saintliness, visuallayout). The main corpus, made up of retables, mural paintings and exempla, is completed by hagiography, calendars and the commission contracts (prix-faits). There is a discrepancy between the fact that the figure of the female saint turns out to be limited in some media (painting, exempla), and with both the popularity of pilgrimages and the feminization of contemporary spirituality. This study looks into the common use of female saintliness and the visual conventions related to the central figure of Mary Magdalene and to the homogeneous group of martyr virgins that works out as a series. The visual function of the attribute, the fonns of identity, and the classifications are analysed. The figure of Saint Lucy, the specific mechanisms of the organ-attribute and the visual variations on the gender of the female saints bear witness to the suggestive inventivity of images, and lead to a redefinition of the polysemic notion of saintliness

La thèse porte sur les pratiques funéraires de l'époque romaine dans les Champs Phlégréens, région volcanique située à l'Ouest de Naples. Les limites chronologiques sont définies par l'obtention de la civitas sine suffragio par la ville de Cumes au IIIe s. av. J.-C. et par la prise de la cité par les Goths au VIe s. apr. J.-C. La thèse s'organise en trois parties. La première recense les monuments et les tombes plus modestes fouillés dans la région. 269 notices détaillent de nombreux contextes mais la documentation s'avère souvent insuffisante pour traiter le sujet. Dans la deuxième partie, une documentation de première main est présentée. Deux secteurs de la nécropole de Cumes sont décrits et analysés en suivant un plan chronologique. Chaque contexte bénéficie d'une description archéologique détaillée et le lecteur trouve également les travaux des anthropologues (Henri Duday et Stephan Naji) dont le travail est central. La chronologie est fondée sur l'étude du mobilier qui est présenté à la fin de chaque chapitre. Dans la troisième partie, l'architecture des tombes et les pratiques funéraires sont abordés. L'architecture d'abord avec l'évolution du paysage péri-urbain, l'évolution des monuments et l'organisation spatiale des espaces. Les pratiques sont traitées de manière à décrire les gestes durant les funérailles, la mise au tombeau et les commémorations. Les découvertes archéologiques sont interprétées à la lumière des sources disponibles (textes, inscriptions, documents iconographiques). la documentation complémentaire est intégralement disponible dans un second volume de 316 pages
The dissertation addresses funerary practices during the Roman period in the Phlegraean Fields, a volcanic region located West of Naples. Chronological boundaries are defined from the acquisition of the civitas sine suffragio by the city of Cumae in the third century before Christ, to the conquest of the city by the Goths in the sixth century of our era. The dissertation is organized in three parts. The first lists the most modest monuments and tombs excavated in the region. 269 forms detail numeroux contexts but the documentation is often insufficient to deal with the topic. In the second part, a firsthand documentation is presented. Two areas of the Cumae necropolis are described and analyzed following a chronological outline. Each context benefits from a detailed archaeological description and the reader can also finds the central anthropological studies (by henri Duday ans StephanNaji). Chronology is based on the analyses of artifacts presented at the end of each chapter. In the third part, tomb architecture and funerary practices are discussed. First the architecture with the evolution of the peri-urban landscape and monuments as well as the spatial organization of space. Practices are discusses by describing the funerals, the entombment, and commemorations. Archaeological discoveries are interpreted from available sources (texts, engravings, iconographic documents). Supplementary documentation is fully accessible in a second 316 pages volume

Depuis un million d’années, les magmas potassiques sont émis sur la marge tyrrhénienne des Apennins centraux et méridionaux à la faveur de trois systèmes tectoniques principaux (NW-SE, NE-SW, E-W). Ce mémoire traite de l’évolution intracrustale des liquides magmatiques dans les cas du Mt Somma Vésuve, des Champs Phlégréens et de l’île de Ventotène, caractérisés par une large gamme de magmas potassiques à fortement potassiques et sous-saturés en silice. Pour ce faire, nous avons diversifié les méthodes d’investigation en nous appuyant sur une histoire volcanologique précise des appareils, en développant l’étude minéralogique et géochimique des laves et des ponces ainsi que l’étude chimique et thermométrique des inclusions vitreuses présentes dans les minéraux des roches. Nous avons ainsi privilégié l’aspect concernant les conditions de cristallisation (variations chimiques et minéralogiques, gradients thermiques, nature et importance de la phase volatile, rôle de l’encaissant sédimentaire). Un processus dominant de différenciation par cristallisation fractionnée peut être invoqué pour les trois ensembles. Pourtant chacun des systèmes connait une évolution qui lui est spécifique, reflétant ainsi la diversité des magmas initiaux. Pour les strato-volcans, comme le Mt Somma Vésuve ou Ventotène, caractérisés par une activité à la fois de type effusif et explosif, les éruptions pliniennes ou subpliniennes sont l’expression de magmas différenciés au sein de réservoirs superficiels de petite taille et localisés dans un horizon sédimentaire. Les évidences d’une contamination des liquides magmatiques par les roches encaissantes restent limitées. En revanche, l’encaissant va favoriser le processus de nucléation – cristallisation qui se traduit par l’existence de cumulats et d’enclaves réactionnelles. Les produits volcaniques des Champs Phlégréens sont essentiellement des pyroclautites de composition trachytique dont l’évolution s’intègre dans le modèle d’un réservoir d’importantes dimensions. L’hypothèse de la variation du degré de fusion d’une source mantellique hydratée, à l’origine des magmas potassiques et sous-saturés en silice du Somma Vésuve et ceux (basaltiques) de Ventotène est proposée sur la base des données géochimiques
Since one million years, potassic to highly potassic magmas have erupted along the Tyrrhenian margin of the Central and Southern Apennins, through three main tectonic systems (NW-SE, NE-SW, E-W). The present work deals with the magmatic liquids intracrustale evolution of the Mt Somma Vesuve and the Phlegrean Fields and Ventotene Island volcanoes. In this regard, we have diversified the studying methods, basing ourselves on the accurate volcanic history of the apparatus and showing a special interest in the crystallization conditions (chemical and mineralogical variations, thermal gradients, nature and importance of the volatile phase, role of the surrounding sedimentary rocks). Besides the fact that a crystal fractionation process prevails, each system has its own specific evolution, as an indication of the primary magmas variety. In the case of stratovolcanoes, as Mt Somma Vesuve or Ventotene, which are characterized by an activity both effusive and explosive, the plinian and subplinian eruptions reveal a differentiation of the magmas in small and superficial chambers surrounded by sedimentary rocks. Little evidence can be given of contamination of the liquids by these enclosing rocks. On the other hand, the country rock will emphasize the nucleation-crystallization process, leading to cumulate and reactional xenoliths. The Phlegrean Fields volcanic products are mostly pyroclastites of trachytic composition. Their evolution corresponds to that of a great magma chamber probably thermically buffered. Finally, the Campanean magmas (including those of Ventotene) are shown to the possibly originated from partial fusion of hydreous mantle. This hypothesis is based on the Th/Ta ratio (ranging from 7. 5 to 11. 4), these strongly hygromagmaphile elements being considered as source markers

Founding member of a banking network related to the actual BNP Paribas Group, Meyer Joseph Cahen (1804-1881), adopted the “d’Anvers” when he settled in Paris in 1849. Born in Bonn, of an Ashkenazi family, he made his fortune in the Belgian city to which he associated his name, and he continued his career in France. Owner of Nainville’s castle (Essonne) and of the Petit Hôtel de Villars (Paris), he became a naturalized French citizen in 1865. The next year, he obtained the title of Count, bestowed upon him by the King of Italy Victor-Emmanuel II, thanks to the economic support he offered to the Italian Unification. Nineteen years later, King Humbert I surpassed his predecessor and raised Meyer Joseph’s eldest son, Édouard (1832-1894), to the status of Marquis of Torre Alfina. If his siblings – Emma (1833-1901), Louis (1837-1922), Raphaël (1841-1900) and Albert (1846-1903) – enrooted their pathways in the French capital, the eldest lived between Florence, Naples and Rome: he was one of the great investors involved in the urban renovation of the Italian capital, after the fall of the papacy. In France, as well as in Italy, art, and especially architecture, served to legitimize the recent nobility of a family that wished to express the fullness of its civil rights. As targets of the anti-Semitic press, the Cahen d’Anvers family experienced the consequences of the Dreyfus Affair and the horrors of the racial laws. Before the latter, they adopted what could be defined as a “top-down model of integration”. This thesis focuses on its mechanisms and development. After tracing the patriarch’s origins, it analyses the family’s matrimonial policies and it continues with an exploration of Cahen d’Anvers’ “choices” in the vast field of culture. In their salons, the readers will meet Guy de Maupassant, Paul Bourget, Marcel Proust and Gabriele D’Annunzio, as well as Auguste Renoir and Léon Bonnat. Twelve mansions offered a perfect stage for these intellectual gatherings. As a public manifestation of the family’s economic and social power, the historicist eclecticism of these properties aimed to represent the owners as a new phalanx of the old nobility. While Forge-Philippe’s manor (Wallonia), Gérardmer’s chalet (Vosges) and Villa della Selva (Umbria) expressed a certain openness to the twentieth century novelties, the three residences rented by the family (Hôtel du Plessis-Bellière, Paris; Palazzo Núñez-Torlonia, Rome; Château de la Jonchère, Yvelines) and the two properties of Meyer Joseph, as well as Rue de Bassano’s mansion (Paris) or the castles of Champs (Seine-et-Marne), Bergeries (Essonne) and Torre Alfina (Latium) dressed up their nineteenth century spaces with Ancien Régime motifs. Thanks to their historical knowledge and taste, the architects Destailleur, Giuseppe Partini and Eugène Ricard, as well as the landscapers Henri and Achille Duchêne, were able to bend the Middle Age, the Renaissance and the 18th century’s “grammars” to their patrons’ taste and ambitions.

L’étude de téphrochronologie et de stratigraphie isotopique de 5 carottages, prélevés en mer Tyrrhénienne et mer Adriatique a permis d’obtenir une reconstitution détaillée de l’activité explosive des volcans du sud de l’Italie, et particulièrement de ceux de la province Campanienne au cours des 150 000 dernières années. L’association de quelques tephra marins avec les formations terrestres homologues, datées par ailleurs, a permis de dater avec précision les variations isotopiques de l’oxygène des Foraminifères pour les 60 000 dernières années. Plusieurs épisodes d’activité volcanique ont été reconnus en Italie. Ils apparaissent de façon aléatoire au cours des 150 000 dernières années. Cependant, la comparaison de l’activité volcanique de la province italienne avec celles d’autres zones volcaniques montre qu’elles ont une période commune de calme relatif située vers 15 000 – 17 000 ans. La comparaison des variations climatiques et de l’activité volcanique montre qu’à l’échelle de plusieurs milliers d’années, l’augmentation de l’activité volcanique n’a pas d’influence sur le climat, et ne peut donc induire les périodes glaciaires
The tephrochronological study, together with oxygen isotope stratigraphy of 5 cores, collected in the Tyrrhenian and Adriatic seas allows a detailed reconstruction of the explosive activity of the south Italian volcanoes, especially those of the Campanian province, during the past 150,000 years. Some marine tephra-layers were correlated to dated terrestrial deposits, which permits the dating of the oxygen isotope fluctuations during the past 60,000 years. Several volcanic pulses were recognized during the past 150,000 years without any recognizable periodicities. Nevertheless, the comparisons of the Italian volcanic activity with that of theirs volcanic areas show a common quiet period around 15,000 – 17,000 years. Analyses of the volcanic and paleoclimatic variations show that within a scale of thousand years, the increase of volcanism has no climatic effect, and cannot trigger the glacial advances

Dans le cadre d’une étude comparatiste, ce travail vise à analyser, en les rapprochant pour la première fois, les univers créatifs de l’écrivain italien Dino Buzzati (1906 – 1972) et de son confrère français Claude Louis-Combet (1932 –), selon la dualité chair et âme, qui est une constante de leur oeuvre respective. Les deux auteurs, par le biais de l’autobiographie romancée, de la réélaboration mythique, comme d’une vision originale de l’art figuratif, ont exprimé une sensibilité et un imaginaire étonnamment proches. Ils auront été accompagnés par des figures légendaires et des amis artistes, afin de guider le lecteur vers la dimension fantasmatique et mystique de son inconscient
As part of a comparative study, this work aims to analyze, by bringing them together for the first time, the creative worlds of the Italian writer Dino Buzzati (1906 – 1972) and his French colleague Claude Louis-Combet (1932 –), according to the flesh and soul duality, which is a constant in their works. Both authors, through the fictionalized autobiography, the mythology reworking, as an original vision of figurative art, expressed sensitivity and imagination surprisingly close. They have been accompanied by legendary figures and fellow artists, to guide the reader into the mystical and fantasy dimension of his unconscious

Les Champs Phlégréens, situés dans la métropole napolitaine (Italie du sud), forment l’une des plus grandes structures volcaniques au monde. Depuis 1950, ce complexe volcanique manifeste un regain d’activité, qui s’est amplifié au cours de la dernière décennie. Cette accélération s’exprime au travers d’une intensification de la sismicité, de la déformation du sol ainsi qu’une extension de la zone de dégazage. L’ensemble des récentes études s’accorde à dire que le système s’achemine actuellement vers un point critique, sans toutefois pouvoir préciser quand et où pourrait avoir lieu une éventuelle éruption. Cette difficulté à prédire l’état réel du système est principalement associée à la présence d’un système hydrothermal relativement développé. Aux Champs Phlégréens, il est en effet difficile de déconvoluer les signaux provenant du forçage magmatique de ceux résultant de la réponse hydrothermale. L’objectif de cette thèse est donc d’améliorer les connaissances actuelles du système hydrothermal superficiel du volcan de la Solfatara, lieu où se concentre actuellement la reprise d’activité. Pour cela, une approche multidisciplinaire a été menée en deux phases : l’imagerie géophysique du volcan puis la modélisation de son système hydrothermal.La tomographie haute-résolution de résistivité électrique 3-D du cratère a permis de reconnaître les principales formations géologiques et leurs connexions avec les structures et écoulements hydrothermaux. L’interprétation du modèle de résistivité électrique a été réalisée grâce à un ensemble de mesures superficielles complémentaires : flux de CO2, température, potentiel spontané, capacité d’échange cationique et pH du sol. Deux panaches à dominante liquide ont été identifiés : la mare de boue de la Fangaia et la fumerole de Pisciarelli. À la Fangaia, une étude conjointe des modèles de résistivité électrique et de vitesses du sous-sol (obtenues par l’INGV) établit la présence de forts gradients, à la frontière entre panache hydrothermal et zone de dégazage diffus. Au niveau du principal secteur fumerolien, le modèle de résistivité électrique et la localisation des sources acoustiques révèlent clairement l’anatomie d’une zone fumerolienne. Deux conduits séparés, saturés en gaz, alimentent les fumeroles de Bocca Grande et de Bocca Nuova, depuis un même réservoir de gaz situé à ~50 mètres de profondeur. L’intense dégazage diffus produit à proximité de ces fumeroles occasionne la condensation de vapeur. Le modèle de résistivité électrique met en évidence la circulation souterraine de cet important volume d’eau, canalisée à l’intérieur d’une zone fracturée.En utilisant l’ensemble de ces informations structurelles, un modèle thermodynamique des écoulements multiphasiques de la principale zone fumerolienne a été réalisé. Ce modèle reproduit fidèlement les observables des fumeroles : température, flux et rapport CO2/H2O. Il valide l’imagerie géophysique et confirme l’interaction entre la circulation d’eau de condensation et l’un des conduits fumeroliens. Ainsi, cette simulation explique, pour la première fois par un effet d’interaction superficiel, les différentes signatures géochimiques des deux fumeroles : Bocca Nuova et Bocca Grande. L’approche multidisciplinaire, employée dans cette thèse, constitue une nouvelle étape vers une meilleure connaissance des interactions hydrothermales. Celles-ci doivent être prise en compte dans l’objectif de réaliser des modélisations dynamiques précises permettant d’appréhender in fine l’état réel du système volcanique
The Campi Flegrei caldera is located in the metropolitan area of Naples (Italy), and it is one of the largest volcanic systems on Earth. Since 1950, this volcanic complex shows significant unrest, which accelerated over the last decade with a rise in the seismic activity, ground deformation, and the extent of the degassing area. Recent studies indicate that the volcanic system is potentially moving toward a critical state, although their authors remain unable to point out when and where a possible eruption could take place. The difficulty of predicting the real volcanic state is here mainly related to the hydrothermal system. Indeed, at the Campi Flegrei, it is difficult to separate the magmatic input signal from the hydrothermal response. Hence, the aim of this thesis is to improve our knowledge on the shallow hydrothermal system of the Solfatara volcano, where most of the renewal activity takes place. A multidisciplinary approach has been performed in two steps: first a geophysical imagery of the volcano and second the modeling of its hydrothermal system.The 3-D electrical resistivity tomography of the crater allows to recognize the main geological units, and their connection with hydrothermal fluid flow features. The interpretation of the resistivity model has been realized thanks to numerous soil complementary measurements: CO2 flux, temperature, self-potential, Cation Exchange Capacity and pH. We identify two liquid-dominated plumes: the Fangaia mud pool and the Pisciarelli fumarole. In the Fangaia area, the comparison between electrical resistivity and velocity models reveals strong gradients related to a sharp transition at the border between the hydrothermal plume and the high diffuse degassing region. Combining electrical resistivity model with hydrothermal tremor sources localization reveal the anatomy of the main fumarolic area. Two separated conduits, gas-saturated, feed the two fumaroles Bocca Grande and Bocca Nuova. These conduits originate from the same gas reservoir located 60 m below the surface. The intense degassing activity, produced in the vicinity of fumaroles, creates large amounts of vapor condensation. The resistivity model reveals this condensate circulation, within a fractured area.All these results are incorporated into a multiphase flow model of the main fumarolic area. The simulation accurately reproduces the fumaroles observables: temperature, flux and CO2/H2O ratio. The model validates the geophysical imagery and confirms the interaction between Bocca Nuova fumarolic conduit and the condensate flow. Hence, this simulation explains for the first time the distinct geochemical signature of the two fumaroles due to a shallow water-interaction. The multidisciplinary approach performed in this thesis constitutes a new step toward a better understanding of hydrothermal interactions. Those phenomena have to be taken into account in order to perform dynamic modelling, and thus apprehend the real state of the volcanic system

Cette étude analyse les céramiques communes romaines provenant de la cité de Cumes (Naples, Campanie) sur un arc temporel très étendu, depuis le IIe siècle av. J.-C. jusqu’à l’abandon du site durant l’Antiquité tardive. Après avoir examiné les données disponibles sur la production et la circulation des céramiques dans cette région de la baie de Naples, on analyse les mobiliers inédits des fouilles dans le forum, conduites par l’Università degli Studi di Napoli « Federico II », dans le cadre du projet Kyme, un programme de recherche et de mise en valeur des vestiges de la ville antique avec la participation de deux universités napolitaines et du Centre Jean Bérard (CNRS). Les données recueillies sur le site par les diverses équipes clarifient le rôle de Cumes comme centre de production céramique. Certaines céramiques communes fabriquées par les potiers de la ville connaissent une très large diffusion et sont parmi les productions les mieux attestées dans tout l’Empire romain: c’est le cas de la céramique dite à engobe rouge pompéien (ceramica a vernice rossa interna, Pompeian Red Ware o Pompejanisch-rote Platte). Les caractéristiques spécifiques du site et de l’assemblage de céramique commune étudié ont encouragé à adopter pour ce travail un système de classification différent de celui utilisé pour les productions communes de la Campanie jusqu'à présent. Chaque type est illustré analytiquement, avec le support d’une large documentation graphique et, dans la plupart des cas, des données fournies par l’étude des lames minces. L’examen des mobiliers provenant des fouilles du forum de Cumes et le réexamen des vases attestés dans la ville et en dehors du site, ont permis la révision des connaissances antérieures sur la production et la chronologie des types, en les confirmant ou en les modifiant. La documentation recueillie permet de dégager le cadre complexe de la production de céramique commune à Cumes. En outre, l’étude des importations a fourni nouveaux éléments sur les échanges commerciaux atteignant le site et la région phlégréenne, très influencés par la présence du port de Puteoli, porte de Rome sur les provinces de l’Afrique e de l’Orient. En examinant les variations du répertoire des formes représentées et les pourcentages des céramiques communes locales par rapport aux autres productions de l’Empire au cours des siècles, il a été possible d’observer des changements dans les flux commerciaux et dans les habitudes des individus. Il s’agit d’élever le regard des objets quotidiens pour atteindre les changements sociaux et économiques intéressant le site et le Champs Phlégréens entre le Haut Empire et l’Antiquité tardive
This study analyzes Roman Coarse Wares from the city of Cumae (Naples, Campania), over an extended period, from the II century B.C. to the abandonment of the site in the late Antiquity. After examining the available data on pottery production and circulation in this area of the bay of Naples, the unpublished assemblages from the forum are analysed. These contexts were found during the excavations carried out by the Università degli Studi di Napoli “Federico II”, in the framework of the Kyme Project, in which two Neapolitan universities and the Centre Jean Bérard (CNRS) are involved to promote the research and the valorisation of the ancient city. New data sets collected by these different teams highlight the role of Cumae in pottery production. Some coarse wares produced in Cumae were widely traded across the entire Roman Empire, in particular the so called Pompeian Red Ware (ceramica a vernice rossa interna, céramique à engobe rouge pompéien or Pompejanisch-rote Platte). The characteristics of the site and of the coarse ware assemblages led to the adoption of a classification system fundamentally different from those used in studies on Coarse Wares made in Campania until now. Every type of pottery is analytically described and illustrated, with profile drawings and, in most cases, with the support of data provided by thin-section study. The examination of Coarse Wares discovered in the excavations of the forum of Cumae and the re-examination of available documentation about Coarse Wares finds from the city and elsewhere, leads to review our previous knowledge about the chronology of each type and production, confirming or modifying them. The collected documentation allows us to reconstruct the framework of Coarse Wares production in Cumae. Furthermore, the study of imported Coarse Wares from the forum of Cumae provided new clues for reconstructing trade evolutions in the city and in the Phlegraean Fields, strongly influenced by the vicinity of the port of Puteoli, gateway of the Roman provinces of Africa and the Eastern Mediterranean. Examining forms evolutions and their percentage of the local and imported production through centuries, we observe changes in trade and in individuals habits and how everyday objects give insights on social and economical changes at Cumae and in the Phlegraean Fields during the Early Roman Empire and the late Antiquity

Depuis les années 1960, les collections lithiques italiennes sont abordées principalement sur la base d'une grille d'analyse, élaborée par G. Laplace (1964). Cette méthode, portée sur le classement par types des différents outils retouchés, permis de poser un premier cadre évolutif des différentes industries lithiques mises au jour dans la péninsule italienne et en particulier de sa phase post-glaciaire : l'Epigravettien (20 000- 10 000 B.P.). Notre analyse s'est portée sur les traditions techniques lithiques des groupes humains épigravettiens des Préalpes du Sud françaises et de Vénétie (Italie) au Tardiglaciaire (Montoya, 2004). Deux collections de référence ont servi de base à cette étude : la collection lithique de Saint Antoine – Vitrolles dans les Alpes du Sud françaises et celle de Val Lastari dans les Préalpes de la Vénétie en Italie. Pour compléter ces analyses, des éléments techniques de comparaison ont été recherchés dans d'autres séries lithiques des Préalpes italiennes : l'abri Tagliente, les abris Villabruna et l'abri Dalmeri. Contrairement au modèle d'évolution linéaire des industries en vigueur avant cette analyse, notre étude a mis en évidence de nombreuses transformations techniques qui se sont opérées à l'intérieur du système de production lithique et dans une moindre mesure, des changements au sein de l'expression artistique des œuvres d'art mobilier. Les analyses des méthodes et techniques de débitage des supports d'outils et d'armatures ont révélé entre 14 000 et 10 000 BP (non Cal.) une simplification progressive, en trois étapes, des concepts de production lithique des sociétés épigravettiennes. On observe ainsi en diachronie une réduction du nombre de chaînes et de schémas opératoires mis en œuvre. Dans la plus ancienne phase (antérieure à 13 000 BP), les quatre objectifs de débitage identifiés (deux gammes de lamelles, lames, éclats laminaires) sont produits à partir de quatre chaînes opératoires disjointes mises en œuvre chacune, avec un schéma spécifique. Si quatre chaînes opératoires distinctes ont pu être déterminées au cours de la seconde phase (13 000- 11 250 BP), les artisans épigravettiens ont employé seulement deux schémas pour l'obtention de quatre gammes de supports : une méthode pour le débitage de lamelles et de grandes lamelles, et un schéma « facial » pour la production de lames et d'éclats laminaires. Ce concept de débitage « facial », révélé pour le débitage des lames, apparaît comme très original. Lors de l'application de ce schéma, les tailleurs ont conjugué de fortes contraintes techniques qui ont permis de produire des supports larges et robustes avec d'importantes propriétés tranchantes. La dernière étape (11 250–10 000 BP) de cette évolution des concepts de débitage épigravettien est marquée par l'utilisation d'un seul et unique schéma opératoire pour obtenir l'ensemble des supports désirés (lames, lamelles, éclats).
A cette simplification des méthodes de taille, s'opère en outre en parallèle des transformations dans les techniques et les modes d'expressions de l'art mobilier. Nous avons ainsi pu mettre en évidence l'existence de deux styles différents de représentations picturales. Le plus ancien, daté de la fin du Dryas ancien (antérieur à 13 000 BP), fait référence à un style naturaliste. A ce titre, les traits de l'artiste semblent reproduire fidèlement la réalité en insistant sur certains détails anatomiques et en conservant le mieux possible les proportions du sujet. A partir de 12 000 BP, on observe une perte de l'exactitude et de la précision lors de la représentation des sujets, avec des figures plus abstraites parfois même schématisées. Ces modifications observées dans les domaines techniques et artistiques témoignent des nombreux bouleversements qui ont affectés la structure des sociétés fossiles tardiglaciaires.

Cette thèse se fonde sur le principe d’une reconstruction biographique et dans le même temps sur l’analyse d’un contexte culturel dans lequel le protagoniste naît, se forme et œuvre. La vie d’Alessandro Esposito, ses expériences, ses rencontres deviennent la source d’un intérêt scientifique grâce à une fine recherche, finalisée à une contextualisation historique, géographique et musicologique. Parallèlement à cette chronologie, plusieurs sentiers ont été tracés, mettant à la lumière une multitude de situations hétérogènes, consacrées au monde de l’orgue, illustrées grâce à la découverte d’une documentation riche. L’identification, la classement et l’analyse de tous ces témoins, ont débouché sur plusieurs domaines de recherche qui ont concerné le parcours du protagoniste : sa formation et sa spécialisation, répondant à une période qui s’étend de 1924 à 1942 ; son activité de concertiste (1926-1981), son répertoire et sa manière d’interpréter la musique ; son activité de compositeur (1926-1978), particulièrement consacrée à l’orgue et à son répertoire liturgique et de concerts ; son activité d’enseignant (1941-1978) et son activité pour l’édition (1956-1976). Le facteur transversal et constant qui s’est posé lors de cette recherche a été de trouver la pensée d’Alessandro Esposito sur la conception de l’orgue et sur son activité d’animateur du débat relatif à l’interprétation de la littérature et aux progrès dans l’art de la facture d’orgue. L’aptitude de cet homme, intéressé à tous les domaines concernant le monde de l’orgue et de sa musique, se vouant à concilier avec engagement et succès des activités aussi différentes, nous révèle sa prédisposition à un éclectisme qui nous permet, donc, de nous pencher sur un monde hétérogène, qui recueille des opinions et des points de vue divergents, qui réunit des pensées et des méthodes différentes concernant le roi des instruments, lequel devient un véritable protagoniste de ce travail
This thesis is based on the principle of biographical reconstruction and, at the same time, on the analysis of a cultural context into which the protagonist was born, studied and operated. Alessandro Esposito’s life, his experiences and his enconunters become a source of scientific interest thanks to a meticulous research, aimed at a historical, geographical and musicological contextualization. Parallel to this chronology, numerous paths are traced that highlight a series of heterogeneous situations addressed to the world of the organ, illustrated thanks to the discovery of a rich documentation. Identification, classification and analysis of these witnesses led the reflection towards the different research areas encountered by the protagonist in his human path : training and specialization, relating to a period that extends from 1924 to 1942, the concert activity (1926-1981), the repertoire and the interpretative characteristics; the activity of composer (1926-1978), particularly dedicated to the organ in its liturgical and concertistic role; the didactic activity (1941-1978) and the editorial one (1956-1976). The transversal and constant factor that stems from this research is the identification of Alessandro Esposito's thinking about the concept of the organ, through the observation of his activity as an animator of the debate concerning the interpretation of literature and progress in the art of organ building. This man’s fascination with every area of the world of the organ and music related to it, allows him to combine many different activities, which reveal a predisposition and an eclecticism that permits a reflection about the complex world, rich in opinions and divergent points of view concerning the king of instruments, the true protagonist of this work

Dans un contexte de foisonnement des circuits courts de proximité, les enjeux de qualité invitent à déplacer la focale géographique, de produits spécifiques caractérisés par leur origine vers des produits ordinaires caractérisés par leur provenance. Se pose alors la question des modalités d’attachement de ces produits ordinaires aux milieux géographiques. À la fois aliments du quotidien et éléments de matériel végétal communs, les pommes et les pommes de terre permettent d’aborder les enjeux de reconnexion entre agriculture et alimentation autour de la notion de système agri-alimentaire territorial. Sur trois espaces de moyenne montagne – en France (Ardèche, Bauges) et en Italie (Ligurie) – cette thèse propose une analyse des trajectoires de dix collectifs passant par des phases de controverses qui les conduisent à se tourner vers des dispositifs de qualification plus souples que les indications géographiques. Conservant des logiques d’enracinement inspirées d’une rhétorique du terroir, ils ne versent pas pour autant dans le modèle des circuits courts de proximité, et maintiennent pour la plupart la question variétale au cœur de leurs préoccupations. La thèse montre que cette dernière ne peut être traitée à l’échelle des territoires qu’à condition d’envisager la production alimentaire de manière intégrée, c’est-à-dire en impliquant une diversité d’acteurs, capables de concevoir dans un même mouvement différentes étapes de qualification, de la gestion du matériel végétal à la consommation des aliments. L’émergence et la viabilisation de tels systèmes agri-alimentaires territoriaux ouvrent des débats politiques, et posent la question des modalités de l’action publique pour favoriser de tels dispositifs, dont on observe qu’ils tiennent principalement à des figures individuelles et à des lieux de médiation
In a context of proliferation of short supply chains, issues of quality invite a shift in geographical focus, moving from specific products characterized by their origin to ordinary products characterized by their provenance. This shift raises the question of the modalities of attachment that these common products have to geographical areas. Everyday foods and common plant materials such as apples and potatoes allow for particular discussion around the issues concerning the reconnection of agriculture and food, specifically around the concept of territorial agri-food systems. Looking at three medium mountain areas - in France (Ardèche, Bauges) and Italy (Liguria) - this thesis proposes an analysis of the trajectories of ten different food collectives through the varying phases of controversy that are driving them towards qualification devices which are more flexible than purely geographical indications. Maintaining the logic of 'rooting', inspired by a territorial rhetoric, the collectives do not fall into the short supply chains model, and maintain, for the most part, the varietal question at the heart of their concerns. This thesis shows that this varietal question can only be treated at the territorial level if we consider the production of food as integrated. That is to say, involving a variety of stakeholders, capable of designing various stages of qualification in the same movement, from plant material management to food consumption. The emergence and realizable qualities of these territorial agri-food systems incite political debate, and raise the question of the public action modalities to promote these devices, which we notice are mainly due to individuals and places of mediation