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1
MAGISTRELLI, GIACOMO. "LA FOTOGRAFIA E I CANTIERI DELLA MILANO POSTUNITARIA 1861-1911". Doctoral thesis, Università Cattolica del Sacro Cuore, 2014. http://hdl.handle.net/10280/4174.
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La tesi considera la varietà di formule espressive e di destinazioni funzionali della fotografia in rapporto alla costruzione di spazi e architetture nella Milano del primo cinquantennio dell’unità d’Italia.
Strumento di lavoro per architetti e ingegneri, la fotografia delle principali operazioni edilizie eseguite nella città lombarda a partire dagli anni sessanta dell’Ottocento rappresenta per la nuova classe dirigente un fondamentale strumento di legittimazione del proprio operato amministrativo e di illustrazione dei progressi compiuti dalla città sulla via della modernizzazione.
Attraverso un itinerario storico della ‘fotografia di cantiere’, costruito anche grazie al confronto con casi italiani e internazionali, lo studio presenta una puntuale analisi del fenomeno in ambito milanese. Tra i progetti affrontati, il piano di riforma del centro cittadino (1865-1878) di Giuseppe Mengoni e i restauri del Castello Sforzesco (1893-1907) di Luca Beltrami, oltre a una serie di interventi minori, documentati da alcuni dei principali fotografi attivi in città e dai redattori della pubblicistica illustrata, tipologia editoriale che tra Otto e Novecento si serve con sempre maggiore consapevolezza del mezzo fotografico. L’evoluzione del linguaggio fotografico viene dunque indagata nel suo contributo alla costruzione di un’iconografia nazionale della modernità, fenomeno che vede la città di Milano porsi in prima fila nel contesto italiano.The study investigates the variety of expressive formulas and functional destinations of the photography production concerning the architectural renovation occurred in the city of Milan between 1861 and 1911. Design tool for architects and engineers, construction photography reveals itself as a fundamental tool of political legitimation for the new ruling class and illustrates the progress made by the city in terms of modernization. Through a historical reconstruction of the genre of construction photography, which also considers Italian and international cases, the study presents a detailed analysis of the Milanese phenomenon. Among the projects, the reform plan of the city center (1865-1878) developed by Giuseppe Mengoni and the restoration of the Sforza Castle (1893-1907) led by Luca Beltrami , as well as a number of minor operations. The inquiry considers the production by some of the main photographers working in the city and the iconographic apparatus of the most important illustrated press of the period, which during the late nineteenth century uses with increasing awareness the narrative qualities of the photographic medium. The evolution of the photographic language is therefore inquired with regard to his contribution to the construction of a national iconography of modernity , a phenomenon that sees the city of Milan in the front line.
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MAGISTRELLI, GIACOMO. "LA FOTOGRAFIA E I CANTIERI DELLA MILANO POSTUNITARIA 1861-1911". Doctoral thesis, Università Cattolica del Sacro Cuore, 2014. http://hdl.handle.net/10280/4174.
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La tesi considera la varietà di formule espressive e di destinazioni funzionali della fotografia in rapporto alla costruzione di spazi e architetture nella Milano del primo cinquantennio dell’unità d’Italia.
Strumento di lavoro per architetti e ingegneri, la fotografia delle principali operazioni edilizie eseguite nella città lombarda a partire dagli anni sessanta dell’Ottocento rappresenta per la nuova classe dirigente un fondamentale strumento di legittimazione del proprio operato amministrativo e di illustrazione dei progressi compiuti dalla città sulla via della modernizzazione.
Attraverso un itinerario storico della ‘fotografia di cantiere’, costruito anche grazie al confronto con casi italiani e internazionali, lo studio presenta una puntuale analisi del fenomeno in ambito milanese. Tra i progetti affrontati, il piano di riforma del centro cittadino (1865-1878) di Giuseppe Mengoni e i restauri del Castello Sforzesco (1893-1907) di Luca Beltrami, oltre a una serie di interventi minori, documentati da alcuni dei principali fotografi attivi in città e dai redattori della pubblicistica illustrata, tipologia editoriale che tra Otto e Novecento si serve con sempre maggiore consapevolezza del mezzo fotografico. L’evoluzione del linguaggio fotografico viene dunque indagata nel suo contributo alla costruzione di un’iconografia nazionale della modernità, fenomeno che vede la città di Milano porsi in prima fila nel contesto italiano.The study investigates the variety of expressive formulas and functional destinations of the photography production concerning the architectural renovation occurred in the city of Milan between 1861 and 1911. Design tool for architects and engineers, construction photography reveals itself as a fundamental tool of political legitimation for the new ruling class and illustrates the progress made by the city in terms of modernization. Through a historical reconstruction of the genre of construction photography, which also considers Italian and international cases, the study presents a detailed analysis of the Milanese phenomenon. Among the projects, the reform plan of the city center (1865-1878) developed by Giuseppe Mengoni and the restoration of the Sforza Castle (1893-1907) led by Luca Beltrami , as well as a number of minor operations. The inquiry considers the production by some of the main photographers working in the city and the iconographic apparatus of the most important illustrated press of the period, which during the late nineteenth century uses with increasing awareness the narrative qualities of the photographic medium. The evolution of the photographic language is therefore inquired with regard to his contribution to the construction of a national iconography of modernity , a phenomenon that sees the city of Milan in the front line.
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Vella, Francesca. "Verdi reception in Milan, 1859-1881 : memory, progress and Italian identity". Thesis, King's College London (University of London), 2014. https://kclpure.kcl.ac.uk/portal/en/theses/verdi-reception-in-milan-18591881(ccf17c14-63a8-4239-8d48-7536dd50feba).html.
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This thesis explores Verdi reception in Milan during 1859-81, particularly in connection with contemporary notions of italianità. It seeks to shed light on specifically Milanese representations of ‘Italianness’, investigating how attitudes to music, and opera in particular, reflected attempts at constructing and negotiating both local and national identities. By placing Verdi within a larger urban picture, this thesis offers a cultural history – one focused on music and Italian identity – of Milan during the period. The thesis is comprised of four case studies. Chapter One addresses discourse about Verdi and Italian politics during 1859-61, further framing the discussion within a broader historical and historiographical purview. Chapter Two investigates the Milanese premiere of Don Carlo in 1868 in relation to the contemporary spread and perceptions of national monuments. Chapter Three considers the critical reception of Verdi’s Messa da Requiem for Alessandro Manzoni in 1874, suggesting that the binary rhetoric that underpinned the debates was a ‘political’ tool for negotiating musical notions of Italian identity. Finally, Chapter Four examines critical discourse about Verdi-Boito’s revised Simon Boccanegra and the revivals of various operas in Milan in 1881, discussing them in connection with that year’s National Industrial Exhibition and with the interpretative framework of the Operatic Museum. This study overall suggests a revised, more nuanced narrative about late nineteenth-century Verdi, opera and Italy. If, on the one hand, Milan’s contemporary culture maintained a strong awareness of its past, on the other, it was increasingly concerned with defining itself by construing images of the future. Far from representing merely the last epigone of Italy’s past – vocal, ‘melodic’ – musical tradition, Verdi came, in the eyes of Milanese critics, to embody ideas of musical innovation. Concepts of progress and change were indeed as deeply embedded in the contemporary imagination as were concepts of crisis and nostalgia of the past.
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CHIERICHETTI, VALENTINA. "L'ISTRUZIONE SECONDARIA CLASSICA NELLA MILANO DELLA RESTAURAZIONE. PROFESSORI, STUDENTI, DISCIPLINE. (1814-1851)". Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1376.
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La tesi si propone di ricostruire il passato di prestigiosi istituti scolastici milanesi inquadrandoli nella storia socio - culturale e pedagogica del tempo. Sono oggetto di studio i ginnasi di Brera, di Sant’Alessandro, di Santa Marta e i licei di Porta Nuova e di Sant’Alessandro. Il lavoro svolge un approfondimento sulla didattica applicata negli istituti, illustrando i programmi e i libri di testo in uso durante l’età della Restaurazione. La ricerca, inoltre, ricostruendo le carriere, traccia il profilo del corpo docente, e attraverso i registri scolastici analizza l’estrazione sociale, la provenienza geografica, l’età, la condotta e i risultati degli studenti.The purpose of the thesis is to reconstruct the past of prestigious school institutes in Milan setting them in the social-cultural and educational history of their time. The grammar schools of Brera, St. Alessandro, St. Marta and the high schools of Porta Nuova and St. Alessandro are the subject of the rearch. The work shed lights on the didactics adopted in the institutes, on curricola and textbooks used during the Restoration. Moreover the research draws the teaching staff profile, reconstructs teachers’ career and, through the school registers, analyzes the social extraction, the place of birth, the age, the school behaviour and results of the students.
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CHIERICHETTI, VALENTINA. "L'ISTRUZIONE SECONDARIA CLASSICA NELLA MILANO DELLA RESTAURAZIONE. PROFESSORI, STUDENTI, DISCIPLINE. (1814-1851)". Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1376.
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La tesi si propone di ricostruire il passato di prestigiosi istituti scolastici milanesi inquadrandoli nella storia socio - culturale e pedagogica del tempo. Sono oggetto di studio i ginnasi di Brera, di Sant’Alessandro, di Santa Marta e i licei di Porta Nuova e di Sant’Alessandro. Il lavoro svolge un approfondimento sulla didattica applicata negli istituti, illustrando i programmi e i libri di testo in uso durante l’età della Restaurazione. La ricerca, inoltre, ricostruendo le carriere, traccia il profilo del corpo docente, e attraverso i registri scolastici analizza l’estrazione sociale, la provenienza geografica, l’età, la condotta e i risultati degli studenti.The purpose of the thesis is to reconstruct the past of prestigious school institutes in Milan setting them in the social-cultural and educational history of their time. The grammar schools of Brera, St. Alessandro, St. Marta and the high schools of Porta Nuova and St. Alessandro are the subject of the rearch. The work shed lights on the didactics adopted in the institutes, on curricola and textbooks used during the Restoration. Moreover the research draws the teaching staff profile, reconstructs teachers’ career and, through the school registers, analyzes the social extraction, the place of birth, the age, the school behaviour and results of the students.
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Morris, Jonathan. "The political economy of shopkeeping in Milan, 1885-1905". Thesis, University of Cambridge, 1989. https://www.repository.cam.ac.uk/handle/1810/272515.
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Faron, Olivier. "La ville des destins croisés : recherches sur la société milanaise du XIXe siècle, 1811-1860 /". Rome : Paris : École française de Rome ; diff. de Boccard, 1997. http://catalogue.bnf.fr/ark:/12148/cb36698434f.
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Di, Stefano Massimo. "Lieux pieux aumôniers, nobles, finance publique et privée : interactions et ambiguïtés relationnelles dans le Milanais moderne (1615-1801)". Thesis, Université Côte d'Azur, 2020. http://www.theses.fr/2020COAZ2018.
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Cette étude, couvrant près de deux siècles d'histoire du Milanais, saisit les institutions caritatives, les nobles, les monastères, les opérateurs privés, l'État et les villes, unis par le mince filet de la finance. D'autres types de relations se développent également autour des rapports dette-crédit, liées à la gestion du pouvoir, que le patriarcat milanais tient fermement entre ses mains pendant presque tout l'ère moderne. A ce propos, les lieux pieux aumôniers jouent un rôle non marginal, la preuve en est l'occupation totale de leurs Chapitres (conseils d'administration) par la noblesse milanaise, prête à défendre ses privilèges de caste, quelle que soit l'alternance des dirigeants étrangers.Au fil du temps, les lieux pieux deviennent le siège des intérêts des classes aisées et développent, en plus de celle institutionnelle de la charité, d’autres fonctions: assise pour le contrôle du welfare milanais; nœud du réseau tissé par les familles nobles milanaises pour l'affirmation de leur rôle et la défense de leurs prérogatives; outil permettant de garantir une rente à ses héritiers ou de protéger le patrimoine des risques de perte.Les lieux pieux aumôniers, grands propriétaires fonciers et opérateurs financiers d'une certaine importance, subventionnent l'Etat et surtout les villes, qui ont besoin d'argent pour payer la part des dépenses militaires qui leur sont imposées par le souverain. Les prêts accordés sont - normalement - des accords de longue durée, parfois complexes et même ambigus. Les institutions caritatives participent volontairement au soutien du secteur public, mais y sont parfois induits, voire forcés.La recherche tente de faire ressortir ces multiples aspects liés à l'action des lieux pieux de Milan et aux familles qui les ont contrôlés pour longtempsThis research, which includes almost two centuries of Milan's history, is about charities, aristocrats, monasteries, private entities, the State and the city, all of which were connected by the invisible link of finance. It was around the debit-credit dynamics that different types of connections came to life, which were connected to political and financial power, a stronghold of Milanese patricians throughout almost all the modern era. In those circumstances charities entities had a relevant role, which is proven by the fact that their administrative boards (Capitoli) were entirely taken care of by the Milanese aristocrats, whose priority was to defend their own privileges, without regard for the change of the different foreign rulers that rotated in power. As time goes by, charities entities became the crucial for the activities of the nobles, and started to perform a variety of functions outside their institutional role: court of justice for the control of the Milanese welfare, hub of the aristocrats network aimed to guaranteed their role in society and to defend their Status, as well as a toll that would grant an income to their heirs, or to protect their assets from loss. Charities organisations were also land owners and relevant financial operators and subsidised the government and cities that were in need of money to support the military expenses imposed by the sovereign. The loans were normally long term and the arrangements often complicated and even ambiguous.Charity bodies usually willingly participated to the funding of public sector, however at times they were persuaded or even forced to do so. This study aims to highlight various aspects connected to the role played by the Milanese charities entities and the families whom were widely in control of these institutions
Questo studio, che abbraccia quasi due secoli di storia del Milanese, coglie gli enti elemosinieri, i nobili, i monasteri, gli operatori privati, lo Stato e le città, uniti dal sottile filo della finanza. Attorno ai rapporti di debito-credito si sviluppano anche relazioni di altra natura, connesse alla gestione del potere, che il patriziato milanese tiene saldamente nelle proprie mani per quasi tutta l’età moderna. In tal senso, i luoghi pii elemosinieri rivestono un ruolo non marginale, prova ne è la totale occupazione dei loro Capitoli (consigli di amministrazione) da parte della nobiltà milanese, pronta a difendere i propri privilegi di casta, indipendentemente dall’avvicendamento dei dominatori stranieri. Gli enti elemosinieri divengono, con il passare del tempo, la sede degli interessi delle classi agiate, ed assolvono – oltre a quella istituzionale della carità – diverse altre funzioni: assise per il controllo del welfare milanese; nodo della rete tessuta dalle famiglie nobili milanesi per l’affermazione del proprio ruolo e la difesa delle proprie prerogative; strumento attraverso il quale garantire ai propri eredi una rendita o mettere al riparo il patrimonio da rischi di perdita. I luoghi pii elemosinieri, che sono grandi proprietari terrieri e operatori finanziari di un certo rilievo, sovvenzionano lo Stato e soprattutto le città, bisognose di denaro per pagare la quota di spese militari loro imposta dal sovrano. I prestiti concessi sono – normalmente – di lunga durata, e gli accordi talvolta complessi e, persino, ambigui. Gli enti elemosinieri partecipano al sostegno del settore pubblico volontariamente, ma talora vi sono indotti, se non addirittura costretti. La ricerca tenta di far affiorare questi molteplici aspetti legati all’azione dei luoghi pii elemosinieri milanesi e alle famiglie che, maggiormente, ne detengono il controllo
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Kšiňan, Michal. "Milan Rastislav Štefánik, essai biographique". Paris 1, 2011. http://www.theses.fr/2011PA010695.
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La thèse analyse la vie, l’oeuvre et le mythe de M. R. Štefánik. Le but est de comprendre la naissance de la figure du héros. La thèse est divisée en quatre chapitres : le premier Štefánik et l'identité slovaque dans lequel nous traitons les relations entre l' identité slovaque et la personne de M. R. Štefánik ; le deuxième La création et l'utilisation du capital social de Štefánik dans lequel nous analysons comment Štefánik accumule son capital social et comment il l'entretient; le troisième Štefánik - visionnaire dans lequel nous analysons comment Štefánik arrive à convaincre et impressionner ses interlocuteurs; le quatrième Štefánik et la naissance de la Tchécoslovaquie dans lequel nous analysons son apport à la naissance de la Tchécoslovaquie.
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Marazzi, E. "EDITORI PER LA SCUOLA ELEMENTARE A MILANO NEL SECONDO OTTOCENTO. AUTORI, TESTI E MERCATO (1861-1900)". Doctoral thesis, Università degli Studi di Milano, 2011. http://hdl.handle.net/2434/151789.
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The work aims at describing the survey of schoolbooks publishing in Milan during the second half of the 19th century. The years which followed the Unification were rich in achievements both in school politics and, especially in Milan, in publishing technology and industry. That is why the work is opened by an outline of the evolution of publishing industry in the city, in a comparison with the national survey. This study is followed by a reconstruction of the main political measures on the topic of schoolbooks publishing, which influenced publishing industry. The texts of the laws also consist in an interesting source for describing the circulation of the books throughout the newly unified nation.
In the second part, which is the main core of the work, three case studies are presented: publishers Antonio Vallardi, Enrico Trevisini and Risveglio Educativo editions are described by analyzing both the history of the firm and the main features of their publishing policies, pointing out similarities and differences.
The third part takes account of two main topics relating to the experiences described. First, the tight relationship between children's literature and textbooks both in the schools and by publishers is highlighted. Finally, the last chapter focuses on and the authors' profiles and their working conditions.
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D'Agati, Niccolo' <1988>. "La Famiglia artistica: un caso di studio per l'arte a Milano tra il 1886 e il 1914". Doctoral thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/17827.
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La ricerca affronta la ricostruzione della storia e dell'attività espositiva della Famiglia Artistica di Milano, associazione fondata nel 1872 da Vespasiano Bignami.
Nella prima parte, prendendo avvio dalla messa a fuoco del ruolo che la Famigia svolse in ambito locale in qualità di organo di rappresentanza degli artisti milanesi in rapporto alle istituzioni ufficiali del periodo, in particolare l'Acccademia di Brera, si è cercato di ricostruire l'attività istituzionale del sodalizo e il modo in cui attraverso essa gli artisti soci cercarono di intervenire e modificare i complessi equilibri di potere nel contesto espositivo locale.
Ai fini di una contestualizzazione culturale dellla Società si è dedicato un affondo storico-critico in merito alla pertinenza della Famiglia Artistica alla Scapigliatura quale movimento artistico proponendo una differente chiave di lettura del fenomeno scapigliato in senso inclusivo.
Da ultimo, attraverso il recupero della documentazione prodotta dal sodalizio e dagli artisti soci si è tracciata una storia, sostenuta da materiali archivisti e fonti a stampa, dell'attività sociale lungo un quarantennio.
La seconda parte della ricerca si è focalizzata sulla ricostruzione delle rassegne annuali promosse dalla Famiglia Artistica a partire dal 1886 giungendo sino al 1914. Si tratta di esposizioni poco note alla storiografia e sono il minima parte recuperate. Attraverso le recensioni rintracciate nella carta stampata, in mancanza dei cataloghi, si è potuto ricostruire la fisionomia generale ed individuale delle singole edizioni e recuperare informazioni sugli espositori e l'esposto.
Oltre all'aggiornamento delle singole biografie degli artisti, grazie a nuove attestazioni espositive e al censimento di opere esposte alle rassegne, la ricerca ha permesso di evidenziare come queste mostre abbiano assunto, nel corso del tempo, un ruolo di primo piano nel contesto artistico locale rappresentanto l'unica occasione di una rassegna libera ed indipendente caratterizzata da un profilo generazionale giovane degli espositori e, di conseguenza, da una tendenza alla proposta di opere innovative e di rottura rispetto alla tradizione locale.
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Buclon, Romain. "Napoléon et Milan : mise en scène, réception et délégation du pouvoir napoléonien (1796-1814)". Thesis, Grenoble, 2014. http://www.theses.fr/2014GRENH006/document.
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Cette thèse s'intéresse aux liens politiques et culturels entre Napoléon et Milan de 1796 à 1814. L'auteur porte une attention particulière aux évolutions de la mise en scène, de la réception et de la délégation du pouvoir du général Bonaparte à Napoléon Ier roi d'ItalieThis thesis focuses on the political and cultural links between Napoleon and Milan from 1796 to 1814. The author pays particular attention to changes in production, reception and delegation of power from general Bonaparte to Napoleon Ist, King of Italy
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Madeddu, Silvia. "De Venise à Milan : le retour de Federico Zandomeneghi (1841-1917) en Italie : des années de jeunesse à la redécouverte posthume". Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040180.
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Federico Zandomeneghi (1841-1917) a toujours été considéré comme un artiste vénitien ayant émigré en 1874 à Paris avant de devenir un adepte de Degas et participer, à partir de 1879, aux expositions impressionnistes. Cette recherche a pour principal objectif d’analyser les liens que l’artiste entretint avec son pays - l’Italie - avant, pendant et après son long séjour parisien. Aussi nous sommes-nous plus particulièrement concentrée sur la période allant de 1841 à 1874 durant laquelle Zandomeneghi se forma dans les Académies de Beaux-Arts de Venise et Milan, avant de partir s’installer à Florence où il rencontra les peintres macchiaioli. Nous avons en outre analysé le contexte artistique italien dans lequel l’artiste évolua, et aussi dans quelle mesure les rapports qu’il tissa avec les nombreuses personnalités du monde de l’art qu’il eut l’occasion de fréquenter (Diego Martelli, Marcellin Desboutin) eurent une influence sur les choix qu’il fit par la suite ; puis, nous avons essayé de décrire la position que Zandomeneghi s’était gagnée sur le sol italien avant de le quitter définitivement. La seconde partie de notre recherche retrace en revanche - grâce à l’analyse d’un corpus de lettres inédites - le processus de réévaluation critique qui s’amorça en Italie après la mort de l’artiste et pour lequel œuvrèrent Enrico Piceni et Angelo Sommaruga : ces critiques et marchands d’art milanais ont en effet joué un rôle fondamental dans la redécouverte de Zandomeneghi en Italie. Même si Zandomeneghi avait passé quarante-trois années de sa vie en France, il ne réussit jamais à conquérir sa place dans l’historiographie française alors que, pour la seconde fois, il jouit des honneurs de la critique italienne. Cette recherche a pour objectif de mettre en lumière les raisons du cadrage historiographique dominant à l’heure actuelle, à savoir celui qui ne voit en Zandomeneghi qu’un peintre impressionniste vénitien, étiquette sous laquelle il a d’ailleurs été proposé au public à l’occasion des expositions plus récentesVenetian Federico Zandomeneghi (1841-1917) is always remembered as an artist who relocated to Paris in 1874 to become a follower of Degas, taking part in the Impressionist exhibitions starting in 1879. The primary objective of this thesis is to analyse this artist's ties to Italy, before and after his long-lasting experience in France. We delve into the period starting in 1841 and lasting until 1874 during which Zandomenegi trained at the academies of Venice and Milan, and during which he moved to Florence, at which point he first encountered the Macchiaioli. Moreover, this study has given us the opportunity to deepen our understanding of the Italian artistic context in which Zandomeneghi developed, to what extent his close relatonships with the numerous artists he encountered affected his later artistic choices (Diego Martelli, Marcellin Desboutin), and what position Zandomeneghi attained in Italy before leaving his country permanently. In the second part of the present study, a corpus of unpublished letters between two Milanese art personalities, the art critic Enrico Piceni and art dealer Angelo Sommaruga, was thoroughly examined. Their role was indeed crucial for Zandomeneghi’s artistic rediscovery. Although Zandomeneghi spent 43 years of his life in France, he was never fully recognized in the French historiography, whereas was acclaimed for the second time by the Italian critic after his death. This thesis aims to shed light on the reasons why Zandomeneghi has always been considered a Venetian impressionist, a label that has been employed even in very recent expositions
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Midan, Marc. "Milton & Melville : le démon de l'allusion". Paris 7, 2014. http://www.theses.fr/2014PA070086.
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Milton & Melville : Le Démon de l'allusion étudie la signification de l'allusion à Milton dans Taïpi, Moby¬Dick, L'Escroc à la confiance et Billy-Budd, Marin. Un état détaillé de la recherche sur les rapports entre les deux auteurs montre la prédominance d'une conception de l'allusion comme moyen d'identifier le sens d'un texte incertain à celui d'un autre, supposé stable ; or, il s'agit, en réalité, d'une relation dynamique et réciproque. Ludique, satirique, impie, ou érotique, l'allusion melvillienne est multiforme et variable ¬ondoiement qui la dérobe à une approche trop générale, mais en lequel réside justement un sens plus global, au-delà de simples effets locaux. Loin d'être un ornement ou un supplément, elle fait partie de la trame même du texte ; oblique, déroutante, elle n'en sert pas moins la grande ambition melvillienne d'« énoncer la Vérité ». C'est, en effet, allusivement — dans une relation, en particulier, au Paradis perdu — que Melville décrit à la fois les travers de la société contemporaine, l'aliénation du moi et la terreur des « sphères invisibles ». Le poème melvillien peut se concevoir comme un lieu où la vérité est, dans le même mouvement, dégagée et exhibée, par une chimie à la fois expérimentale et picturale. Le processus mobilise ¬selon un modèle fédéral où s'affirme une originalité américaine — une allusion complexe, dont le sens ne réside pas seulement dans les éléments importés par les textes simultanément convoqués, mais aussi dans leur interaction conflictuelle. Cet agôn allusif récurrent — qui définit notamment l'écrire-blanc de Moby-Dick — participe d'une violence relationnelle dont le Satan de Milton est le plus puissant symboleMilton & Melville: The Demon of Allusion studies the significance of allusions to Milton in Typee, Moby¬Dick, The Confidence-Man and Billy-Budd, Sailor. Examining the state of research shows that allusion tends to be seen as a way to identify the meaning of an ambiguous Melvillean text with a supposedly stable Miltonic one – when in fact the allusive relationship is dynamic and reciprocal. All at once playful, satirical, impious, and erotic, Melvillean allusion is protean and thus eludes generalization. However, its very elusiveness hints at a more global significance, going beyond merely local import. Far from being just a flourish or a supplement, it is the very stuff that the text is made of. However oblique and disconcerting, it plays a crucial part in Melville's ambition to master the "great Art of Telling the Truth". Indeed, it is through allusion—in particular to Paradise Lost—that he satirizes contemporary society, explores the alienation of the self and expresses the terror of the "invisible spheres". Melville's text can be conceived of as the locus where truth is both achieved and exhibited to the reader, through a chemistry that is experimental as well as pictorial in nature. Based on a uniquely American federal model, such a process involves a complex allusive mix, the meaning of which lies not only in what the different texts bring to their host, "'but also in the destructive interaction between them. This recurrent allusive agon – the "colorless all-color" of writing – speaks to the violence of Melvillean relationships, the most powerful symbol of which is Milton's Satan
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Dobbin, Mervyn. "Women's environmental experience in Milton Keynes New Town : a case study in personal construct theory". n.p, 1985. http://oro.open.ac.uk/18871.
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Boechat, Fernanda Boarin. "Espaço da identidade". reponame:Repositório Institucional da UFPR, 2012. http://hdl.handle.net/1884/26488.
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Resumo: No presente trabalho propõe-se a análise do espaço literário nas obras Cinzas do Norte (2005) e Órfãos do Eldorado (2008), de Milton Hatoum, segundo uma perspectiva que o toma como espaço da identidade. O espaço da identidade é compreendido como uma dimensão formal do espaço em literatura, que revela processos de identificação das personagens. Nesse sentido, procura-se expor no primeiro capítulo, a partir de uma perspectiva antropológica ampla que considera os Estudos Literários em diálogo com outras áreas do saber, uma reflexão que se volta para a noção de identidade, em especial na sociedade contemporânea. Em um segundo momento, expõe-se uma reflexão teórica sobre o estudo do espaço em literatura, em diálogo com outras áreas do saber. No terceiro capítulo, apresenta-se de início uma breve explanação sobre o autor e sua obra, e parte da fortuna crítica publicada em jornais e revistas; segue então uma análise do espaço literário nas obras, que remete indiretamente à discussão teórica exposta nos dois primeiros capítulos, de modo que a configuração espacial dos romances relaciona-se, como que por si mesma, aos apontamentos teóricos anteriores. Propõe-se por fim, na conclusão, uma abordagem da configuração espacial no âmbito dos Estudos Literários como elemento revelador de processos de identificação, o que reafirma um poder teorizador presente na literatura e, dessa maneira, o papel relevante dos Estudos Literários em debates com outras disciplinas.
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PERELLI, CIPPO CHIARA MARIA. "ARISTIDE CALDERINI (1883-1968) E LO SVILUPPO DELLE SCIENZE DELL'ANTICHITA'. Progetti, opere e strategie culturali". Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/296.
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Oggetto della tesi è l'attività scientifica e didattica di Aristide Calderini (1883-1968), studioso di antichità classiche, papirologo, epigrafista, archeologo, fondatore e direttore di associazioni culturali e riviste, divulgatore della cultura classica. Sulla base del copioso archivio personale, del quale si è operato il riordinamento e si forniscono l'inventario e l'indice della corrispondenza, si ricostruisce un intenso e fecondo percorso culturale, sottolineandone i valori ispiratori e gli obiettivi raggiunti. Le molteplici relazioni dello studioso con importanti personalità e istituzioni contemporanee permettono di tracciare un affresco della realtà culturale lombarda durante sei decadi del Novecento.This thesis is devoted to the scientific and didactic work of Aristide Calderini (1883-1968). Calderini was a scholar of the Classics, namely papyrologist, archaeologist and epigraphist. He was the founder and director of many cultural societies and journals and a populariser of ancient Roman and Greek culture. The main source of material for this research was Calderini's own copious personal archive, which has been reorganized by the author of this dissertation, resulting in a detailed inventory and the index of his letters. From these documents it is possible to follow the intense and fruitful cultural route of Calderini, perceive his inspiring principles and appreciate the results of his work. Moreover, from the study of his letters, it is possible to reconstruct Calderini's multiple connections with important personages and institutions of his time, disclosing an interesting overview, spanning six full decades of the 20th century, of the cultural milieu in Lombardy.
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PERELLI, CIPPO CHIARA MARIA. "ARISTIDE CALDERINI (1883-1968) E LO SVILUPPO DELLE SCIENZE DELL'ANTICHITA'. Progetti, opere e strategie culturali". Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/296.
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Oggetto della tesi è l'attività scientifica e didattica di Aristide Calderini (1883-1968), studioso di antichità classiche, papirologo, epigrafista, archeologo, fondatore e direttore di associazioni culturali e riviste, divulgatore della cultura classica. Sulla base del copioso archivio personale, del quale si è operato il riordinamento e si forniscono l'inventario e l'indice della corrispondenza, si ricostruisce un intenso e fecondo percorso culturale, sottolineandone i valori ispiratori e gli obiettivi raggiunti. Le molteplici relazioni dello studioso con importanti personalità e istituzioni contemporanee permettono di tracciare un affresco della realtà culturale lombarda durante sei decadi del Novecento.This thesis is devoted to the scientific and didactic work of Aristide Calderini (1883-1968). Calderini was a scholar of the Classics, namely papyrologist, archaeologist and epigraphist. He was the founder and director of many cultural societies and journals and a populariser of ancient Roman and Greek culture. The main source of material for this research was Calderini's own copious personal archive, which has been reorganized by the author of this dissertation, resulting in a detailed inventory and the index of his letters. From these documents it is possible to follow the intense and fruitful cultural route of Calderini, perceive his inspiring principles and appreciate the results of his work. Moreover, from the study of his letters, it is possible to reconstruct Calderini's multiple connections with important personages and institutions of his time, disclosing an interesting overview, spanning six full decades of the 20th century, of the cultural milieu in Lombardy.
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Salvi, Greta. "Cultura teatrale e scenari urbani nella Milano del Triennio Cisalpino (1796-1799) : Tra impianti tradizionali e influenze francesi". Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100099.
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Dans le Triennio 1796-1799 se déroule la courte vie de la République Cisalpine, l’une des unités politiques fondées par Napoléon Bonaparte pendant la Campagne d’Italie. Cette thèse étudie la culture théâtrale et les aspects de la représentation théâtrale qui caractérisent la République Cisalpine et surtout sa capitale, Milan, dans cette conjoncture historique. La thèse avancée concerne l’emploi des pratiques de la représentation théâtrale en tant qu’instrument d’éducation populaire et de diffusion des principes de la Révolution de 1789. Un but poursuivi, avec des intentions différentes, par les autorités françaises autant que par les patriotes italiens qui étaient pour la Révolution Française.L’étude traite trois questions fondamentales : les changements urbanistes et architecturaux qui investissent Milan pendant le Triennio, le théorie et la pratique théâtrale, les fêtes publiques. Les relations culturelles entre Italie et France ont été l’objet d’une attention particulière. La documentation sur laquelle la présente étude est fondée est constituée par des éditions imprimées de pièces théâtrales, des descriptions de fêtes, des édits, des correspondances et des périodiques de l’époque, gardés dans des bibliothèques et des archives milanaises et parisiennesIn the Triennium 1796-1799 took place the short life of the Cisalpine Republic, one of the political units founded by Napoleon Bonaparte during the Italian Campaign.This work studies the theatrical culture and the performing aspects which characterized the Cisalpine Republic and particularly its capital, Milan, in that historical juncture. The thesis asserted here is about the use of performing practices as an instrument of popular education and spreading of the principles of the 1789 Revolution. This aim was pursued by both French authorities and Italian pro-Revolution patriots.This work tackles three main points: the architectural and urban changes which affected Milan during the Triennio (Triennium), the theory and practice of theatre, the public celebrations. The cultural relations between Italy and France have been investigated with special attention. This study is based on some documents kept in archives and libraries of Milan and Paris, such as printed editions of theatrical plays, records of celebrations, correspondence and periodicals from the age of the Cisalpine Republic
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Harper, Cecil. "Farming Someone Else's Land: Farm Tenancy in the Texas Brazos River Valley, 1850-1880". Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332078/.
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This dissertation develops and utilizes a methodology for combining data drawn from the manuscript census returns and the county tax rolls to study landless farmers during the period from 1850 until 1880 in three Texas Brazos River Valley counties: Fort Bend, Milam, and Palo Pinto. It focuses in particular on those landless farmers who appear to have had no option other than tenant farming. It concludes that there were such landless farmers throughout the period, although they were a relatively insignificant factor in the agricultural economy before the Civil War. During the Antebellum decade, poor tenant farmers were a higher proportion of the population on the frontier than in the interior, but throughout the period, they were found in higher numbers in the central portion of the river valley. White tenants generally avoided the coastal plantation areas, although by 1880, that pattern seemed to be changing. Emancipation had tremendous impact on both black and white landless farmers. Although both groups were now theoretically competing for the same resource, productive crop land, their reactions during the first fifteen years were so different that it suggests two systems of tenant farming divided by caste. As population expansion put increasing pressure on the land, the two systems began to merge on terms resembling those under which black tenants had always labored.
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Santos, Katrym Aline Bordinhão dos. "A dinâmica das vozes confluentes no narrador de Dois irmãos". reponame:Repositório Institucional da UFPR, 2012. http://hdl.handle.net/1884/27776.
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Resumo: Este trabalho foca o romance Dois irmãos (2000), de Milton Hatoum, que trata da relação conturbada entre os irmãos gêmeos Omar e Yaqub e os efeitos dessa relação sobre os demais membros de sua família. Narrado por Nael, filho de um dos gêmeos, não se sabe qual, com a criada da família, Domingas, o romance perpassa a vida de todos os personagens que fazem parte da família dos irmãos, expondo problemas familiares e o cotidiano da cidade de Manaus durante um longo período de tempo. Interessado na figura do narrador, que media todas as falas dos personagens, este trabalho pretende verificar de que modo é possível perceber a presença de uma confluência de vozes nas palavras desse narrador que, mesmo não abrindo espaço suficiente para a manifestação de outras vozes, demonstra receber a influência de diversos personagens em suas conclusões, seja acerca de sua origem ou mesmo dos problemas enfrentados pela família. Para isso, fazemos uso de alguns conceitos do teórico russo Mikhail Bakhtin, como dialogismo, plurilinguismo, plurivocalidade, pluriestilismo e a polifonia, que colaboram na tarefa de refletir acerca da presença do outro, e de sua voz, na apresentação do enredo. A relação estabelecida entre narrador e personagens também é estudada no intuito de se compreender de que modo a proximidade pode colaborar na seleção e apresentação de discursos pelo narrador, esclarecendo motivos pelos quais ele expõe determinadas vozes e omite outras. Assim, é possível refletir acerca do processo de organização dos discursos, esclarecendo algumas atitudes do narrador, que colaboram na compreensão de diversos fatos abordados no enredo.
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Bedeau, Camille. "Historiographie ecclésiastique au dix-neuvième siècle en Angleterre : Henry Hart Milman (1791-1868) et John Henry Newman (1801-1890)". Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCC038.
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Cette thèse s'interroge sur le traitement de l'histoire sainte et de l'histoire ecclésiastique dans l'oeuvre de Henry Hart Milman, l'historien controversé de l'Histoire des Juifs publiée en 1829, et de John Henry Newman, théologien et historien dont l'Essai sur le Développement de la Doctrine chrétienne (1845) devait donner une fondation intellectuelle à sa conversion au catholicisme. La première partie est consacrée à l'affrontement entre les partisans de la méthode historico-critique de lecture des Ecritures pratiquée en Allemagne et qui commence d'être débattue en Angleterre, et les défenseurs d'une vision traditionnelle de l'inspiration excluant toute erreur scientifique ou historique dans la Bible. Ni Milman ni Newman ne défendent la notion d'inspiration verbale, ils émettent cependant des critiques à l'encontre de l'école allemande (qui n'est elle-même évidemment pas homogène). La deuxième partie permet d'explorer plus avant les positions respectives de Milman et de Newman, qui se recensent l'un l'autre : Newman critique l'Histoire du christianisme (1840) de Milman, et Milman l'Essai sur le Développement. Enfin, la troisième partie révèle Milman comme un précurseur de l'anglicanisme libéral tel qu'il est proposé par les essayistes (Essays and Reviews, 1860) tandis que Newman s'associe aux catholiques libéraux du Rambler à la veille du concile Vatican I. Les deux questions (qu'est-ce que l'Eglise ? qu'est-ce que le contenu de la foi chrétienne ?) qui sont largement débattues au cours du dix-neuvième siècle sont pour nos auteurs appelées à être résolues dans l'étude de l'histoireThis dissertation is about the writing of Church history in the works of H. H. Milman, the controverted historian of The History of the Jews published in 1829 and of J. H. Newman, the theologian and historian whose Essay on the Development of Christian Doctrine (1845) was intended to give an intellectual foundation to his conversion to Roman Catholicism. The first part deals with the conflict between the promoters of the historical-critical method of Scripture interpretation which was part of contemporary German theology, and the advocates of a traditional understanding of inspiration who saw Scripture as necessarily void of historical or scientific mistake. Neither Milman nor Newman supported verbal inspiration, but they were critical of the German school (which was not homogeneous itself). The second part throws light on the differences of appreciation between Milman and Newman as to what a Church history should be. This is made particularly clear in the reviews that they wrote on each other's work : Newman reviewed The History of Christianity [1840] and Milman the Essay on the Development already mentioned. The third part shows that Milman was a forerunner of the liberal Anglicanism that was characteristic of the essayists of the collection Essays and Reviews (1860), while Newman associated with the liberal Catholics of the Rambler on the eve of the first Vatican Council. Two questions were largely debated during the 19th century, especially in the aftermath of the E & R crisis : what are the boundaries of the Christian Church ? ; what are the contents of the Christian faith ? Both questions could be solved, so Milman and Newman thought, by an appeal to history
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Cucciniello, O. "MILANESI A PARIGI. LA FORTUNA CRITICA FRANCESE DEGLI ARTISTI DI FORMAZIONE LOMBARDA ALLE ESPOSIZIONI DI PARIGI NELLA SECONDA METÀ DELL'OTTOCENTO". Doctoral thesis, Università degli Studi di Milano, 2016. http://hdl.handle.net/2434/373759.
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Milanese people in Paris. The French critical reception of the artists that studied in Lombardy on the exhibitions in Paris during the second half of the 19th Century.
The topic of the dissertation is the critical reception of the Lombard art in the second half of the 19th Century in Paris, between printed and archival sources from these years, based on the Parisian universal exhibitions and the annual Salon.
As the universal exhibitions are a mirror of the society, important changes in art and politics that characterized the period, both in Italy and in France, are clearly reflected by them. From the 1855 Universal Exhibition, when Lombardy was under the Austrian domination, over the 1867 and 1878 ones that followed the progressive unification of Italy; finally the 1889 Universal Exhibition shows a radical change for the art market and for the artists. Through the critical reception of artists (such as Etienne-Jean Delécluze or Olivier Merson) and anonym or well-known critics (such as Théophile Gautier, Paul Mantz, Charles Blanc), we can understand the contemporary idea of "Italian modern art" and the regional identity of the Lombard school.
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Watson, Sara. "De Milton à Emerson : Trajectoires du dissent de l’époque coloniale à la période antebellum (1640-1860)". Thesis, Lyon, 2016. http://www.theses.fr/2016LYSEN046.
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John Milton, par son œuvre polémique en prose, a exercé une influence importante d’abord sur les colonies américaines, et ensuite aux Etats-Unis. C’est autour de l’interprétation de son statut de Dissenter que se met en place la construction d’une figure d’identification qui traverse les époques, pendant la Révolution et la campagne abolitionniste notamment. Cette thèse cherche à identifier les mécanismes et les moments fondamentaux de cette transmission culturelle, à travers le parcours de plusieurs auteurs américains : le Quaker John Woolman, l’abolitionniste William Garrison, et le Transcendantaliste Ralph Waldo Emerson. On analysera comment l’évolution de la définition du dissent a permis à l’œuvre de Milton d’accompagner différents mouvements intellectuels américains. On verra comment, à partir de racines anglaises, les problématiques soulevées par Milton dans les années 1640 à 1660, ont pu frapper ses lecteurs transatlantiques comme étant pertinentes pour leur époque, et comment l’œuvre en prose de Milton a pu participer à la définition de la désobéissance civile: John Milton in his prose works had a deep influence in North America, first in the colonies, and then in the United States. His status as a Dissenter, subject to many interpretations, enabled him to remain relevant throughout the different stages of American history, allowing actors from the American Revolution or the abolitionist campaign to identify with him and his works. This dissertation aims at identifying the mechanisms and stages of this form of cultural transmission, through the study of several American authors: the Quaker John Woolman, the abolitionist William Lloyd Garrison, and the Transcendentalist Ralph Waldo Emerson. Rooted in the English Civil War, the issues raised by Milton between 1640 and 1660 nonetheless strike a chord within his American readers as germane to their time. This work shall also investigate how Milton’s prose work, through the shifting definitions of Dissent, directly influenced the concept of civil disobedience
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ABBIATI, MICHELE. "L'ESERCITO ITALIANO E LA CONQUISTA DELLA CATALOGNA (1808-1811).UNO STUDIO DI MILITARY EFFECTIVENESS NELL'EUROPA NAPOLEONICA". Doctoral thesis, Università degli Studi di Milano, 2017. http://hdl.handle.net/2434/491761.
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L’esercito italiano e la conquista della Catalogna (1808-1811)
Uno studio di Military Effectiveness nell’Europa napoleonica
Settori scientifico-disciplinari SPS/03 – M-STO/02
La ricerca ha lo scopo di ricostruire e valutare l’effettività militare dell’esercito italiano al servizio di Napoleone I. In primo luogo attraverso un’analisi statistica e strategica della costruzione, e del successivo impiego, dell’istituzione militare del Regno d’Italia durante gli anni della sua esistenza (1805-14); successivamente, è stato scelto un caso di studi particolarmente significativo, come la campagna di Catalogna (1808-11, nel contesto della guerra di Indipendenza spagnola), per poter valutare il contributo operazionale e tattico dei corpi inviati dal governo di Milano e la loro integrazione con l’apparato militare complessivo del Primo Impero.
La tesi ha voluto rispondere alla mancanza di studi sul comportamento in guerra dell’esercito italiano e, allo stesso tempo, introdurre nella storiografia militare italiana la metodologia di studi, d’origine anglosassone e ormai di tradizione trentennale, di Military Effectiveness.
La ricerca si è primariamente basata, oltre che sulla copiosa memorialistica a stampa italiana e francese, sulla documentazione d’archivio della Secrétairerie d’état impériale (Archives Nationales di Pierrefitte-sur-Seine, Parigi), del Ministère de la Guerre francese (Service historique de la Défence, di Vincennes, Parigi) e del Ministero della Guerra del Regno d’Italia (Archivio di Stato di Milano).
Dal punto di vista dei risultati è stato possibile verificare come l’esercito italiano abbia rappresentato, per Bonaparte, uno strumento duttile e di facile impiego, pur in un contesto di sostanziale marginalità numerica complessiva di fronte alle altre (e cospicue) forze messe in campo da parte dell’Impero e dei suoi altri Stati satellite e alleati. Per quanto riguarda la campagna di conquista della Catalogna è stato invece possibile appurare il fondamentale contributo dato dal contingente italiano, sotto i punti di vista operazionale e tattico, per la buona riuscita dell’invasione; questo primariamente grazie alle elevate caratteristiche generali mostrate dallo stesso, ma anche per peculiarità disciplinari e organizzative che resero i corpi italiani adatti a operazioni particolarmente aggressive.The Italian Army and the Conquest of Catalonia (1808-1811) A Study of Military Effectiveness in Napoleonic Europe Academic Fields and Disciplines SPS/03 – M-STO/02 The research has the purpose of reconstruct and evaluate the military effectiveness of the Italian Army existed under the reign of Napoleon I. Firstly through a statistic and strategic analysis of the development, and the following deployment, of the military institution of the Kingdom of Italy in the years of its existence (1805-14). Afterwards, a particularly significant case study was chosen, as the campaign of Catalonia (1808-11, in the context of the Peninsular War), in order to assess the operational and tactical contribution of the regiments sent by the Government of Milan and their integration in the overall military apparatus of the First Empire. The thesis wanted to respond to the lack of studies on the Italian army’s behavior in war and, at the same time, to introduce the methodology of the Military Effectiveness Studies (of British and American origin and, by now, enriched by a thirty-year old tradition) in the Italian historiography. The research is primarily based, besides the numerous memoirs of the Italian and French veterans, on the archive documentation of the Secrétairerie d’état impériale (Archives Nationales of Pierrefitte-sur-Seine, Paris), of the French Ministère de la Guerre (Service historique de la Défence, of Vincennes, Paris) and of the Italian Ministero della Guerra (Archivio di Stato di Milano). About the results, it has been verified how the Italian army has become a flexible and suitable instrument for Bonaparte, albeit in a context of substantial overall numerical marginality in comparison to the heterogeneous forces available to the Empire and its others satellites and allied states. Regarding the campaign of Catalonia, instead, it was possible to ascertain the fundamental contribution of the Italian regiments, in an operational and tactical perspective, for the success of the invasion. This was primarily due to the excellent general characteristics shown by the expeditionary force, but also to disciplinary and organizational peculiarities that have made the Italian corps suitable for particularly aggressive operations.
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Navarro, Aliste Daniela. "Miltonic influence in John Keats: creative process of reshaping myths in Hyperion and The fall of Hyperion: a dream". Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/137777.
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Katchekpele, Leonard Amossou. "Les enjeux politiques de l'Église en Afrique : contribution à une théologie du politique". Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAK017.
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L'écho parvenant d'Afrique au monde, ou du monde aux Africains, diffracte en une variation de nuances un thème répétitif : l'Afrique irait mal, surtout l'Afrique politique. Parmi ceux qui accourent à son secours, l’Église catholique tient un rôle vital. Mais que fait l’Église en Afrique, que peut-elle lui faire en tant qu’Église ? Peut-on aider l'Afrique à se moderniser en occultant le fait que pour elle, la modernité a été synonyme d'oppression coloniale ? Il y a là une affirmation, une action et une question. On se proposera, prenant l'exemple du Togo, de questionner la pertinence de l'affirmation, d'élaborer une réponse à la question, pour espérer (ré)orienter sinon l'action, du moins sa lecture. On s'inspirera des études post-coloniales et du mouvement théologique Radical Orthodoxy, notamment des travaux de Milbank et CavanaughEchoes from Africa to the world and from the world to Africa seem to tell a single story: Africa fails.Especially political Africa. Among those dashing to help, the commitment of the Church catholic is to be praised but also critically engaged. Can anyone help Africa to modernize by ignoring that in Africa, modernity meant colonization? Then, a question: what is the Church doing, and what can it do qua Church, for Africa? This confronts us with a situation, an action and a critical question. This work, focusing on Togo taken as mirror to the continent, aims at challenging the way the situation is described, at elaborating an answer to the question in hoping to shed a light on the way the action is understood and undertaken. For such an end, it draws on post-colonial studies and on the Cambridge theological movement called Radical Orthodoxy, through the works of J. Milbank and W. Cavanaugh
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Lovari, Gianmarco. ""Dentro alla cella del cuore". Carteggio Felice Cameroni-Gian Pietro Lucini (1888-1906)". Doctoral thesis, 2022. http://hdl.handle.net/2158/1268776.
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Il progetto di ricerca intende studiare il sodalizio umano e artistico di Felice Cameroni (1844-1913) e Gian Pietro Lucini (1867-1914). Oltre all’edizione annotata dell’intero carteggio, costituito da 370 unità documentarie (183 di Cameroni, 187 di Lucini) fra cartoline, lettere, biglietti e telegrammi, il lavoro presenta altresì una ricca introduzione tesa a ricostruire e a descrivere analiticamente i rapporti intercorsi, nel tempo, tra i due corrispondenti. Lo studio è corredato da tre appendici, nelle quali si restituiscono: quattro missive di incerta datazione, sette articoli dedicati da Lucini alla figura e all’opera di Stendhal e nove necrologie redatte in occasione della morte di Cameroni. La tesi comprende anche una articolata bibliografia e una nota al testo. Chiude il volume un indice cronologico del carteggio.
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Neumann, Bohumil. "Milada Paulová ( 1891 -1970 ). Příběhy cesty k dosažení ženské docentury v Československu v roce 1925". Master's thesis, 2008. http://www.nusl.cz/ntk/nusl-291869.
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In Milada Paulová (1891-1970) - The story of the first female docent in Czechoslovakia in 1925 I have tried to present among Czech thinkers a relatively unknown female university professor and scholar whose interests were the Byzantine Empire and the recent history of South Eastern Europe. This study focuses on Milada Paulova's long and difficult academic path. Milada Paulova was born in 1891 in the North Bohemian village of Loukov. Her father, František Paul, was an officer and later became the director of a sugarcane factory in Darenice. After its unfortunate bankruptcy and his subsequent nervous breakdown the family moved to Prague where Milada Paulova finished her primary school studies. She was raised by father because her mother died when she was three years old. In Prague she finished her high school studies at the teachers' school for girls. As the final exam wasn't recognized for entering university she, along with Albína Dratvová, who also later became docent, studied at home for the final exam at grammar school. Both of them passed this exam at Prague grammar school (Akademické gymnázium).
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VITALE, Maria Melania. "Prospettive editoriali per l’Epistolario di Giovanni Verga. «Amici e relazioni letterarie» degli anni milanesi (1872-1885)". Doctoral thesis, 2022. http://hdl.handle.net/11570/3228879.
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La tesi raccoglie per la prima volta in un’edizione critico-filologica commentata le lettere scambiate da Giovanni Verga con un eterogeneo gruppo di corrispondenti – amici, letterati, politici, critici, ammiratori – in un arco temporale che si colloca nel primo periodo del soggiorno milanese (1872-1885). Il lavoro si articola in due parti. La prima è suddivisa in cinque capitoli: nei primi due si ricostruisce la lunga storia editoriale dei carteggi di Verga e delle sue carte manoscritte, definendo motivazioni e limiti delle recensio nonché strumenti e metodi utilizzati; il terzo capitolo affronta il particolare problema della tradizione indiretta di alcune missive e segnala un importante ritrovamento per gli studi sul secondo Ottocento: l’Archivio di Felice Cameroni, di cui si fornisce un primo ragguaglio; il quarto capitolo è dedicato al peculiare problema dell’edizione delle minute verghiane, attualmente trasmesse solo dai Microfilm Mondadori e spesso indispensabili per sopperire a lacune documentarie e recuperare il carattere dialogico di un rapporto epistolare; infine, nel capitolo quinto si è dato spazio ad alcune questioni di taglio critico che l’edizione del corpus ha messo in luce. La seconda parte del lavoro è costituita dal corpus epistolare. Alla nota al testo segue l’edizione commentata delle lettere, ordinate cronologicamente. Il corpus comprende 882 documenti di cui 255 scritti da Giovanni Verga e 627 inviati allo scrittore da 208 mittenti. Concludono la tesi tre ‘Appendici’: la prima riporta brevi cammei biografici dei corrispondenti; la seconda riguarda gli errori o le sviste di catalogazione riscontrati all’interno dell’‘Epistolario Verga’ della Biblioteca Regionale Universitaria di Catania e dovute al nuovo ordinamento archivistico del fondo; la terza appendice offre un elenco completo delle lettere organizzato alfabeticamente per mittente.
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Slaska-Sapala, Kalina Irena. "Negotiating fate : John Milton's recreation of the Homeric and Virgilian model of divine intercession". Master's thesis, 2012. http://hdl.handle.net/1885/149841.
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At the beginning of Book 3 of John Milton's English Christian epic Paradise Lost, God is depicted sitting high on his celestial throne in heaven, an image that in its 'ambrosial fragrance' (PL. 3. 135) recalls the pagan Olympus. The Father, an anthropomorphic character in the poem, turns to the Son, foretells the imminent fall of Adam and Eve, and foresees its consequences for the fate of all mankind. The Son intercedes on behalf of man, ensuring the eventual redemption of the human race. This scene has been recognized as modelled on the epic concilium deorum. Revising existing scholarship on this scene, I argue that Milton is specific about the type of the epic concilium he recreates for the dialogue between the Father and Son in heaven. Whether full assemblies where Zeus presides over the gods, or more intimate dialogues between Zeus and the goddesses Thetis, Athene, and Here, the Olympian scenes in epic were problematic to Homer's ancient commentators due to their portrayal of Zeus bowing to the arguments of lesser deities. In recreating a specific model of the epic concilium deorum, Milton, I argue, is following a tradition of decorum-based criticism of Homer, according to the master of epic aemulatio - Virgil. A learned reader of the epic tradition, Milton, like Virgil, would have been aware of the history of criticism surrounding the dialogue at Iliad 16 in particular, where Zeus not only yields to the arguments of Here, but also seems to bow to fate. The language of the Father's prophecy in Paradise Lost reworks the poetic of Christian prophecy in Vida's Renaissance epic, the Christiad, by tracing it back to Virgil's language of fate in Aeneid 1. Finally, the Son's appeal to the Father on behalf of fallen mankind revises the scenes of intercession by the Olympian goddesses (Thetis and Athene in Homer and Venus and Juno in Virgil) on behalf of their favourite mortals. Milton follows the pattern of reproach and reassurance that occurs in these exchanges, revising it to reflect the Christian theology and theodical aim of Paradise Lost. The arguments of the Son become the enactment of the Father's will, thereby reconciling the competing claims of justice and mercy, and rendering the Son, in turn, a figure that harmonizes the divine and human spheres of epic. By drawing on recent work on Milton's theology in De Doctrina Christiana, I will challenge the idea that Milton's concerns as poet and theologian are mutually exclusive. I will show that the manner in which the poet attempts to reconcile his use of ancient models with the demands of a Christian theodicy demonstrates a complex engagement with the epic tradition in light of contemporary debates about the depiction of the divine sphere in Renaissance Christian epic. -- provided by Candidate.
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Pearson, Diane M. "The impact of human activity on landscape diversity in space and time : measurement and analysis of spatial structure and change in the Milton-Ulladulla area of NSW". Phd thesis, 1998. http://hdl.handle.net/1885/144620.
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Minchin, Elizabeth. "Aspects of the composition of the Homeric epics". Phd thesis, 1989. http://hdl.handle.net/1885/136140.
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The hypothesis that the Homeric epics are the products of a formulaic mode
of composition characteristic of an oral tradition has for the iast fifty years
dominated Homeric research. The theories of Milman Parry and his
followers have undoubtedly expanded our understanding of some of the
processes which make composition possible. But these same theories, in
arguing for a text produced by a tradition, and not by a creative poet, have
frustrated the scholar who wishes to come to terms with the epics as great
works in themselves, as compositions which have long had the capacity to
exci te and involve their audiences.
As a corrective, therefore, to Parry's influence, which scarcely permits us to
go beyond a text-based analysis of Homer's verses, I propose that we consider
the poems from another perspective. This is a perspective suggested by
recent work in several disciplines - in cognitive science, psychology, and
sociolinguistics - in which stories have been examined not as text per se , but
as the products of an activity which might be described as mind-based and
audience-orientated. Cognitive psychology offers us a theoretical framework
within which we can reconstruct the processes by which a poet composes his
story, even as he performs. A study of the pragmatics of storytelling, on the
other hand, allows us to appreciate story as a medium of communication in
which the storyteller, at every stage of composition, and in order to serve his
own purposes, is responsive to the needs and expectations of his audience.
I attempt to demonstrate how these theories about stories and the shaping of
stories enhance our appreciation not only of the processes by which the
Homeric epics might have been composed but also of the action described
within the storyworlds which they evoke. My aim is not to overturn current
views of Homer; rather, I shall suggest that, in the light of so much
empirical work on narrative, it is possible today to rationalize and synthesize
them in the interests of a more coherent understanding of these great
poems. I shall suggest that many of the features of the Homeric epics (such
as foreshadowing and the repetition of type-scenes, or the irony which we
find throughout the Odyssey) may be described and explained in terms both
of the cognitive processes which have been activated and of the social
interaction itself, the focus of which for the moment is the storytelling; and
that most of these are common to storytelling practice as we know it today. My principal objective, however, has been to use these new theories to
structure a careful re-reading of the epics, to explore certain passages
afresh, and to throw further light on the techniques of a fine storyteller who
understands his craft.
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Van, Rooyen Hanlie. "Irreverence : a psychotherapeutic stance". Diss., 1995. http://hdl.handle.net/10500/18581.
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The development of the concept of irreverence is examined in terms
of its historical, theoretical and metatheoretical contexts. The underlying
assumptions of the concepts of neutrality, curiosity, and irreverence are
distinguished and contextualised. Neutrality is discussed with reference to
Milan systemic therapy and first- and second-order cybernetics, while
curiosity is examined in the light of constructivist and narrative approaches
to psychotherapy. It is argued that these two concepts represent two sides
of a dualism, which is transcended through irreverence. Irreverence is
interpreted as a postmodern stance, involving the questioning and
relativising of therapists' basic assumptions. The pragmatic components of
an irreverent stance, namely self-reflexivity, orthogonality, flexibility and
accountability, are explored with reference to related concepts in the work
of other authors. Throughout the text metalogues are used in an attempt to
engage reader and author in a collaborative enterprise of acknowledging
and reevaluating their own basic assumptions.Psychology
M.A. (Clinical Psychology)
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Post, Andy. "Political Atheism vs. The Divine Right of Kings: Understanding 'The Fairy of the Lake' (1801)". 2014. http://hdl.handle.net/10222/50412.
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In 'Political Atheism vs. The Divine Right of Kings,' I build on Thompson and Scrivener’s work analysing John Thelwall’s play 'The Fairy of the Lake' as a political allegory, arguing all religious symbolism in 'FL' to advance the traditionally Revolutionary thesis that “the King is not a God.”
My first chapter contextualises Thelwall’s revival of 17th century radicalism during the French Revolution and its failure. My second chapter examines how Thelwall’s use of fire as a symbol discrediting the Saxons’ pagan notion of divine monarchy, also emphasises the idolatrous apotheosis of King Arthur. My third chapter deconstructs the Fairy of the Lake’s water and characterisation, and concludes her sole purpose to be to justify a Revolution beyond moral reproach. My fourth chapter traces how beer satirises Communion wine, among both pagans and Christians, in order to undermine any religion that could reinforce either divinity or the Divine Right of Kings.A close reading of an all-but-forgotten Arthurian play as an allegory against the Divine Right of Kings.