Добірка наукової літератури з теми "Italia liberale"

Ce travail propose une étude du caractère «libéral» et «national» accordé à Jean-Marie Mastaï Ferretti, le pape Pie IX, pendant ses premières trois années de pontificat. Par les biais d'une documentation hétérogène (sources d'archives, pamphlets, tracts, journaux, lithographies populaires, correspondances privées, mémoires et journaux intimes), l'étude fournit une reconstruction de la naissance de ce caractère avec l'amnistie pontificale de 1846; de ses métamorphoses complexes qui croisent la politique papale, le statut des images et des dévotions aux XIX siècle et la propagande politique et religieuse, aussi que l'imagerie du complot; et de sa partielle dissolution après les révolutions de 1848. L'enquête, tout en se confrontant avec le concept de «mythe» – outil avec lequel le phénomène a été souvent interprété – procède par une mise en question de cette catégorie et parvient à la remplacer par le concept plus opératoire d'«investissement émotif»: la figure d'un pape «libéral» et «national» serait alors le produit d'un travail culturel collectif – auquel Pie IX lui-même n'a pas été étranger – qui relève des préoccupations théologico-politiques de la société post-révolutionnaire européenne: résoudre les dilemmes de l'époque, en conciliant des concepts logiquement (et apparemment) incompatibles comme liberté et ordre, nationalité et théologie catholique. La méthode choisie est celle de l'histoire comparée: il s'agit en effet de reconstruire un contexte pluriel, relevant d'un entrelacement de sources, de deux côté des Alpes, afin de parvenir à une connaissance plus pointue d'une grande utopie vécue à la moitié du XIX siècle<br>This dissertation offers a study of the «liberal» and «national» nature attributed to John-Mary Mastai Ferretti, the pope Pius IX, during his first three years of pontificate. Exploiting an heterogeneous mass of sources (archival items, typing and handwritten papers, pamphlets, posters, newspapers, popular engravings and etchings, private letters, journals), this study retraces the origins of the phenomenon since the papal amnisty of 1846; its mixed transformations which come across papal policy, the status of images and devotional practices in 19th century, political as well as religious propaganda, and conspiracy theory besides; finally, its partial dissolution after the revolutions of 1848. Facing the concept of «myth» – a tool uncritically used for a long time to interpret the phenomenon –this study proceeds on questioning this category and it attains to the most operational concept of «emotional investment»: hence the figure of a «liberal» and «national» pope would be the product of a collective work – to whom Pius himself was not extraneous – which was a matter for the theologico-political worries of post-revolutional european society: namely to solve the religious and political dylemmas of modern age, in order to appeasing some ideas which are not logically (and apparently) compatible, such as freedom and order, nationalism and catholic theology. The method choised to investigate this phenomenon is the comparative one: in retracing a plural context (that is a network of sources) between the two sides of Alps, it will be possible to have a more deep knowledge of a great living utopia in the middle of 19th century

L'analyse de l'action politique de Bettino Ricasoli (1809-1880) au lendemain de l'unité italienne, notamment en tant que Président du conseil des ministres (1861-62 et 1866-67), aide à mieux comprendre quelques-uns des moments décisifs du processus de construction de l'État et de la nation après 1861 en Italie. En ces deux occasions, en effet, l'homme d'État florentin dû affronter une série de défis considérables, dont le problème de la stabilité du cabinet et de ses rapports avec la Couronne, les rapports entre l’État et l’Église et entre la religion catholique et la société civile, les relations internationales, en particulier avec la France de Napoléon III, la création d'un système administratif unitaire et l'achèvement de l'unité politique et territoriale du nouvel État. Les réponses données par Ricasoli à ces problèmes constituent les éléments fondamentaux permettant de le situer dans le cadre de l'Italie libérale et de la « Droite historique », appelée à gouverner le Royaume après la mort de Cavour, dont l’homme politique toscan, soulignons-le, fut le premier successeur<br>The analysis of Bettino Ricasoli’s (1809-1880) political action after the Risorgimento, with particular attention to his role as Prime Minister (1861-62 and 1866-67), is interesting to understand some of the turning points in the construction of State and Nation in Italy. On both occasions, indeed, the Florentine statesman dealt with a number of important issues, including the problem of the Executive’s stability and its relationship with the Crown; the relationship between Church and State and between religion and society; relations with France; the establishment of a unitary administrative system; and the completion of the new state’s political and territorial unity. His answers to these problems are essential to contextualize his figure within Liberal Italy and the Historical Right, the political movement which was to lay the foundations of the new unitary state after Cavour’s death, whose first successor was Ricasoli

This dissertation is based on Trissino’s epic poem "La Italia liberata da’ Gotthi". It’s divided into two different parts: the first one is a monographic analysis of the different components of the book, while the second is a commented transcript of the unpublished autograph known as "Zibaldone dell’Italia liberata". More in details, the first part begins with considerations about the "Sesta divisione della Poetica" and the "Lettera dedicatoria a Carlo V", Trissino’s theoretical works about epic poetry. Next part concerns a general presentation of the "Italia", encompassing editions, structure, subjects, sequence of events and characters of the poem, with the intent of approaching the reader to a work often disregarded by the critics. Next chapter deals with the sources of the poem with a specific focus to the reference to Homeric "Iliad": it is discussed how Trissino refers to every single book of "Iliad" and demonstrated how this link is more than a mere inspiration. Last section concerns some elements of the poem still matter of debate: "Italia"’s characters organization and Trissino’s conception of the epic hero; a possible political interpretation of the poem. The second part is directed to the commentary and analysis of the "Zibaldone" manuscript. It contains autographic notes in view of the draft of the Italia, regarding the structure of the poem, the topics of the books, the Italian geopolitical situation of 6th century, the setting details, the trial version of many lines. This in-depth analysis can be considered a visit into the writing workshop of the author, giving insights into two fundamentals aspects of the composition process: it allows to monitor methods, tools and techniques used by Trissino, as well as exploring his readings and inspirations.<br>La mia tesi dottorale coincide con una monografia sull’"Italia liberata da’ Gotthi" di Gian Giorgio Trissino, poema eroico che si propone quale ambizioso tentativo di rifondazione dell’epos rinascimentale. L’elaborato si compone di due macro-sezioni. La prima parte, più specificamente monografica, comprende: un’analisi delle opere di teoria poetica del Vicentino e una presentazione generale del poema – con focus su genesi ed edizioni dell’"Italia", struttura narrativa, sistema dei personaggi, temi ricorrenti e simmetrie interne, geografia e cronologia delle vicende narrate – che ha l’obiettivo di rendere note ai lettori le caratteristiche di un’opera che – secoli di sepoltura "nelle librarie e nello studio d'alcun letterato" – hanno reso sostanzialmente sconosciuta ai più; una ricerca sulle fonti dell’opera, che concede grande spazio al confronto tra l’"Italia" e l’"Iliade" omerica, suo principale ipotesto classico; infine, alcuni itinerari critici su questioni di particolare rilevanza nel panorama degli studi trissiniani. La seconda sezione dell’elaborato contiene la trascrizione e il commento dello "Zibaldone autografo dell’Italia liberata", manoscritto inedito conservato nel Fondo Castiglioni della Biblioteca Braidense di Milano. Si tratta di un codice che assembla appunti autografi in vista della stesura dell’"Italia": un vero e proprio cantiere di progettazione del poema, in cui Trissino raccoglie annotazioni di vario genere (dagli schemi relativi alla struttura dei diversi libri del poema, ad elenchi di personaggi, fino alle prove di versi, l’elemento più prezioso in assoluto perché, qualora messe a confronto con la loro versione definitiva all’interno dell’opera, fanno luce sul modo di lavorare dell’autore). Lo studio dello "Zibaldone" si è rivelato di notevole interesse sotto due punti di vista: in primo luogo perché consente un ingresso privilegiato nell’officina scrittoria trissiniana. Secondariamente il codice si è dimostrato uno strumento di inestimabile valore per l’indagine delle letture trissiniane e l’approfondimento di un argomento rispetto al quale ancora non sono state avviate indagini significative: la biblioteca del Trissino.

Muslim women are misrepresented through frames and stereotypes that the media uses to further an established narrative. Through a Critical Discourse Analysis, the study analyzes three liberal-nonpartisan Italian newspapers and their approach towards two themes, which are the burkini debate that occurred in late August 2016 and the analysis of three different Muslim women within the Italian society. The study concludes that Muslim women are negatively framed through the usage of a discourse that stereotypes them and constructively misrepresents their reality.

The translations of Tasso’s Gerusalemme liberata by Richard Carew (1594) and Edward Fairfax (1600) import the hybrid genre of the Italian romance epic into the evolving literary polysystem of the English Renaissance. These two significant translations present an intriguing struggle between fidelity to the source text and freedom, which mirrors the friction between epic and romance at the heart of the Gerusalemme liberata. This friction takes shape most clearly in the treatment of the power dynamics of the crusaders vis-à-vis Godfrey and in the translation of the ‘forma altera’ of Armida. While Carew attempts an ‘epic’ translation conforming to the source text, creating a Gerusalemme conquistata-type of translation, Fairfax submits to the allure of Armida and to the romance of translator errancy. To translate this unique hybrid genre is to encounter translation’s process double; in a fundamental sense, translation is romance, and the romance epic is translation.

L’elaborato analizza i cambiamenti strutturali e stilistici della riscrittura della "Gerusalemme liberata" di Torquato Tasso, rivolgendo soprattutto l’attenzione all’uso delle fonti utilizzate (in particolare le opere storiografiche e la Bibbia) nella "Gerusalemme conquistata". Nella prima parte del lavoro si prendono in considerazione gli studi più importanti riguardanti la riscrittura del poema tassiano. Il capitolo si divide in due parti: il primo paragrafo è riservato ai lavori sulle modifiche complessive operate nel poema seriore, mentre il secondo è dedicato alle monografie sull’uso della fonte scritturale nella "Conquistata". In un secondo momento la tesi presenta in modo analitico le differenze strutturali più evidenti tra i due poemi; si prende in considerazione la sinossi delle due opere tassiane compilata da Maria Teresa Girardi nel suo studio "Tasso e la nuova «Gerusalemme». Studio sulla «Conquistata» e sul «Giudicio»" (2002), in cui l’autrice compara i libri della "Conquistata" con i canti della "Liberata" ed esamina i materiali nuovi inseriti nel secondo poema. Il terzo capitolo si basa sulle linee guida delle modifiche operate nella "Conquistata": l’innalzamento del registro linguistico e stilistico; l’avvicinamento al modello omerico nella caratterizzazione dei personaggi e nella ripresa di alcuni episodi dell’"Iliade"; la maggior aderenza alle fonti storiche; l’ampliamento del dettato allegorico, con particolare attenzione all’auto commento del poeta nei "Discorsi del poema eroico" e nel "Giudicio sovra la «Gerusalemme» riformata". L’ultima parte dell’elaborato è basata sull’utilizzo della fonte biblica, la cui presenza è notevolmente incrementata all’interno della "Conquistata": il capitolo esamina tutti i libri del poema seriore dividendoli in gruppi di quattro e considerando all’interno di essi l’utilizzo della Sacra Scrittura.

L’univers médiéval tient une place importante dans la culture poétique italienne du XVème au XVIIIème siècle. Emblèmes de cet univers, les poèmes épiques de l’Arioste et du Tasse, imités de ceux d’Homère, promeuvent les histoires les plus populaires des théâtres italiens des XVIIème et XVIIIème siècles. L’écriture du Moyen Âge dans l’opéra, entre 1690 et 1730, montre une diversité des esthétiques et des figures poétiques et dramatiques. Grâce à l’Accademia dell’Arcadia, la rénovation du livret ouvre de nouvelles perspectives à son exploitation, que développera Zeno contrairement à Metastasio. En s’appuyant sur la tragédie française, celle-ci lie étroitement art poétique et musical. L’air symbolise ce point de rencontre des affects et de leur représentation musicale. Il contribue à la célébrité de l’Artaserse (1730) de Vinci et celui de Hasse. Ces opéras précipitent le déclin des sujets médiévaux et laissent la place à un nouveau modèle lyrique<br>Medieval universe took an important place in the Italian poetic culture from the 16th to the 18th century. Emblems of this universe, Ariosto and Tasso’s epic poems, imitated of Homer’s, upgraded to most popular histories of the Italians theatres of the 17th and 18th centuries. The Middle Ages’ representation in Opera between 1690 and 1730, showed a diversity of esthetics but dramatic and poetic figures too. Thanks to the Accademia dell’Arcadia, the renovation of the libretto led to consider new prospects of its exploitation. Zeno developed the new vision of Middle Ages contrary to Metastasio. Supporting by French tragedy, this renovation unified with strength poetical and musical art. The aria symbolized the meeting point of affects and their musical representations. It contributed to the celebrity of Vinci’s and Hasse’s Artaserse (1730). These two operas hastened the decline of medieval subjects and installed a new lyric model