Добірка наукової літератури з теми "Vingtième siècle italien"

IntroductionFirmly located within the discourse of visible culture as the lofty preserve of art exhibitions and museum artefacts, the noun “curate” has gradually transformed into the verb “to curate”. Williams writes that “curate” has become a fashionable code word among the aesthetically minded to describe a creative activity. Designers no longer simply sell clothes; they “curate” merchandise. Chefs no longer only make food; they also “curate” meals. Chosen for their keen eye for a particular style or a precise shade, it is their knowledge of their craft, their reputation, and their sheer ability to choose among countless objects which make the creative process a creative activity in itself. Writing from within the framework of “curate” as a creative process, this article discusses how the state banquet for Queen Elizabeth II, hosted by Irish President Mary McAleese at Dublin Castle in May 2011, was carefully curated to represent Ireland’s diplomatic, cultural, and culinary identity. The paper will focus in particular on how the menu for the banquet was created and how the banquet’s brief, “Ireland on a Plate”, was fulfilled.History and BackgroundFood has been used by nations for centuries to display wealth, cement alliances, and impress foreign visitors. Since the feasts of the Numidian kings (circa 340 BC), culinary staging and presentation has belonged to “a long, multifaceted and multicultural history of diplomatic practices” (IEHCA 5). According to the works of Baughman, Young, and Albala, food has defined the social, cultural, and political position of a nation’s leaders throughout history.In early 2011, Ross Lewis, Chef Patron of Chapter One Restaurant in Dublin, was asked by the Irish Food Board, Bord Bía, if he would be available to create a menu for a high-profile banquet (Mahon 112). The name of the guest of honour was divulged several weeks later after vetting by the protocol and security divisions of the Department of the Taoiseach (Prime Minister) and the Department of Foreign Affairs and Trade. Lewis was informed that the menu was for the state banquet to be hosted by President Mary McAleese at Dublin Castle in honour of Queen Elizabeth II’s visit to Ireland the following May.Hosting a formal banquet for a visiting head of state is a key feature in the statecraft of international and diplomatic relations. Food is the societal common denominator that links all human beings, regardless of culture (Pliner and Rozin 19). When world leaders publicly share a meal, that meal is laden with symbolism, illuminating each diner’s position “in social networks and social systems” (Sobal, Bove, and Rauschenbach 378). The public nature of the meal signifies status and symbolic kinship and that “guest and host are on par in terms of their personal or official attributes” (Morgan 149). While the field of academic scholarship on diplomatic dining might be young, there is little doubt of the value ascribed to the semiotics of diplomatic gastronomy in modern power structures (Morgan 150; De Vooght and Scholliers 12; Chapple-Sokol 162), for, as Firth explains, symbols are malleable and perfectly suited to exploitation by all parties (427).Political DiplomacyWhen Ireland gained independence in December 1921, it marked the end of eight centuries of British rule. The outbreak of “The Troubles” in 1969 in Northern Ireland upset the gradually improving environment of British–Irish relations, and it would be some time before a state visit became a possibility. Beginning with the peace process in the 1990s, the IRA ceasefire of 1994, and the Good Friday Agreement in 1998, a state visit was firmly set in motion by the visit of Irish President Mary Robinson to Buckingham Palace in 1993, followed by the unofficial visit of the Prince of Wales to Ireland in 1995, and the visit of Irish President Mary McAleese to Buckingham Palace in 1999. An official invitation to Queen Elizabeth from President Mary McAleese in March 2011 was accepted, and the visit was scheduled for mid-May of the same year.The visit was a highly performative occasion, orchestrated and ordained in great detail, displaying all the necessary protocol associated with the state visit of one head of state to another: inspection of the military, a courtesy visit to the nation’s head of state on arrival, the laying of a wreath at the nation’s war memorial, and a state banquet.These aspects of protocol between Britain and Ireland were particularly symbolic. By inspecting the military on arrival, the existence of which is a key indicator of independence, Queen Elizabeth effectively demonstrated her recognition of Ireland’s national sovereignty. On making the customary courtesy call to the head of state, the Queen was received by President McAleese at her official residence Áras an Uachtaráin (The President’s House), which had formerly been the residence of the British monarch’s representative in Ireland (Robbins 66). The state banquet was held in Dublin Castle, once the headquarters of British rule where the Viceroy, the representative of Britain’s Court of St James, had maintained court (McDowell 1).Cultural DiplomacyThe state banquet provided an exceptional showcase of Irish culture and design and generated a level of preparation previously unseen among Dublin Castle staff, who described it as “the most stage managed state event” they had ever witnessed (Mahon 129).The castle was cleaned from top to bottom, and inventories were taken of the furniture and fittings. The Waterford Crystal chandeliers were painstakingly taken down, cleaned, and reassembled; the Killybegs carpets and rugs of Irish lamb’s wool were cleaned and repaired. A special edition Newbridge Silverware pen was commissioned for Queen Elizabeth and Prince Philip to sign the newly ordered Irish leather-bound visitors’ book. A new set of state tableware was ordered for the President’s table. Irish manufacturers of household goods necessary for the guest rooms, such as towels and soaps, hand creams and body lotions, candle holders and scent diffusers, were sought. Members of Her Majesty’s staff conducted a “walk-through” several weeks in advance of the visit to ensure that the Queen’s wardrobe would not clash with the surroundings (Mahon 129–32).The promotion of Irish manufacture is a constant thread throughout history. Irish linen, writes Kane, enjoyed a reputation as far afield as the Netherlands and Italy in the 15th century, and archival documents from the Vaucluse attest to the purchase of Irish cloth in Avignon in 1432 (249–50). Support for Irish-made goods was raised in 1720 by Jonathan Swift, and by the 18th century, writes Foster, Dublin had become an important centre for luxury goods (44–51).It has been Irish government policy since the late 1940s to use Irish-manufactured goods for state entertaining, so the material culture of the banquet was distinctly Irish: Arklow Pottery plates, Newbridge Silverware cutlery, Waterford Crystal glassware, and Irish linen tablecloths. In order to decide upon the table setting for the banquet, four tables were laid in the King’s Bedroom in Dublin Castle. The Executive Chef responsible for the banquet menu, and certain key personnel, helped determine which setting would facilitate serving the food within the time schedule allowed (Mahon 128–29). The style of service would be service à la russe, so widespread in restaurants today as to seem unremarkable. Each plate is prepared in the kitchen by the chef and then served to each individual guest at table. In the mid-19th century, this style of service replaced service à la française, in which guests typically entered the dining room after the first course had been laid on the table and selected food from the choice of dishes displayed around them (Kaufman 126).The guest list was compiled by government and embassy officials on both sides and was a roll call of Irish and British life. At the President’s table, 10 guests would be served by a team of 10 staff in Dorchester livery. The remaining tables would each seat 12 guests, served by 12 liveried staff. The staff practiced for several days prior to the banquet to make sure that service would proceed smoothly within the time frame allowed. The team of waiters, each carrying a plate, would emerge from the kitchen in single file. They would then take up positions around the table, each waiter standing to the left of the guest they would serve. On receipt of a discreet signal, each plate would be laid in front of each guest at precisely the same moment, after which the waiters would then about foot and return to the kitchen in single file (Mahon 130).Post-prandial entertainment featured distinctive styles of performance and instruments associated with Irish traditional music. These included reels, hornpipes, and slipjigs, voice and harp, sean-nόs (old style) singing, and performances by established Irish artists on the fiddle, bouzouki, flute, and uilleann pipes (Office of Public Works).Culinary Diplomacy: Ireland on a PlateLewis was given the following brief: the menu had to be Irish, the main course must be beef, and the meal should represent the very best of Irish ingredients. There were no restrictions on menu design. There were no dietary requirements or specific requests from the Queen’s representatives, although Lewis was informed that shellfish is excluded de facto from Irish state banquets as a precautionary measure. The meal was to be four courses long and had to be served to 170 diners within exactly 1 hour and 10 minutes (Mahon 112). A small army of 16 chefs and 4 kitchen porters would prepare the food in the kitchen of Dublin Castle under tight security. The dishes would be served on state tableware by 40 waiters, 6 restaurant managers, a banqueting manager and a sommélier. Lewis would be at the helm of the operation as Executive Chef (Mahon 112–13).Lewis started by drawing up “a patchwork quilt” of the products he most wanted to use and built the menu around it. The choice of suppliers was based on experience but also on a supplier’s ability to deliver perfectly ripe goods in mid-May, a typically black spot in the Irish fruit and vegetable growing calendar as it sits between the end of one season and the beginning of another. Lewis consulted the Queen’s itinerary and the menus to be served so as to avoid repetitions. He had to discard his initial plan to feature lobster in the starter and rhubarb in the dessert—the former for the precautionary reasons mentioned above, and the latter because it featured on the Queen’s lunch menu on the day of the banquet (Mahon 112–13).Once the ingredients had been selected, the menu design focused on creating tastes, flavours and textures. Several draft menus were drawn up and myriad dishes were tasted and discussed in the kitchen of Lewis’s own restaurant. Various wines were paired and tasted with the different courses, the final choice being a Château Lynch-Bages 1998 red and a Château de Fieuzal 2005 white, both from French Bordeaux estates with an Irish connection (Kellaghan 3). Two months and two menu sittings later, the final menu was confirmed and signed off by state and embassy officials (Mahon 112–16).The StarterThe banquet’s starter featured organic Clare Island salmon cured in a sweet brine, laid on top of a salmon cream combining wild smoked salmon from the Burren and Cork’s Glenilen Farm crème fraîche, set over a lemon balm jelly from the Tannery Cookery School Gardens, Waterford. Garnished with horseradish cream, wild watercress, and chive flowers from Wicklow, the dish was finished with rapeseed oil from Kilkenny and a little sea salt from West Cork (Mahon 114). Main CourseA main course of Irish beef featured as the pièce de résistance of the menu. A rib of beef from Wexford’s Slaney Valley was provided by Kettyle Irish Foods in Fermanagh and served with ox cheek and tongue from Rathcoole, County Dublin. From along the eastern coastline came the ingredients for the traditional Irish dish of smoked champ: cabbage from Wicklow combined with potatoes and spring onions grown in Dublin. The new season’s broad beans and carrots were served with wild garlic leaf, which adorned the dish (Mahon 113). Cheese CourseThe cheese course was made up of Knockdrinna, a Tomme style goat’s milk cheese from Kilkenny; Milleens, a Munster style cow’s milk cheese produced in Cork; Cashel Blue, a cow’s milk blue cheese from Tipperary; and Glebe Brethan, a Comté style cheese from raw cow’s milk from Louth. Ditty’s Oatmeal Biscuits from Belfast accompanied the course.DessertLewis chose to feature Irish strawberries in the dessert. Pat Clarke guaranteed delivery of ripe strawberries on the day of the banquet. They married perfectly with cream and yoghurt from Glenilen Farm in Cork. The cream was set with Irish Carrageen moss, overlaid with strawberry jelly and sauce, and garnished with meringues made with Irish apple balsamic vinegar from Lusk in North Dublin, yoghurt mousse, and Irish soda bread tuiles made with wholemeal flour from the Mosse family mill in Kilkenny (Mahon 113).The following day, President McAleese telephoned Lewis, saying of the banquet “Ní hé go raibh sé go maith, ach go raibh sé míle uair níos fearr ná sin” (“It’s not that it was good but that it was a thousand times better”). The President observed that the menu was not only delicious but that it was “amazingly articulate in terms of the story that it told about Ireland and Irish food.” The Queen had particularly enjoyed the stuffed cabbage leaf of tongue, cheek and smoked colcannon (a traditional Irish dish of mashed potatoes with curly kale or green cabbage) and had noted the diverse selection of Irish ingredients from Irish artisans (Mahon 116). Irish CuisineWhen the topic of food is explored in Irish historiography, the focus tends to be on the consequences of the Great Famine (1845–49) which left the country “socially and emotionally scarred for well over a century” (Mac Con Iomaire and Gallagher 161). Some commentators consider the term “Irish cuisine” oxymoronic, according to Mac Con Iomaire and Maher (3). As Goldstein observes, Ireland has suffered twice—once from its food deprivation and second because these deprivations present an obstacle for the exploration of Irish foodways (xii). Writing about Italian, Irish, and Jewish migration to America, Diner states that the Irish did not have a food culture to speak of and that Irish writers “rarely included the details of food in describing daily life” (85). Mac Con Iomaire and Maher note that Diner’s methodology overlooks a centuries-long tradition of hospitality in Ireland such as that described by Simms (68) and shows an unfamiliarity with the wealth of food related sources in the Irish language, as highlighted by Mac Con Iomaire (“Exploring” 1–23).Recent scholarship on Ireland’s culinary past is unearthing a fascinating story of a much more nuanced culinary heritage than has been previously understood. This is clearly demonstrated in the research of Cullen, Cashman, Deleuze, Kellaghan, Kelly, Kennedy, Legg, Mac Con Iomaire, Mahon, O’Sullivan, Richman Kenneally, Sexton, and Stanley, Danaher, and Eogan.In 1996 Ireland was described by McKenna as having the most dynamic cuisine in any European country, a place where in the last decade “a vibrant almost unlikely style of cooking has emerged” (qtd. in Mac Con Iomaire “Jammet’s” 136). By 2014, there were nine restaurants in Dublin which had been awarded Michelin stars or Red Ms (Mac Con Iomaire “Jammet’s” 137). Ross Lewis, Chef Patron of Chapter One Restaurant, who would be chosen to create the menu for the state banquet for Queen Elizabeth II, has maintained a Michelin star since 2008 (Mac Con Iomaire, “Jammet’s” 138). Most recently the current strength of Irish gastronomy is globally apparent in Mark Moriarty’s award as San Pellegrino Young Chef 2015 (McQuillan). As Deleuze succinctly states: “Ireland has gone mad about food” (143).This article is part of a research project into Irish diplomatic dining, and the author is part of a research cluster into Ireland’s culinary heritage within the Dublin Institute of Technology. The aim of the research is to add to the growing body of scholarship on Irish gastronomic history and, ultimately, to contribute to the discourse on the existence of a national cuisine. If, as Zubaida says, “a nation’s cuisine is its court’s cuisine,” then it is time for Ireland to “research the feasts as well as the famines” (Mac Con Iomaire and Cashman 97).ConclusionThe Irish state banquet for Queen Elizabeth II in May 2011 was a highly orchestrated and formalised process. From the menu, material culture, entertainment, and level of consultation in the creative content, it is evident that the banquet was carefully curated to represent Ireland’s diplomatic, cultural, and culinary identity.The effects of the visit appear to have been felt in the years which have followed. Hennessy wrote in the Irish Times newspaper that Queen Elizabeth is privately said to regard her visit to Ireland as the most significant of the trips she has made during her 60-year reign. British Prime Minister David Cameron is noted to mention the visit before every Irish audience he encounters, and British Foreign Secretary William Hague has spoken in particular of the impact the state banquet in Dublin Castle made upon him. Hennessy points out that one of the most significant indicators of the peaceful relationship which exists between the two countries nowadays was the subsequent state visit by Irish President Michael D. Higgins to Britain in 2013. This was the first state visit to the United Kingdom by a President of Ireland and would have been unimaginable 25 years ago. The fact that the President and his wife stayed at Windsor Castle and that the attendant state banquet was held there instead of Buckingham Palace were both deemed to be marks of special favour and directly attributed to the success of Her Majesty’s 2011 visit to Ireland.As the research demonstrates, eating together unites rather than separates, gathers rather than divides, diffuses political tensions, and confirms alliances. It might be said then that the 2011 state banquet hosted by President Mary McAleese in honour of Queen Elizabeth II, curated by Ross Lewis, gives particular meaning to the axiom “to eat together is to eat in peace” (Taliano des Garets 160).AcknowledgementsSupervisors: Dr Máirtín Mac Con Iomaire (Dublin Institute of Technology) and Dr Michael Kennedy (Royal Irish Academy)Fáilte IrelandPhotos of the banquet dishes supplied and permission to reproduce them for this article kindly granted by Ross Lewis, Chef Patron, Chapter One Restaurant ‹http://www.chapteronerestaurant.com/›.Illustration ‘Ireland on a Plate’ © Jesse Campbell BrownRemerciementsThe author would like to thank the anonymous reviewers for their feedback and suggestions on an earlier draft of this article.ReferencesAlbala, Ken. The Banquet: Dining in the Great Courts of Late Renaissance Europe. 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Cette thèse de doctorat est consacrée à l'œuvre de Carlo Michelstaedter et, en particulier, à l'étude de son influence dans le Vingtième siècle italien : les chapitres monographiques qui composent cette investigation visent à évaluer la possibilité de son héritage dans l'œuvre de Montale - le plus important interprète littéraire de Michelstaedter - et dans celles de Gozzano, Pavese et Menon. Au cours des études, nous avons considéré ces auteurs comme des interprètes de la pensée du Vingtième siècle en tant que liée à la leçon de Michelstaedter, voire comme des continuateurs d'une expérience intellectuelle très importante mais précocement interrompue : à un niveau général, la recherche entend faire réagir la fonction de Michelstaedter - un complexe de motifs littéraires et spéculatifs, se référant à son œuvre et à sa figure d'auteur - avec le Vingtième siècle italien. Montale, Gozzano, Pavese et Menon ont été choisis pour identifier de multiples liaisons entre leur activité esthétique et la fonction de Michelstaedter, dont l'œuvre n'a pas obtenu une place stable dans le canon du Vingtième siècle. Fondamentalement, Michelstaedter est étudié en tant qu'il pouvait faire partie des canons des quatre auteurs étudiés, mais non pas d'un canon unique : il appartient donc à quatre anti-canons identifiés par opposition à une idée de canon générale. L'œuvre d'Eugenio Montale (1896-1981) est l'exemple le plus grand de l'influence de Michelstaedter sur un auteur italien : car elle représente toutes les déclinaisons possibles de la fonction michelstaedterienne au Vingtième siècle, la position initiale du chapitre est justifiée. La longue durée de la poésie montalienne, par rapport à Michelstaedter, est décrite des premières aux dernières Poesie disperse, des Ossi di seppia (1925) aux Altri versi (1981). Parmi les problèmes et les images abordés dans le chapitre, nous soulignons le flatus vocis, la chrysalide, le Christ, la persuasion et le temps. Le deuxième chapitre porte sur l'idée de la chrysalide de Guido Gozzano (1883-1916), liée au problème de la coextension des concepts opposés de vie et de mort et à celui de l'authenticité existentielle dans les Epistole entomologiche, notamment, dans Le farfalle (1914). L'étude du thème littéraire de la nymphe, ainsi que des implications philologiques et intertextuelles du poème de Gozzano, met en évidence l'influence potentielle de Il canto delle crisalidi de Michelstaedter (publié en 1912). L'œuvre de Cesare Pavese (1908-1950), étudié au cours du troisième chapitre, porte sur une générale tension au transcendant, équivalente à celle que Montale a pu trouver chez Michelstaedter et liée à la figure du Christ ainsi qu'à des problématiques comme l'attachement et le sacrifice/charité/don. Le thème du silence, en tant qu'empreinte de l'influence de Michelstaedter, est interprété comme une réaction de l'intellectuel en proie au vice qui aspire à l'authenticité. Au niveau littéraire, ces tourments existentiels peuvent être associés au problème de la décadence morale des expressions linguistiques (Pavese parle de « rhétorique ») et à l'impossibilité de réaliser une authenticité relationnelle. L'horizon de la mort, lié à celui du vice, ainsi que la thématisation du suicide en tant que défense par rapport à la souffrance existentielle, pourraient également être affectés par l'influence de Michelstaedter. L'œuvre de Gian Giacomo Menon (1910-2000) se fragmente au regard de la dichotomie entre authenticité et inauthenticité et opère un scepticisme métalinguistique : cette structure spéculative est liée à la fonction de Michelstaedter. L'inspiration métalinguistique de Menon implique une réduction expressive à un grand silence : ancré à des images géologiques, ce silence ressemble à un abandon de la recherche de l'authentique et est lié la problématisation du temps chronologique. Ce chapitre identifie Menon comme l'un des interprètes les plus originaux de l'héritage de Michelstaedter au Vingtième siècle
The present PhD thesis is devoted to the work of Carlo Michelstaedter, that is, to the study of his influence in the context of the Italian twentieth century: the four monographic chapters that make up this investigation aim to evaluate the possibility of his legacy in the work of Montale - Michelstaedter's most significant literary interpreter - and in the work of Gozzano, Pavese, and Menon. These authors are considered interpreters of twentieth-century thought, in conjunction with Michelstaedter's example, or even continuators of a crucial but early-interrupted intellectual experience: on a general level, the research intends to make Michelstaedter's function - a complex of literary and speculative motifs, referring to his work and his authorial figure - interact with the Italian twentieth century. Montale, Gozzano, Pavese, and Menon have been chosen in order to identify multiple connections between their aesthetic activity and the function of Michelstaedter, whose work has not gained a stable position in the twentieth-century canon. Basically, Michelstaedter is studied insofar as he could be part of the canons of the four authors in question but not of a single canon: he therefore belongs to four anti-canons opposed to a general idea of canon.The work of Eugenio Montale (1896-1981) is the most remarkable example of Michelstaedter's influence on an Italian author: the initial position of this chapter is justified by the fact that it represents all the possible variations of the Michelstaedterian function in the twentieth century. With regard to Michelstaedter, the longue durée of Montalian poetry is described from the first to the last of Poesie disperse, from Ossi di seppia (1925) to Altri versi (1981). Among the issues and the images addressed in the chapter, the flatus vocis, the chrysalis, Christ, persuasion, and time can be highlighted.The second chapter focuses on the notion of chrysalis developed by Guido Gozzano (1883-1916), which is related to the problem of the logical coextension of the opposing concepts of life and death and that of existential authenticity in Epistole entomologiche and, specifically, in Le farfalle (1914). The study of the literary theme of the nymph and of the philological and intertextual implications of Gozzano's poem underlines the potential influence of Michelstaedter's Il canto delle crisalidi (published in 1912).The work of Cesare Pavese (1908-1950), studied in the third chapter, deals with a general tension to transcendence, connected to the figure of Christ and to issues such as attachment and sacrifice/charity/donation. An imprint of Michelstaedter's influence, the theme of silence is interpreted as a reaction of the vice-ridden intellectual who longs for authenticity. On a literary level, these existential torments can be associated with the problem of the moral decay of linguistic expressions (Pavese speaks of «rhetoric») and the impossibility of achieving relational authenticity. The horizon of death, connected to that of vice, and the thematisation of suicide as a defence against existential suffering could also be affected by Michelstaedter's influence.The work of Gian Giacomo Menon (1910-2000) is fragmented with regard to the existential dichotomy between authenticity and inauthenticity and works out a form of metalinguistic scepticism: this speculative structure is related to the function of Michelstaedter. Menon's metalinguistic inspiration entails an expressive reduction to a great silence: being related to geological images, such a silence resembles an abandonment of the quest for authenticity and is connected to the problematisation of chronological time. This chapter identifies Menon as one of the most original interpreters of Michelstaedter's legacy in the twentieth century

Nous proposons de redéfinir la notion d'engagement littéraire en la mettant à l'épreuve de deux périodes historiques distinctes - les années suivant la fin de la Seconde Guerre mondiale et la fin du 20ème siècle, après la chute du mur de Berlin - et en prenant appui sur un corpus de romans d'auteurs français et italiens: A. Camus, J.-P. Sartre, I. Calvino, V. Pratolini, E. Vittorini pour la première période; P. Modiano, O. Rolin, A. Volodine, E. De Luca et A. Tabucchi pour la seconde. Il s'agit bien d'une redéfinition dans la mesure où nous envisageons l'engagement littéraire sous un angle nouveau, en rapport étroit avec la notion de « régime d'historicité », empruntée à François Hartog. Notre hypothèse est que l'engagement de l'écrivain se manifeste non pas dans le contenu politique de l'oeuvre ou son caractère assertif et démonstratif, mais principalement dans la manière dont le texte réfléchit, au sens fort et polysémique du terme, son inscription dans et son rapport à l'histoire. Dans cette perspective, le roman engagé, qu'il convient de distinguer du roman à thèse, serait à penser en lien étroit avec le régime moderne d'historicité, fondé sur la conception d'une histoire linéaire, progressive, orientée vers l'avenir. Les romans contemporains, eux, s'inscriraient dans le régime « présentiste », dominé par le présent et traversé par le sentiment d'une double dette à l'égard du passé (devoir de mémoire) et du futur (un héritage à préserver et à transmettre). Dans les deux cas, c'est moins à une reconduction qu'à une problématisation des régimes d'historicité que se livrent les oeuvres étudiées, qui s'attachent à en révéler les failles ou les excès.

L'evolution de l'edition italienne au cours du 20e siecle est decrite par une historicisation du secteur, l'identification de "modeles" editoriaux successifs et l'etude du cas d'einaudi. La 1ere partie decrit les debuts de l'edition industrielle dans les annees 20 et degage trois modeles: mondadori, l'editeur entrepreneur milanais profitant de la politique fasciste de communication de masse; sansoni, jouant a florence la carte ideologique du fascisme; laterza, editeur du sud, symbole d'une resistance passive au regime. A partir de 1933, einaudi offre un nouveau modele: l'editeur militant, tourne vers les cultures etrangeres. La 2eme partie montre que, dans l'exploison editoriale d'apres guerre, mondadori (l'evasion) et einaudi (l'engagement) s'imposent comme modeles antagonistes, tandis que progresse l'edition populaire. Dans la 3eme partie, on voit ces modeles confirmes dans leur fonction pour les annees 60 70 (mondadori grace au mouvement de concentration du secteur, einaudi grace a la contestation de 1968). Mais dans les annees 80, l'equilibre est rompu: la maison einaudi, apres une crise economique, est indirectement controlee par mondadori. La derniere partie met ces evenements en rapport avec l'effritement de la culture de gauche en italie, et fournit une reflexion sur l'instrumentalisation de la culture par les monopoles economiques
The italian publishing of the 20th century is described by a historicization of the area, the identification of successive editorial models and the study of einaudi's case. The first part describes the beginnings of industrial publishing in the twenties and brings out three models: mondadori, the milanese industrialist-publisher who took advantage of the fascist policy of mass-media; sansoni, who, in florence, played the ideological card of fascism; and laterza, a publisher of the south sumbolizing a passive resistance to the regime. From 1933 on, einaudi offered a new model, that of the militant publisher turned towards foreign cultures. The second part shows that in the post-war editorial outburst, mondadori (escapism) and einaudi (commitment) emerged as antagonistic models, whereas popular publishing gained ground. The third part confirms the functions of these models in the years 1960-80 (mondadori thanks to the concentration of the sector; einaudi thanks to the 1968 contesting). But in the eighties, the balance is upset. After an economic crisis, einaudi is controlled by mondadori. The last part links these events with the crumbling away of the left-wing culture in italy and comments on the instrumentalisation of culture by economic monopolies

Le bassin de Briey avant 1940 a connu deux vagues d’immigration italienne, une avant 1914 l’autre au début des années 20. Si des études ont déjà décrit les conditions de vie de ces immigrés par contre on ne sait que peu de chose sur leur implication dans la vie sportive locale. L’immense majorité des ouvriers italiens du bassin de Briey s’est trouvée en partie exclue du loisir sportif existant au début du siècle, celui-ci ayant une connotation patriotique forte. Seul le cyclisme représente pour eux un espace d’intégration. La deuxième vague d’immigration arrivée dans les années 20 composée de réfugiés économiques et politiques va connaître une pratique sportive qui va osciller entre désir d’intégration et renforcement identitaire. En effet, au début des années 30 le gouvernement fasciste de Rome va favoriser la création de Groupe Sportif Italien. Chez les immigrés. Rapidement, les mouvements anti-fascistes réfugiés en France vont lutter y compris par la force contre cette infiltration fasciste. A partir de 1934, dans le bassin de Briey seul le cyclisme va continuer à servir de tribune à la propagande mussolinienne. Le Front Populaire et sa politique volontariste de loisir va permettre à de nombreux jeunes italiens de bénéficier de loisirs sportifs jusque-là inconnus. Cependant, c’est à travers le sport patronal qui a compris les enjeux du sport de compétition que les jeunes immigrés italiens optimisent leur processus d’intégration. Le sport devient donc un espace méritocratique où seuls qualités physiques et investissement sont pris en compte. Ainsi, même au début de la deuxième guerre mondiale lorsque l’immigré a une pratique sportive ce sont ses résultats qui sont mis en avant. Par contre les autres Italiens vivant en France souffrent de l’alliance italo-allemande
Before 1914, and again in the early 20s, the Briey basin was the stating ground for two waves of Italian immigration. The living conditions of these immigrants have been well documented. However, little is known of their involvement is local sports. The great majority of Italian workers within the Briey basin found itself excluded from participation in the sports for leisure in existence at the turn of the century. This was due to the strong feelings of French patriotism associated with these activities. It was only in cycling that a certain space of integration was offered. In the 20s, the second wave of immigrants included economic and political refugees, whose involvement in sports wavered between a desire for integration and wish for reinforcing their sense of Italian identity. In the early 30s the fascist government of Rome endosed the creation of an Italian Sports Associations. Very quickly however, anti-fascist elements having taken refuge in France would fight against this fascist infiltration. Within the Briey basin and from 1934 on , only the sport of cycling would continue to serve as a platform for Mussolini’s propaganda. The Popular Front, with its politics voluntarism in leisure activities allowed a number of young Italiens to become involved in sports activites which had been unknown to them until that time. However, it was within patronized sport, which included competitive sports where young Italian immigrants optimized their integration. Sport would become a realm of meritocracy where one’s sole physical attributes and investment of self were emphasized. By the start of the second world war, results and achievements were of the essence for the Italian immigrants involved in sports within the Briey basin. On the other hand, most Italiens living in France would suffer the consequences of Italo-German alliance

Dans le sud-ouest de la France, l'immigration italienne appartient au passé. Aujourd'hui bien étudiée, son histoire a-t-elle encore quelque chose à nous dire ? La question de l'intégration/assimilation de ces immigrés a maintes fois été débattue. Suscitant des remous au moment de l'arrivée des italiens, elle ne semble plus poser problème aujourd'hui. Pourtant, les recherches actuelles ont ouvert des perspectives qui peuvent éclairer d'un jour nouveau une immigration même ancienne. Les questionnements à propos d'un concept (l'intégration) largement "contaminé" par les discours, le recours à des problématiques socio-spatiales, la référence aux résultats récents de la recherche rurale ont donné corps à un chapitre théorique et contribué à l'originalité des orientations et à la multiplicité des méthodes d'approche. Une cinquantaine d'entretiens menés auprès des immigrés et de leurs enfants, l'étude fine de quelques zones significatives d'immigration ont permis de poursuivre l'analyse. Ces témoignages replacés dans leur contexte local et dans l'histoire générale ont permis de mettre l'accent sur la diversité des parcours géographiques et socio-économiques. Ils ont aussi révélé les liens toujours vivants que ces personnes ont su préserver ou retisser avec l'espace d'origine. La recherche menée essentiellement dans les campagnes se donnait aussi pour objectif d'observer un espace, ses sens et ses fonctionnements propres. L'histoire de l'immigration italienne s'inscrit d'abord dans la dynamique de cet espace. Venu combler un vide humain et social, ce groupe plus ou moins assigné à un espace et un statut a subi ces contraintes et un contexte parfois difficile. Un certain nombre de familles s'est cependant pleinement et parfois très activement inséré dans la vie locale. Mais l'histoire singulière des mises à distance, de la délégation du pouvoir, des sociabilités villageoises est aussi celle des campagnes avant d'être celle des immigrés italiens installés dans cet espace.

Notre travail propose l’étude de la relation complexe qu’entretient la poésie avec l’Histoire dans l’œuvre du poète italien Andrea Zanzotto (1921-). La production de Zanzotto couvre une période très vaste, allant des hermétiques années Quarante jusqu’aux postmodernes années Dix du nouveau millénaire. L’ampleur de cette durée suffirait à elle seule à introduire l’écriture de Zanzotto dans une confrontation avec les événements historiques les plus importants du XXe siècle, comme avec les différentes réflexions que la poésie italienne et européenne mettent en place autour de l’Histoire. Par l’analyse de la poésie zanzottienne, notamment pour la période entre 1938 et 1978, il s’agit de démontrer la mise en œuvre de cette confrontation avec l’Histoire, qu’une certaine littérature critique a longtemps mise de côté, mais qui est présente comme un foyer très actif, sous une forme toute spécifique à notre auteur. La thèse s’appuie ainsi sur l’examen de l’écriture lyrique, des proses et de la production critique de Zanzotto, tout comme sur l’étude du vaste panorama conceptuel (philosophique, psychanalytique, scientifique) brassé par sa poésie. En suivant un parcours d’abord chronologique, et ensuite chronologique et thématique, rendant compte des évolutions inhérentes à cette problématique, l’on passe ainsi d’une dimension d’exclusion réciproque entre écriture et Histoire – avec les premiers poèmes et surtout avec Dietro il Paesaggio (1951) –, à une dimension où le dialogue conflictuel se fait explicite – avec le recueil IX Ecloghe (1962), mais aussi la polémique entre Zanzotto et les Novissimi, et notamment Edoardo Sanguineti. L’aboutissement de ce parcours découvre une troisième dimension de l’écriture, profondément en contact avec l’Histoire, prenant forme avec La Beltà (1968) et touchant son point central dans Il Galateo in Bosco (1978)
The present research intends to explore the complex relationship between poetry and history in the work of the Italian poet Andrea Zanzotto (1921-). His activity covers a very long period, extending from the influence of Hermetic poetry during the 1940s to the Post-Modern experiments of the first decade of the XXIth c. . The length of this period justifies the need to frame Zanzotto’s poetic diction within the relationship with the most relevant historical events of the XXth c. , as well as with the various attitudes towards history promoted by Italian and European poetic movements. Especially with regard to Zanzotto’s poetical work between 1938 and 1978, it is necessary to investigate the literary outcomes of the relationship with history, for a long time ignored by many in literary criticism, but peculiarly represented in his poetry as an active source of inspiration. The present research is based on the close and attentive investigation of Zanzotto’s poetry and prose, as well as his critical work, stressing the importance of the vast cultural landscape detected in his works, where philosophy, psychoanalysis and science are combined. Following an initial chronological perspective, and later a chronology as well as a theme-based view, it is possible to appreciate the shift from a position of mutual exclusion between literature and history in Zanzotto’s first poems and especially in Dietro il Paesaggio (1951), to a position of open conflict in his collection IX Ecloghe (1962) and in the debate with I Novissimi and Edoardo Sanguineti. The final outcome of such a controversial relationship reveals a third dimension of poetic writing deeply connected to history, emerging in La Beltà (1968) and eventually clarified in Il Galateo in Bosco (1978)

Cette thèse étudie un corpus de quinze romans italiens pour jeunes lecteurs, qui ont été publiés entre1900 et 1925 et racontent un voyage fantastique. Il s'agit aussi bien d'ouvrages qui s'adressent aux enfants que d'oeuvres plus prolixes, dont les destinataires pourraient être des adolescents. Pour l'analyse de ce corpus, nous avons associé une approche narratologique à une approche sociologique. Premièrement, nous avons reconstitué la manière d'envisager le jeune âge dans la culture italienne entre le XIXe et le XXe siècles, et nous avons abordé la question de l'influence des éducateurs et du marché éditorial sur le livre pour enfants. Deuxièmement, nous avons étudié la présence du thème du voyage dans la littérature de jeunesse, ainsi que les contenus idéologiques et la dimension littéraire de nos quinze textes. L'union de ces deux approches nous a permis de comprendre le fonctionnement narratif des oeuvres, tout en les replaçant dans le contexte de leur première diffusion
This thesis studies fifteen Italian novels for young readers, published between 1900 and 1925, and narrating fantasy journeys. Some of these works were addressed to children and others, given their prolix content, could have been addressed more to teenagers. In our analysis of these works, we have associated a narratological approach to a sociological approach. First, we have reconstructed how the Italian culture between the nineteenth and twentieth centuries considered youthfulness, and additionally, we took into consideration the influence of the educators and the editorial markets of that time on children’s literature. Secondly, we studied the presence of the theme of voyage in this type of literature, the ideological contents and the literal dimension of our fifteen texts. The combination of these approaches allowed us to understand the narrative functioning of those works, while placing them in their first historical context upon publication

Les campagnes de toscane constituent dans la tradition électorale et la représentation politique de l'Italie post-unitaire l'un des terreaux privilégiés d'implantation de phénomènes dits de "radicalisme politique" comme le socialisme rural. Seule une analyse du processus de politisation rurale permet d'éclairer ce mouvement de "descente de la politique vers les masses" à l'échelle de la plus peuplée et vaste des provinces toscanes, celle de Florence, de 1859 à 1912. Dans une première partie, le poids d'une rupture politique, le passage du grand-duché des Lorraine au nouvel Etat national italien donne la mesure des conditions d'entrée en politique du monde rural. L'étude socio-économique qui suit permet de confronter à cet ordre nouveau de la politique celui des paysages et des cadres socio-économiques dans une société rurale dominée par le système du métayage. Les héritages du risorgimento, l'émergence du socialisme révolutionnaire et les signes de rupture de l'isolement paysan consécutifs à la crise des années 1880 sont autant de facteurs nouveaux d'accueil à la politique évoqués dans la troisième partie. De politisation intégratrice, la politisation devient proprement offensive avec la diffusion régionale du socialisme réformiste toscan au début du XXe siècle. Grace à l'essor de la vie de sociabilité, l'apprentissage de base de la démocratie et la maitrise des moyens syndicaux et politiques de la lutte paysanne se banalisent dans le quotidien et les mentalités rurales
The countrysides of Tuscany are considered - according to electoral tradition and representation of politics-after the unity - as an area of "political radicalism" like rural socialism. The key-question is how politics could penetrate before the first world a rural region traditionally indifferent to them three generations before. In order to follow this evolution called by M. Augulhon " la descente de la politique vers les masses" we had to determinate the main factors and the stages of the politicization process from 1859 - the date of the rivolgimento in Tuscany - to 1912 - the date of universal vote -. The passage from the grandicato of Tuscany to the national Italian State shows the terminus a quo of a process of nationalization bounded to politicization. Social tensions and economic structures marked by the sharecropping system describe an "order of the countryside" different to the new "ordre of politics". As the century progressed to its end, the development revolutionnary socialism, the end of peasantry isoltion appeared as new factors of politicization. After the turn of the century, the apprenticeship of democracy is obvious in the life of sociability and by the beginnings of the XXth Century politics reach rural mentalities and peasant daily life

L’objectif de cette étude est d’explorer les transformations du monde paysan et les évolutions du secteur agricole à travers les itinéraires comparés des coopératives agricoles en Italie et en France, dans la première moitié du XXe siècle. Les origines et la progressive diffusion du phénomène à l’échelle nationale sont analysées à partir d’espaces et de temporalités différentes, mais toujours en rapport avec les transformations du secteur primaire. À la fois moyen d’organisation autonome des paysans pauvres et instrument au service de leur encadrement par les pouvoirs publics, les coopératives montrent au cours de leur histoire une indiscutable capacité d’adaptation en fonction des opportunités et des contraintes posées par le contexte. L’attention se concentre d’abord sur la diffusion des coopératives qui pratiquent les fermages collectifs dans les latifundia de la Sicile céréalière. C’est un cas spécifique, mais qui devient néanmoins exemplaire du rapport des paysans aux organismes collectifs. La dimension comparative est progressivement introduite, par l’observation des coopératives de travail et de culture en commun, dont l’expérience italienne et l’« absence » française sont explorées à partir de la même grille d’observation. Les croisements deviennent finalement systématiques dans le cadre d’une analyse de longue durée des évolutions quantitatives, géographiques et institutionnelles de la coopération agricole des deux pays. Cette mise en perspective constitue finalement la base d’un essai de généralisation et de modélisation des interactions complexes entre paysans, coopératives et évolutions de l’agriculture
This research explores the transformations of the peasantry and the evolutions of agriculture through a comparative study of agricultural co-operatives in Italy and France during the first half of the twentieth century. The origins and development of co-operatives at the national level are analyzed on the basis of multiple spaces and temporalities, but always in connection with transformations in the primary sector. Used by poor peasants as a means of self-organization, and by governments as an instrument of social control, the evolutions of co-operatives highlight an unquestionable capacity to adapt to shifting opportunities and constraints. I start by analysing the diffusion of co-operatives using collective tenant farming in the latifundia-dominated grain-producing regions of central Sicily. This specific case helps us to illustrate a broader set of relationships between peasants and collective organisations. A comparative approach is included through a comparative analysis of labour and production co-operatives in agriculture. The analytical framework that comes out of this research is then applied to Italy and to France. Finally, more systematic comparisons are made through an analysis of long term quantitative, geographical and institutional evolutions of agricultural co-operation in both countries. I am subsequently able to create the basis for a general model whose purpose is to understand the complex relations between peasants, co-operatives and the broader transformations of agriculture

La thèse aborde la poésie de Maurizio Cucchi à travers une perspective intertextuelle et comparée. Il s’agit de comprendre comment la littérature européenne (de Maître Eckart à Jacques Prévert, en passant par Rutebeuf, Villon, Balzac, Edgar Allan Poe ou Franz Kaafka) influencé l’œuvre du poète italien et comment la critique intertextuelle des années 1970, de Bakhtine à Kristeva, Genette et d’autres, a été intégrée à la composition de ses œuvres.L’analyse des thèmes et des procédés à l’œuvre chez l’écrivain Maurizio Cucchi met en évidence trois formes de l’intertextualité : la citation directe, la transformation ainsi que le partage complice d’un air de famille avec les auteurs considérés comme essentiels dans la formation littéraire du poète. Implicites ou affirmées, ces références ouvrent l’œuvre de Cucchi à la littérature mondiale et l’inscrivent dans l’actualité la plus contemporaine
This thesis deals with Maurizio Cucchi’s poetry, studied from a comparative and intertextual perspective. Its aim is to understand how the European literature influenced Cucchi’s poetical work and how the intertextual criticism has been received by the Italian poet for his own writing.As a result, the thesis underlines the existence of three types of literary references: direct or meta quotations and shared atmospheres with some authors who have been considered essential for Cucchi’s literary formation. These references make Cucchi’s work open to European and universal literature as well as to contemporaneity