The purpose of this dissertation is to conduct a study of the history of the girls’ magazine Cordelia (1881–1942), founded in Florence by Angelo De Gubernatis. The analysis mainly focuses on the years 1881–1917; however, the latter period is also briefly treated. The theoretical framework consists of sociology of literature and gender history; the dissertation belongs to the field of history of publishing, which is integrated with a gender historical perspective. The methodological challenges faced when dealing with periodicals as research objects are also considered. In order to achieve bibliographic control and examine Cordelia’s contents and contributors, all issues of the magazine’s first 36 years were indexed. The study examines the commercial strategies of the magazine’s publishers, as well as the contributions of the chief editors and writers involved in the making of the magazine. Attention is drawn to the personal relationships between the individuals in these groups. As is shown, the magazine was not very successful in its first three years of publication, during the editorship of De Gubernatis. The two editors who followed, Ida Baccini and Jolanda (pseudonym for Maria Maiocchi Plattis), did succeed, however, in creating a familiar and attractive product for the young female public and to involve them in their magazine. Quantitative surveys of the contributors and contents have shown, for instance, that Baccini and Jolanda relied on regular contributions from relatively few writers and also published serial fiction to arouse the readers’ interest. Their comprehension of the potential of the periodical and the importance of their gender in addressing their readers, together with the capacity of long-time publisher Cappelli to develop commercial strategies to boost sales, seem to have been the reason for the longevity and success of Cordelia.

L'objectif de la thèse est de saisir, pour Rome en tant que capitale européenne de la musique, et dans la continuité des récents travaux historiques sur les capitales culturelles, les modalités et les temporalités d'une profonde transformation des milieux musicaux et des conditions sociales et culturelles de l'exercice de la musique au cours du XVIIIe siècle, phénomène qui a accompagné l'évolution des styles et des goûts musicaux en Europe. La recherche est centrée sur l'étude des « métiers de la musique » : elle analyse les lieux et institutions d'exercice, les pratiques observables dans chacun d'eux, en prenant en compte leurs singularités comme leurs imbrications ou porosités, ainsi que le déroulement des carrières, à partir d'évaluations quantitatives comme de la reconstitution de parcours individuels. Elle vise, grâce à des archives variées (archives de la Congrégation de Sainte-Cécile, archives privées des grandes familles aristocratiques, archives notariales, archives paroissiales, archives des chapelles et des théâtres), à appréhender les conditions sociales des musiciens, en s'attachant aux revenus, aux hiérarchies, aux protections et aux mobilités. Au cours du XVIIIe siècle, on assiste à une recomposition du paysage musical romain. Bien que la désaffection pour la musique sacrée fragilise le marché musical urbain, Rome reste l'un des principaux foyers musicaux européens. La ville se convertit progressivement, mais avec succès, à la musique profane, en particulier à l'opéra, ce qui conduit à modifier non seulement l'offre musicale, mais aussi l'organisation de la profession. / The aim of this thesis is to catch how and when musical circles as well as social and cultural conditions in musical practice deeply changed in Rome - as the European capital of music- during the 18th century ; and that, as part of the recent historical work on cultural capitals. This phenomenon went hand in hand with the evolution of musical styles and tastes in Europe.The research is based on the study of "musical professions": it is an analysis of the places and institutions in which music was practised, the different practices with their peculiarities as well as their abilities to mingle together. It also analyses how careers develop, using quantitative assessments and records of individual careers.It aims, thanks to various archives (from the Congregation of St Cecily, great aristocratic families, notary offices, parishes, choirs and theatres) at understanding the living conditions of the musicians: incomes, hierarchy, protections, mobility. It has been necessary to study the social network and the family environment of the musicians, as well as their relations with other people, and their professional environment. During the 18th century, a reshaping of the Roman musical landscape can be observed. In spite of the declining interest for sacred music, which weakens the market of music in town, Rome remains one of the most important musical places in Europe. The town slowly but successfully converts itself to secular music, and more especially to opera music; and this leads to a change, not only in musical offers, but also the organization of the profession. / Lo scopo della tesi è di capire, per Roma capitale musicale europea, nella continuità dei recenti lavori storici sulle capitale culturali, le modalità e le temporalità di una profonda trasformazione dei “milieux” musicali e delle condizioni sociali e culturali della prassi musicale nel corso del Settecento, fenomeno che ha accompagnato l’evoluzione dei stili e dei gusti musicali in Europa. La ricerca s’incentra sullo studio degli “mestieri della musica”: analizza i luoghi, le istituzioni legate alla musica e la prassi osservabile in ciascuna di loro, tenendo in conto la loro singolarità, i loro intrecci o le loro porosità, lo sviluppo delle carriere, a partire da valutazioni quantitative e dalla ricostituzione di percorsi individuali. Grazie all’analisi di vari archivi (archivi della Congregazione di Santa Cecilia, archivi privati di grandi famiglie aristocratiche, archivi notarili, archivi parocchiali, archivi di cappelle musicali e di teatri), mira a comprendere le condizioni sociali dei musicisti, facendo riferimento ai redditi, alle gerarchie, alle protezioni e alle mobilità. E’ stato necessario interrogare le rete sociali e l’entourage familiale, relazionale e professionale dei musicisti, localizzare i luoghi di residenza nel tessuto urbano e studiare le realtà istituzionali, economiche e sociali che facevano da sfondo alla loro vita professionale. L’adattamento degli individui o delle famiglie di musicisti alle diverse offerte e risorse della città, le dinamiche d’inserimento nel “mercato musicale” e la società urbana, sono stati al cuore di questa riflessione. Il discorso è partito, per quanto possibile, dalle prassi all’interno di questi mestieri, predendo in conto le loro singolarità. E’ quindi stato studiato l’insieme della comunità musicale nelle sue diverse componenti e i suoi multipli aspetti. Nel corso del Settecento, si assiste ad una ricomposizione del paesaggio musicale romano. Anche se la disaffezione per la musica sacra rende fragile il mercato musicale urbano, Roma rimane uno dei principali centri musicali europei. La città si convertì, progressivamente ma con successo, alla musica profana, in particolare all’opera, questo condusse a modificare non soltanto l’offerta musicale ma anche l’organizzazione della professione.