Ce travail de recherche plonge ses racines dans l’analyse de la typologie d’accueil particulière dont ont bénéficié les exilés politiques italiens des années 1970-1980. La problématique à la base de cette thèse se propose de comprendre si la politique française d’accueil de ces années-là peut être considérée comme un fait nouveau ou si, au contraire, elle est à interpréter comme un geste dont les racines remontent à une plus longue histoire : celle de l’asile politique. Nous analyserons selon une perspective de longue période le rapport existant entre les institutions politiques et administratives des Etats et les groupes sociaux. Avec cette analyse, nous voudrions contribuer à reconstruire l’origine des pratiques, des instruments et finalement des conceptions politiques et juridiques que la France et l’Italie ont appliquées au groupe d’émigrés politiques italiens en France. La thèse se compose des deux parties, (avant et après deuxième guerre mondiale). Nous allons d’abord reconstruire la naissance des principes constitutifs de l’asile politique en Europe tout au long du XIX siècle. Nous allons donc analyser la gestion étatique de la présence en France d’une grande partie de l’opposition italienne pendant les années Vingt et Trente, d’abord selon une perspective bilatérale, et ensuite internationale. Dans la deuxième partie du travail nous allons reconstruire les changements du cadre juridique de référence au lendemain de la deuxième guerre mondiale. Nous allons ensuite analyser la façon dont les Etats ont géré la présence en France de l’opposition extra-parlementaire italienne des années soixante-dix, d’abord d’un point de vue bilatéral, et ensuite multilatéral. / This thesis analyses how Italy and France dealt with handling and controlling Italian opposition in France. Chosen time interval elapses from 1920 to 1986. During these years two political opponents’ migratory waves were monitored by the two nations: anti fascist emigration and several revolutionary left wing former militants of the Seventies emigration. The thesis analysis by a long period perspective how French and Italian institutions confronted with such a phenomenon, particularly considering the issue of juridical status conferred to Italian opponents abroad. During analysed period Italy and France operated in a precise diplomatic context characterised by the multiplication of bilateral and multilateral interrelations that progressively became more and more crucial with regards to the states’ management of political emigration. Carried out analysis will underline continuity and breaches of this relation. Thesis first part analyses Italian Reign period from 1870 to end of Second World War. Introduction will mark the origin of asylum key principles that precedes chosen historical period but is fundamental to analyse the juridical frame of France and Italy future steps. First and Second Chapter focus on years between 1920 and 1940, with particular attention to political emigration handling by a bilateral (Chap. 1) and by a multilateral perspective (Chap. 2). Thesis Second part focuses on Republican Italy. The Introduction retraces juridical frame partial changes and focuses on asylum debate in the Italian Constituent. Analysis of political emigration handling will be carried out both from a bilateral (Chap. 3) and multilateral perspective (Chap. 4).

This dissertation regards the medieval French literary tradition’s presence in Northern Italy in the late Middle Ages. This phenomenon produced a corpus of texts copied or composed by Northern Italian scribes and authors in the French language. The Italian authors’ command of French verse was, in some cases, imperfect; in others, they consciously manipulated the French language for creative purposes. Whatever the case, what resulted was a body of work ostensibly written in French but with a distinctly Northern Italian flavour. Every work within this corpus presents unique linguistic features and a distinct blend of French and Northern Italian vernaculars. This cultural phenomenon, which is commonly referred to as “Franco-Italian,” was no doubt born from the linguistic proximity of the Northern Italian vernaculars to the languages of France in the late Middle Ages: absent an autochthonous Italian literary tradition, Northern Italian literati adapted the languages of France, which had already developed vernacular literary traditions, as a means for their own literary expression. Northern Italy constituted, in this sense, a peripheral region of a medieval “Francophonie.” This dissertation first surveys the nature and function of the Franco-Italian “language” and then presents a critical historiography of the scholarship surrounding the most important manuscript collection of French and Franco-Italian works in Italy, that of the Biblioteca Marciana in Venice. This includes a discussion of all known catalogues and inventories of the corpus dating back to 1407 and an analysis of two others, until now largely unstudied, that shed new light on the history of the collection. What follows is an investigation into one little-known manuscript in the collection, Codex XIV, which recounts the adventures of Beuve de Hanstone. Codex XIV is unique in the collection insofar as it was not written in the hybrid Franco-Italian idiom, rather a pure Old French; consequently, it has received little attention from scholars. This dissertation revisits the text and its importance in the study of the influence of French literature in medieval Italy. The dissertation concludes with a series of appendices that display and compare unpublished inventories of the collection that support the arguments advanced herein.

This dissertation regards the medieval French literary tradition’s presence in Northern Italy in the late Middle Ages. This phenomenon produced a corpus of texts copied or composed by Northern Italian scribes and authors in the French language. The Italian authors’ command of French verse was, in some cases, imperfect; in others, they consciously manipulated the French language for creative purposes. Whatever the case, what resulted was a body of work ostensibly written in French but with a distinctly Northern Italian flavour. Every work within this corpus presents unique linguistic features and a distinct blend of French and Northern Italian vernaculars. This cultural phenomenon, which is commonly referred to as “Franco-Italian,” was no doubt born from the linguistic proximity of the Northern Italian vernaculars to the languages of France in the late Middle Ages: absent an autochthonous Italian literary tradition, Northern Italian literati adapted the languages of France, which had already developed vernacular literary traditions, as a means for their own literary expression. Northern Italy constituted, in this sense, a peripheral region of a medieval “Francophonie.” This dissertation first surveys the nature and function of the Franco-Italian “language” and then presents a critical historiography of the scholarship surrounding the most important manuscript collection of French and Franco-Italian works in Italy, that of the Biblioteca Marciana in Venice. This includes a discussion of all known catalogues and inventories of the corpus dating back to 1407 and an analysis of two others, until now largely unstudied, that shed new light on the history of the collection. What follows is an investigation into one little-known manuscript in the collection, Codex XIV, which recounts the adventures of Beuve de Hanstone. Codex XIV is unique in the collection insofar as it was not written in the hybrid Franco-Italian idiom, rather a pure Old French; consequently, it has received little attention from scholars. This dissertation revisits the text and its importance in the study of the influence of French literature in medieval Italy. The dissertation concludes with a series of appendices that display and compare unpublished inventories of the collection that support the arguments advanced herein.

Anseïs de Carthage est une chanson de geste de la première moitié du XIIIe siècle en laisses de décasyllabes rimés et, en partie, assonancés. Elle appartient au Cycle du Roi et se place dans la branche carolingienne de l’épopée médiévale. Le texte raconte l’histoire d’Anseïs, neveu de Charlemagne, qui devient le nouveau roi d’Espagne après la victoire définitive de l’empereur sur les Sarrasins et la libération de la péninsule ibérique. Du point de vue narratif, la chanson d’Anseïs représente le continuum de la Chanson de Roland. Après une introduction générale sur l’œuvre, notre thèse propose l’étude approfondie du manuscrit Paris, Bibliothèque nationale de France, français 1598, dénommé C dans la tradition manuscrite du texte. Il s’agit du seul témoin transcrit en Italie par un copiste italien : il conserve une version de la chanson linguistiquement « italianisée », surtout aux niveaux graphique et phonétique. À cause de son faciès linguistique particulier, ce manuscrit n’a jamais été étudié individuellement et ses lectiones n’ont pas été utilisées aux fins ecdotiques. Dans notre travail nous proposons la transcription semi-diplomatique complète du ms. Paris, BnF, fr. 1598 et une analyse systématique de tous les niveaux de langue. De la même manière, nous abordons aussi la question de la branche franco-italienne de la tradition manuscrite d’Anseïs de Carthage, qui se compose du codex C et des deux fragments h et i. À travers notre étude nous essaierons de démontrer l’intérêt ecdotique de C, h et i, et nous essaierons d’apporter des nouvelles données linguistiques et philologiques dans la recherche concernante Anseïs de Carthage. / Anseïs de Carthage is a chanson de geste from the first half of the 13th century, composed of rhymed, and partly assonanced, ten-syllable stanzas. It belongs to the King’s Cycle and the Carolingian branch of medieval epics. The text tells the story of Anseïs, Charlemagne’s nephew, who becomes the new king of Spain after the final emperor’s victory over the Saracens and the liberation of the Iberian Peninsula. From a narrative point of view the Anseïs’ chanson represents a narrative continuum of the Chanson the Roland. After a general introduction about the poem, our thesis proposes an in depth study of the manuscript Paris, Bibliothèque nationale de France, français 1598, called C in the text’s manuscript tradition. It is the only codex transcribed in Italy by an italian copyist: it conserves an “italianised” linguistic version of the chanson, especially at a graphic and phonetic level. Because of its peculiar linguistic facies, this manuscript has never been studied individually and its lectiones have never been used for ecdotics purposes. In our work we propose the whole semi-diplomatic transcription of the ms. Paris, BnF, fr. 1598 and also a systematic analysis of all the linguistic levels. In the same way, we approach the matter of the franco-italian branch of the Anseïs de Carthage manuscript tradition, which includes the codex C and the two fragments h and i. Through our study we will try to demonstrate the ecdotic interest of C, h and i and we will try to add some new linguistic and philological data to the Anseïs de Carthage research.

Cette étude a analysé la présence des sculpteurs italiens à Paris du début du XX siècle à la fin des années Trente, afin de reconstituer un chapitre important de l'histoire des échanges artistiques en France. Nous nous sommes servis d'une méthode historique et philologique, qui a bien été appliquée aux écrits critiques et à la presse de l'époque. Pour ce qui concerne le début du siècle, nous avons remarqué une participation considérable de la part des italiens aux principaux événements expositifs de la capitale comme les Salons officiels; le succès de public et commercial leur avait permis d'obtenir une place parmi les artistes à la mode les plus connus. Pendant les années Vingt, nous avons constaté un nombre moins significatif de sculpteurs; nous avons lu ce fait en nous rapportant à la situation historique italienne, qui en ce temps subissait des importants changements dus à l'ascension du régime fasciste. Les italiens qui étaient encore présents en France après la Guerre ne s'inséraient guère dans le cadre des nouvelles recherches artistiques italiennes, ils poursuivaient, au contraire, des orientations esthétiques plutôt dépassées. La dernière partie de notre étude s'est intéressée à l'essor du nouveau langage artistique de la péninsule italienne qui pendant les années Trente se répandit enfin même à l'étranger. Les sculpteurs italiens pouvaient donc participer activement à la vie expositive parisienne, tout en montrant le visage d'une plastique qui avait enfin pris conscience de ses potentialités. La France de sa part accueillait volontiers ces expérimentations, dans le but d'instituer une relation d'amitié durable avec le pays voisin. / This study has analyzed the presence of Italian sculptors in Paris from the beginning of the 20th Century to the end of the third decade, with the aim of reconstructing an important chapter of the history of artistic exchanges between Italy and France. We have favored an historical-philological method, based on critical publications and old French and Italian press.Concerning the beginning of the century, we have remarked a considerable participation of Italians in the main expositions in the French capital, such as official Salons; critical and market success allowed them to get a main role in the crew of the most popular artists.During the twenties, we have noted a less considerable participation of Italian sculptors; we have interpreted it in relation to historical context of fascist Italy, where the government was trying to develop a national cultural program. The Italian artists in France, after the First World War, didn't share the new Italian artistic orientation; they went on with outdated aesthetic choices.The last part of our research was interested in the development of the new Italian artistic language, finally known out of Italy. The Italian sculptors consequently could take part in arts activity in Paris, showing the face of a new sculpture, finally aware of its potentialities. France gave these experimentations a good welcome in the aim of constituting a longtime friendship with the Italian country.

À la croisée de l’histoire coloniale et de l’histoire de l’immigration en France, cette thèse se propose d’aborder sous un angle neuf le rôle des Italiens dans la colonisation et le peuplement des villes du littoral oriental de l’Algérie à travers le cas de Bône (Annaba). Elle s’appuie sur un corpus de sources récoltées en France (Paris, Aix-en-Provence, Toulon, Marseille), en Italie (Rome, Pouilles, Sardaigne) et en Algérie (Annaba, Constantine). Un premier axe est consacré à l’étude des politiques migratoires mises en place des deux côtés de la Méditerranée au cours du XIXe siècle pour réguler et contrôler les circulations croissantes entre l’Italie et l’Algérie. Un second s’articule autour des modalités d’installation des Italiens à Bône. Par le biais d’une étude socio-quantitative, les spécificités de l’installation et de l’intégration des étrangers sont étudiées dans un cadre urbain et colonial. Le troisième volet porte sur la place des Italiens dans la société coloniale algérienne de l’entre-deux-guerres. Il permet de resituer l’Algérie dans la politique africaine de l’Italie libérale et fasciste, et plus largement dans les rapports franco-italiens au Maghreb. / At the cross-road of the colonial history and immigration history in France, this PHD thesis proposes to address under a new angle the role of the Italians in the colonisation and settlement of the cities of Algerian western coastline, through the case of Annaba. It is based on a corpus of sources gathered in France (Paris, Aix-en-Provence, Toulon, Marseille), Italy (Rome, Puglia, Sardinia) and Algeria (Annaba, Constantine). A first axis is dedicated to the study of migration policies adopted in both sides of the Mediterranean Sea during the 19th century, which aimed at regulating and controlling the growing circulation between Italy and Algeria. The second axis deals with the modalities of settlement of Italians in Annaba. Through a socio-quantitative study, the specificities of the settlement and integration of foreigners are studied from an urban and colonial perspective. The third axis addresses the status of the Italians in the Algerian colonial society of the inter-war period. It enables to place back Algeria in the African policy of the liberal and fascist Italy, and furthermore in the relationships between Italy and France in Maghreb.