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During his fifty-year career, the Italian director Giorgio Strehler (1921-1997) staged more plays by Shakespeare than by any other playwright, but only a few of his most recent and successful Shakespearean productions have received international critical attention, and The Tempest he directed in 1978 is among them. Thirty years before however, in 1948, he directed a first, completely different production of the same text. Starting from the theoretical assumption that a theatre performance, as object, exists only in the moment in which it is actually produced, that is, in its reception by the audience, this dissertation has a twofold purpose: to explore the different contexts in which the two productions directed by Strehler were staged, and to underline how, from the beginning of his career he developed a crucial attention for interpretative techniques culminating in the 1978 Tempest. Aside from being based on the same text and from being produced by the same ensemble, the Piccolo Teatro of Milan, though with two radically different acting and technical troupes, the two productions of The Tempest directed by Strehler enlighten the variety of dynamics – from historical, political, and cultural, to more specifically theatrical, technical, and dramaturgical – which interacted within him while he was working at the staging of the play, and emphasizes the centrality of the director in contemporary theatre. Finally, this dissertation examines how the pragmatic process of rehearsal might modify the director's theoretical approach to a text, and shows how the study of a performance consists not just in the quest for its meaning, but in the investigation of how the text is brought to the stage, to that coalescent point that, in order to materialize, demands active participation and involvement from both interpreters and spectators.

The object of study of this thesis is the linguistic input in textbooks of Italian as a foreign language (FL). The intent is to study whether the linguistic changes, observed in contemporary Italian, have become part of the Italian offered as input to the learners. To identify the variety of language presented in the textbooks, some features of contemporary linguistic changes were chosen as verifiable indicators. These features, listed by Sabatini (1985: 155) as a basic part of "italiano dell’uso medio", and by Berruto (1987: 62) as part of "neostandard", are not occasional changes but are features that are gradually expanding and stabilizing into Italian standard (Sobrero 2005). A corpus consisting of 38 Italian textbooks published in Sweden and 8 in Italy in the years 2000-2012 were used to verify the manifestation of these features. The results show that the presence of neostandard features in the textbooks of Italian FL is conditioned, at first, by the rate of acceptance of those features by the linguistic norm. Thus, features that are nowadays commonly considered as normative have a high number of occurrences in the corpus. This is the case concerning lui, lei, loro as subject pronouns, the use of gli instead of loro, the use of the present tense for the future and the use of temporal che. On the other hand, features that are not considered as normative have no or very few occurrences. This is the case with gli instead of le and the use of imperfetto ipotetico. Secondly, the presence of the neostandard features in textbooks is conditioned by the instructive function of the textbooks, which shapes the typology of input introduced. Thus, occurrences of features such as cleft clauses and dislocations are mainly presented in authentic texts, oral texts, or introduced explicitly, but are rare or absent in textbooks characterized by simplified language.

Luca Marenzio has long been acknowledged as one of the greatest masters of the Italian madrigal, yet no collected edition of his works exists: in particular relatively few of the six-voiced madrigals are available in published form, and criticism has tended to concentrate on the five-voiced works. This thesis presents an Edition with Commentary of the six-voiced madrigals published in six books between 1581 and 1595. Two polychoral madrigals and a madrigal by Antonio Bicci also found in those books are included in an Appendix, together with two furtner madrigals included by Phalèse in his 1594 edition of Books I-V, which proved a valuable collative source. The Commentary presents a stylistic study of the madrigals in the Edition and a critical survey of their place in Marenzio's output, together with an editorial commentary and extensive bibliographical material. Following an outline of the madrigal's chief characteristics, Chapter One presents a biographical and critical account of Marenzio's work. Each book of madrigals is considered individually and in relation to his stylistic development. Finally the chapter treats briefly of his influence, with contemporary and historical comment. A stylistic analysis of the music in this Edition follows, considering particularly the relationship between music and text, texture, form, tonality and chromaticism. The poets, forms and principal sources of the texts are then considered. Chapter Four discusses the Edition - sources, notation, tempo, pitch and musica ficta - and concludes with a note on performance. Two Critical Commentaries deal respectively with music and text, the latter providing a comparison between musical and literary versions and listing poets (some newly discovered) and literary sources. The Bibliography lists all published appearances of the six-voiced madrigals and provides a complete reference for the literary sources consulted. The complete texts of the madrigals are given in an Appendix.

Blackland Prairie contains a scholarly preface, “Cross Timbers,” that discusses the emerging role of place as a narrative agent in contemporary fiction. The preface is followed by six original short stories. “Parts” depicts the growth of a boy's power over his family. “A Movie House to Make Us All Rich” involves the sacrifice of familial values by the son of Italian immigrants in the early 20th century. “The Place on Chenango Street” is about a man who views his world in monetary terms. “The Nine Ideas For A Happier Whole” explores the self-help industry and personal guru age. “All The Stupid Things I Said” is about a long-separated couple meeting for very different reasons. “Flooded Timber” concerns a couple who discover hidden reasons for their relationship's longevity.

A poetic style of crepuscolarism originates in Italy of the beginning of the 20th century. This term is generally used to describe works of so called "poets of twilight". Crepuscolarism marks the beginning of the modern literature in Italy and stands in opposition to the classical literature of 19th century. In comparison to the older poetry, crepuscolari poetry differs, among others, in connection to lyrical subjects - here the relation is clearly negative. The aim of this thesis is to provide both an analysis, and description of Italian crepuscolari poetry, in order to determine the nature of lyrical subjects used. It also compares and contrasts works of the most important poets or Crepuscolarism thier impact on the future generation of Italian poets. After a theoretical introduction, four chapters follow. These are devoted to the most important crepuscolari poets, namely Guido Gozzano, Sergio Corazzini, Marino Moretti, and Aldo Palazzeschi.Here bio-bibliographic information, typical characteristics of their poetry, their understanding of the role of a poet, and relations to lyrical subjects were described in and analysed. In following chapters these results were compared to the development of the lyrical subject in the next generation of Italian poets (Eugenio Montale, Umberto Saba, Giuseppe...

The main objective of this master's thesis is to try to compare the verbal system in Italian and Neapolitan language. This thesis will firstly be concerned with the theoretical concepts related to the topic, such as dialect in general, standard language, southern dialects, demarcation of Neapolitan language, verbs in general, etc. In the next part of the thesis, particular verbal modes and tenses will be dealt with - their functions in both languages will be outlined, their formation in Neapolitan explained, and then the similarities and differences highlighted. The way how each phenomenon is formed and used in Neapolitan will be demonstrated on examples taken from Neapolitan literature and music. The sources from which the examples will be taken originate from the period of 1930s up to the present day. In the conclusion, the thesis will try to summarize the acquired information and emphasize the main distinctions between the both verbal systems.

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