Orientadora: Ana Maria Carlos / Banca: Wellington Ricardo Fioruci / Banca: Cátia Inês Negrão Berlini de Andrade / Resumo: Instaurado sob a perspectiva de um estudo sobre a cultura e sua representação, este trabalho buscou identificar, nas crônicas do escritor italiano Umberto Eco, sua visão crítica sobre a arte e a cultura, sobre a política e a filosofia. Desta forma, pretendemos, a partir da análise de algumas crônicas selecionadas do livro La Bustina di Minerva (2000), tecer algumas considerações sobre o gênero híbrido crônica e sua formação e fixação no panorama literário contemporâneo. Tal escolha é justificada pela posição intelectual, artística e acadêmica de Umberto Eco, que retrata os espaços contemporâneos dos mais variados ângulos, projetando, por meio da sua abundante produção literária, um instrumento importante para a compreensão dos nós produzidos na complexa sociedade pós-moderna. Uma vez selecionado o livro La Bustina di Minerva como corpus desse trabalho, a investigação orientar-se-á na observação e análise da posição crítica do escritor italiano sobre os temas da contemporaneidade, questionando a importância do caráter literário do gênero crônica enquanto objeto indispensável na representação da sociedade hoje / Riassunto: Instaurato sotto la prospettiva di uno studio sulla cultura e la sua rappresentazione, questo lavoro ha cercato di individuare, nelle cronache dello scrittore italiano Umberto Eco, la sua visione critica sull'arte e sulla cultura, sulla politica e sulla filosofia. Pretendendiamo così, partendo dell'analisi delle cronache più significativi, selezionate dal libro La bustina di Minerva (2000), tessere alcune considerazioni sul genere ibrido cronaca e la sua formazione e fissazione nel panorama letterario contemporaneo. Tale scelta è giustificata dalla posizione intellettuale, artistica e accademica di Umberto Eco, che ritratta gli spazi contemporanei da varie angoli, proiettando, attraverso la sua abbondante produzione letteraria, uno strumento assolutamente necessario per capire i nodi prodotti nella complessa società postmoderna. Dopo aver selezionato il libro La bustina di Minerva come corpus di studio, la investigazione è stata orientata sull'osservazione e analisi della posizione critica dello scrittore italiano sui temi della contemporaneità, mettendo in discussione l'importanza del carattere letterario del genere cronaca come un oggetto importante per la rappresentazione della società oggi / Mestre

A presente dissertação constitui-se da análise das traduções brasileiras do século XX da obra italiana I Fioretti di San Francesco. Através da análise das escolhas lexicais dos tradutores, e tomando a tradução como um ato lingüístico metonímico, procura-se apresentar as diferentes leituras de I Fioretti disponíveis ao público brasileiro: uma mais rebuscada e clericalizada, porém mais atenta ao original como obra de valor literário; outra mais simples e mais acessível, apesar de menos atenta ao caráter literário do original. / The present dissertation is an analysis of the 20th century Brazilian translations of I Fioretti di San Francesco. Through the analysis of the translators lexical choices, and taking translation as a metonimic linguistic act, it intends to present the different readings of I Fioretti available to the Brazilian readers : one more far-fetched and clericalized, but more attentive to the original as a book with literary value ; another more simple and accessible though less sensitive to the literary aspect of the original.

By relying mainly on court cases and interviews with pentiti (people who turned state's evidence), this thesis shows that the role of women in the Italian mafia has significantly changed since 1945. Beyond performing their traditional role, including transmitting mafia values, encouraging vendetta, guaranteeing men's honour and participating in arranged marriages, women started to be involved in criminal activities. Through an historical approach, this thesis demonstrates that changes in the mafia in terms of businesses and structure, and changes in Italian women's conditions have been contributory factors to the above process. This thesis identifies those historical conjunctures where the supply and demand of female labour met within the last thirty years. Since the 1970s, the expansion of drug trafficking and the subsequent accumulation of vast sums of money to be recycled led the mafia to employ women who were also trustworthy and above suspicion. The mafia's need to involve women occurred also in the early 1980s and in the early-mid 1990s when the state improved its battle against the mafia. As many mafia bosses were imprisoned or went underground women assumed temporary leadership positions. The mafia's need for workers was concomitant with the changes in women's conditions in the legal world, resulting in the gradual dissolution of gender barriers and the growth of female education, which made women more likely to be employed by organised crime. This thesis argues that the new female participation in the mafia was not the result of a concession of equality within the mafia labour market. General indicators, such as the persistence of patriarchal relations and women's economic dependence, temporary allocation of power to women during periods of emergency, use of female labour in low profile jobs, and exclusion of women from career opportunities, suggest that the increasing public presence of women in the mafia, beyond mere supportive and private roles, was the result of a process of female `pseudo-emancipation'. On the contrary, women who turned state's evidence were examples of female liberation since they chose to reject the male dominated mafia system.

This thesis analyses the means by which items of Italian material culture came into the possession of the Tudor monarchs. The different modes of acquisition provide the structure for an investigation into Anglo-Italian relations during the sixteenth century. Although the items that came to England took many forms a synthesising approach is made possible by the fact that the 'biographies' of the objects which have been selected all share a common element - they reached England and were owned by the Tudor monarchs as a result of direct contact with Italian individuals. As a result, disparate items such as glass, armour, books, textiles and horses can be discussed as part of a broader whole in which elements of one culture travelled to another. This is not a discussion of the developing dominance of Italian culture over Western Europe during the sixteenth century, for, although the adjective 'Italian' carried clear connotations in late sixteenth-century England it appears to have been rarely used in relation to material culture. Instead it is a study of the appreciation of technical skill and the attempts that were made to appropriate it, which in turn provides a point of access to the life histories of the Italians who came to England in the sixteenth century and the way in which their interaction with the highest levels of the court played a role in shaping the idea of Italy and the Italian in England.

Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning; and, (M. Arch. in Advanced Studies)--Massachusetts Institute of Technology, Dept. of Architecture, 1977. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography : leaves 199-208. / M.C.P. / M.Arch.A.S.

Since the Middle Ages, strict regulations had divided the Venetian craft guilds according to the raw materials that they used. Because of this there were few occasions in which to compete over the production of cognate objects. Altarpieces were the major exception. The design and production of an altarpiece, whether its central image was painted or carved from stone or wood, had involved multiple competencies, providing work for different artisans, and facilitating the exchange of ideas across mediums. Over the last third of the fifteenth century, however, sculpted altarpieces flourished and their designs increasingly eschewed participation from painters as polychromy became more and more limited and new classicizing tastes prevailed. While collaboration did not disappear, the dialogical nature of altarpiece production in this period was imbued with a sense of competition. The discourse on media, however, was not restricted to the realm of aesthetics and matters of business or personal pride. Reflection upon the ontologies, merits, and symbolic efficacy of their materials was also informed by these objects' privileged locations on or in proximity to the altar. Previous studies on sculpted altarpieces have focused on morphology, iconography, and patronage. My study, in contrast, examines this object category as an intermediary, in a threefold sense: altarpieces acted as facilitators, as go-betweens engendering practical interaction between professional groups; they constituted a locus of artistic exchange between mediums, and of reflection upon the ontology of the crafts of painting and sculpture; the materiality of sculpted altarpieces engaged in a reciprocal inflection of meaning with their setting, the altar. By virtue of their unique status as a shared object category, altarpieces allow us to chart the interaction between the arts of Venice. Their privileged position at a fulcrum of holy space opens their interpretation to an array of written sources of information. An examination of these sources and of this formal and thematic dialog provides a window into understanding the artistic principles that guided artists and viewers in a city that produced almost no theoretical literature directly addressing the arts until the middle of the sixteenth century.

A presente dissertação constitui-se da análise das traduções brasileiras do século XX da obra italiana I Fioretti di San Francesco. Através da análise das escolhas lexicais dos tradutores, e tomando a tradução como um ato lingüístico metonímico, procura-se apresentar as diferentes leituras de I Fioretti disponíveis ao público brasileiro: uma mais rebuscada e clericalizada, porém mais atenta ao original como obra de valor literário; outra mais simples e mais acessível, apesar de menos atenta ao caráter literário do original. / The present dissertation is an analysis of the 20th century Brazilian translations of I Fioretti di San Francesco. Through the analysis of the translators lexical choices, and taking translation as a metonimic linguistic act, it intends to present the different readings of I Fioretti available to the Brazilian readers : one more far-fetched and clericalized, but more attentive to the original as a book with literary value ; another more simple and accessible though less sensitive to the literary aspect of the original.

This diploma thesis aims to analyze the function of articles in English and Italian. In both languages, articles are used in order to determine the name; however, in some instances, such function works in both languages differently. With the help of examples from books and from the InterCorp corpus, this thesis shows the similarities and differences regarding this matter. The description of both languages is based on the point of view of a native speaker of Czech. Having a broad variety of endings and declinations, Czech is a language that does not use the category of article. Thus, it uses other means to cover the same function, which in this case helps to see the differences in different language systems. The thesis is divided into ten chapters; each of them deals with a different aspect that is related to the article use. To show the level of similarity in each of these cases, the theory is supported by various examples in both languages. The first chapter deals with the development of articles from the Indoeuropean base. Next chapter introduces the current forms of articles in modern English and Italian, taking into account pronunciation. Chapter 3 focuses on the classification of substantives and also deals with the concept of countability. Chapter 4 introduces articles as a part of NP, taking into account different parts of speech that from the syntactic point of view can appear in the same position as article. Chapters 5 and 6 are focused on the general functions of articles, while the following two chapters analyse respectively the use of articles with common and proper names. Chapters 9 and 10 deal with the impact of word order on the use of articles and with the correlation of articles and demonstrative pronouns. In the final part are exposed the general conclusions that resulted from the analysis of all the aspects listed above.

Book Summary:Diplomacy has never been a politically neutral field of historical research, even when it was confined to merely reconstructing the context of wars and revolutions. Since the nineteenth century, Renaissance Italy has been at the forefront of scholarship on diplomacy; today, with increasing awareness of the long history of the subject as well as a broader spectrum of case studies, the study of Italian diplomacy has become sophisticated and highly articulated, offering scholars many new directions for further exploration. During the period c. 1350–c. 1520 covered by the present volume, diplomatic sources became extremely rich and abundant. This sourcebook presents a selection of primary materials, both published and unpublished, which are mostly unavailable to English readers: a broad range of diplomatic sources, thematically organized, are introduced, translated, and annotated by an international team of leading scholars of the Italian Renaissance. The aim of this volume is to illustrate the richness of diplomatic documents both for the study of diplomacy itself as well as for other areas of historical investigation, such as gender and sexuality, crime and justice, art and leisure, and medicine.

A Corresponding Renaissance: Letters Written by Italian Women, 1375–1650 Lisa Kaborycha, A Corresponding Renaissance: Letters Written by Italian Women, 1375–1650, Oxford University Press: Oxford, 2016; 320 pp.; 9780199342433, £19.99 (pbk)