abstract: This paper provides a comprehensive study of Italian liturgical organ works from the 15th to 17th centuries. This music was composed for the Catholic Mass, and it demonstrates the development of Italian keyboard style and the incorporation of new genres into the organ Mass, such as a Toccata before the Mass, music for the Offertory, and the Elevation Toccata. This often neglected corpus of music deserves greater scholarly attention. The Italian organ Mass begins with the Faenza Codex of c.1430, which contains the earliest surviving liturgical music for organ. Over a century would pass before Girolamo Cavazzoni published his three organ Masses in 1543: Mass IV (for feasts of apostles), Mass IX (for Marian feasts) and Mass XI (for typical Sundays of the year). The prevalence of publishing in Venice and the flourishing liturgical culture at San Marco led two notable organists, Andrea Gabrieli and Claudio Merulo, to publish their own Masses in 1563 and 1568. Both composers cultivated imitation and figurative lines which were often replete with ornamentation. Frescobaldi’s Fiori musicali, published in Venice in 1635, represents the pinnacle of the Italian organ Mass. Reflecting the type of music he performed liturgically at San Pietro in Rome, this publication includes several new genres: canzonas after the reading of the Epistle and after Communion; ricercars after the Credo; and toccatas to be played during the Elevation of the Host. Frescobaldi’s music shows unparalleled mastery of counterpoint and invention of figuration. His liturgical music casts a long shadow over the three composers who published organ Masses in the decade following Fiori musicali: Giovanni Salvatore, Fra Antonio Croci and Giovanni Battista Fasolo. This comprehensive look at Italian organ Masses from the 15th-17th centuries reveals the musical creativity inspired by the Catholic liturgy. Perhaps because of their practical use, these organ works are often neglected, mentioned merely as addenda to the other accomplishments of these composers. Hopefully insight into the contents of each organ Mass, along with the information about their style and aspects of performance practice, will make these musical gems more accessible to contemporary organists. / Dissertation/Thesis / Doctoral Dissertation Music 2015

Orientador: Francisco Cláudio Alves Marques / Banca: Gabriela Kvacek Betella / Banca: Altamir Botoso / Resumo: Na primeira fase do Novecentos literário italiano muitos folhetins franceses do século XIX foram reeditados por jornais italianos, alcançando grande sucesso de público, motivando Antonio Gramsci a encetar uma discussão em torno da inexistência de uma literatura "nacional-popular" italiana que traduzisse efetivamente as inquietações da época e as necessidades do povo, como tinha ocorrido na França. No entanto, desde 1900, o crítico literário Giuseppe Antonio Borgese vinha resenhando autores que publicavam romances à moda do folhetim francês nas páginas dos periódicos e das revistas italianas que naquele começo de século se multiplicavam e abriam suas páginas para um público mais amplo e diversificado, sobretudo, feminino. Atentos à chamada literatura de consumo, esses periódicos abriram espaço para a escrita feminina, ajudando a introduzir no cenário literário da época mulheres como Maria Messina, cujo romance de estréia, La casa nel vicolo, foi publicado em capítulos, à moda do "feuilleton" francês, nas páginas da revista Nuova Antologia de Lettere, Scienze ed Arti, em 1920. Nesta pesquisa, pretendemos identificar e enumerar as técnicas folhetinescas utilizadas por Maria Messina em La casa nel vicolo, de modo que se torne visível à influência do gênero em sua narrativa. / Abstract: In the first phase of the Italian Novecento, many French 19th-century serials were reissued by Italian newspapers, reaching great success of audience, motivating Antonio Gramsci to enter into a discussion around the absence of a "national-popular" Italian literature which translates effectively the concerns and the needs of the people, as had occurred in France. However, since 1900, the literary critic Giuseppe Antonio Borgese had been reviewing authors who published French-style novels in the pages of periodicals and Italian magazines, which, at the beginning of the century multiplied and opened its pages to a broader and diverse audience, especially, female. Attentive to the consumer literature call, these periodicals have opened space for the writing women, helping to introduce in the literary scene of the time women like Maria Messina, whose debut novel, La casa nel vicolo, was published in chapters, like the French "feuilleton", in the pages of the magazine Nuova Antologia de Lettere, Scienze ed Arti in 1920. The objective of this paper is to present the serial techniques that are used by the authoress in his novel La casa nel vicolo, so that becomes visible the influence of gender in his narrative. / Astratto: La scrittrice siciliana Maria Messina è tra alcuni donne che nella prima fase del Novecento letterario italiano, si distacca nella lotta dal riconoscimento letterario, descrivendo il suo mondo attraverso della prospettiva patriarcale, inoltre su che si riferisce alla condizione femminile. Per tale strategie, la scrittrice usi il suo romanzo La casa nel vicolo, pubblicato nel 1920, "a puntate", dalla rivista Nuova Antologia di Scienze, Lettere ed Arti, al fine di collaborare con la letteratura di consumo di cui il giornali e le riviste sono associati. Con tematiche prossime al cotidiano e al momento storico, i lettori si trovanno con i drami della vita, con la vittimizzazione dei essere e la opressione dell'individuo piú debole, in altre parole, le donne. Basando in questi fattori, le tecniche del "feuilleton" sarà necessario per comprovare la inserzione della opera della scrittrice siciliana, nel genere "feuilleton". L'obiettivo di questo studio è quello di presentare le tecniche seriali che vengono utilizzate da Maria Messina nel suo romanzo La casa nel vicolo, in modo che rende visibile l'influenza del genere nel suo romanzo. / Mestre

No description available.

abstract: This paper and its accompanying recital examine three solo vocal works by Italian composer Alfredo Casella (1883-1947): "Larmes" from Cinq Mélodies (Op. 2); "Mort, ta servante est à ma porte" from L'adieu à la vie: Quatre lyriques funèbres extraites du "Gitanjali" de Rabindranath Tagore (Op. 26); and "Amante sono, vaghiccia, di voi" from Tre canzoni trecentesche (Op. 36). Each of these songs is discussed as representative of Casella's three compositional periods. A fourth song, "Ecce odor filii mei" from Tre canti sacri per baritono et organo (Op. 66), is also examined, as an end-of-life composition. Some of the more important solo vocal works composed in each period are mentioned to show where the four selected songs fit into Casella's compositional output and to suggest music for further study or repertoire. / Dissertation/Thesis / D.M.A. Music 2014

This thesis explores the representation of political and social issues in the work of a selection of contemporary Italian authors, aiming to assess what has become of the notion of political commitment ('impegno'), as debated by intellectuals in the sharply-defined political climate following World War II, and whether the institutional seizure then crisis of the 1980s and 1990s has encouraged a comparable literary response. In part one, I examine the critical works of Vittorini and Calvino, two authors central to the early discussion about the social role of literature, revealing the tensions between their conceptions of the relationship between writers and society, which, despite their close collaboration, are identifiable in their writings of the 1950s and 1960s. I then trace these different veins of thinking - which I have termed 'fault lines' in the solid mass of 'impegno' - into the works of Celati and Palandri, who express the socio-political consciousness of youth in the 1960s and 1970s. In the six chapters of the main body of my thesis, I consider the further breakdown, in the recent climate of political diffidence, of the traditional sense of commitment to a specific cause, into a fragmentary exposure of a variety of 'minority' issues in the work of individual authors or groups of the 1980s and early 1990s, broadly classifiable under the 'giovani narratori' label. This allows me to consider well-known contemporary authors, such as Tabucchi, De Carlo and Tondelli, from a specific perspective, alongside Ballestra, a young and little studied writer. My last two chapters discuss a selection of established women writers and barely-known African immigrant writers, assessing the impact of specific interest-groups on the 'impegno' question. I conclude by considering the specificity of these 'fragments' to Italian culture, within the general context of the postmodern lapse of faith in ideologies.

This thesis examines the development of Italian political theatre between 1968 and 2010. It analyses the relationship between political theatre during the 1970s and politically engaged practice in the following decades in terms of continuity rather than rupture, thereby challenging recent theatre historiography and criticism which interpreted the two periods as diametrically opposite: one characterised by profound political engagement and the other by a widespread retreat from the political (riflusso). The analysis of the case studies is grounded on a rigorous contextual approach which places theatre practice in relation to its social and cultural context. Chapter One reviews the current debate on theatre and politics, reassessing the terms of its discourse and evaluating their potential and shortcomings. Chapter Two introduces two examples of engagement before 1968, namely the birth of teatri stabili and the linguistic research of the theatrical neo-avant-garde. Chapters Three, Four, and Five are dedicated to the analysis of the case studies. They are structured as a comparative analysis of significant examples of politically engaged theatre practice between 1968 and 2010 and include the work of Dario Fo, Marco Baliani, Marco Paolini, Giuliano Scabia, Franca Rame, Laura Curino, and Compagnia della Fortezza. The analysis highlights how Italian practitioners moved beyond modernist forms of political performance and restructured their political and aesthetic strategies in response to changing political, economic, and cultural contexts. The findings point to an original approach to political engagement on stage which articulates itself around two main elements: on the one hand the interconnectedness of the ethical and the political, and on the other an understanding of political resistance no longer as the fight for a working-class cultural hegemony but rather at the creation of a post-hegemonic cultural landscape open to multiplicity and difference.

This thesis explores the early career of Eduardo Paolozzi (1924 – 2005), focusing in particular on his artworks of the 1940s and 1950s. Predominantly known for his post-World War Two activity as an eclectic artist, designer and pedagogue, Paolozzi emerged as an experimental alternative to the modernist formalism of Henry Moore’s generation and remains one of the acknowledged leaders of an artistic movement that helped invigorate the British art scene. The sheer volume and diversity of his creative output, however, its wide-ranging use of descriptive materials and profuse interests, has legitimised the now standard reception of his work as one of wilful, perhaps even whimsical, eclecticism. Thus, he has become simultaneously codified as British artist, child of Surrealism, and ‘father of Pop.’ The thesis presented here intends to offset the standard historiography of Paolozzi’s artistic development, employing instead an interpretation grounded in the artist’s Italian roots and which takes into consideration his exposure to wider avant-garde movements and trends. Such a re-evaluation enables sense to be made of the imagery and ideas present in his work, and gives shape to the superficial incoherence of the ‘fragmentary’ phases apparently marking his output. What emerges is an alternative trajectory, one that moves from the early collages, full of L'Esprit Nouveau and Futuristic enthusiasm for the New World, through his use of Greco-Roman art, mechanisation and Uomo Novo during the years of Fascism, to the more concerted reassessment of the modern post-War world that is embodied in his satirical brutalist sculptures and proto-Pop demythologies, these last works mapping an emergence out of totalitarianism and the rediscovery of ‘democratic and international values.’ In this new analysis, Paolozzi stands as one of the few international figures who consistently developed a mature and idiosyncratic rationale through which a new, non-Fascist modernism was reformulated.

At present, and more so in the future, irrigated agriculture will take place under water scarcity. Owing to the global expansion of irrigated areas and the limited availability of irrigation water, there is a need to optimize water production and use efficiency (WUE). In South Africa, annual ryegrass (Lolium multiflorum) is one of the most widely grown cool season pasture species under irrigation. It is mainly used in dairy farming enterprises. Shortages of water and nitrogen can, however, be limiting factors for the production of this pasture. By using appropriate irrigation and nitrogen management tools, water and nitrogen productivity of the pasture can be improved. The objective of this study was, therefore, to determine the effects of different water levels in combination with different N fertiliser applications on the growth rate and dry matter production, quality, water use and water use efficiency of annual ryegrass. For two seasons, the trial was conducted under a rain shelter on the Hatfield Experimental Farm of the University of Pretoria. Higher frequency of irrigation coupled with high nitrogen application significantly improved the dry matter yield. Canopy size influenced the LAI and FI which in turn affects the yield. The study showed that the treatments that were irrigated twice weekly and top-dressed with 60 kg N ha-1 after each cut consumed the most water, and this resulted in the production of higher yield, maintenance of the largest leaf area index and higher interception of the incoming solar radiation. The increase in these parameters may be due to the sufficient water and nitrogen fertiliser that induces rapid cell elongation as a result of higher water potential, higher turgor pressure and higher photosynthetic processes. As hypothesized, the decrease in the frequency of water application resulted in an increase in the DMC, digestibility, ME and CP values. Nitrogen application had an effect on the WU, as less water was used in the treatments that received no nitrogen. Highest KC value recorded was in the optimal range and this indicates that the treatments were not over-irrigated. As the irrigation interval increased, more water was depleted from the soil profile. Depletion rates increased as the season progressed but generally it was minimal in the frequently irrigated treatments. Increase in WUE was achieved by reducing the frequency of irrigation from twice a week to once a week without causing significant yield loss. A possible reason for the increase in the WUE by reducing the irrigation frequency could be ascribed in part to reduced evaporation from the soil resulting from the lower wetting frequency of the deficit irrigation treatments. Within the same irrigation frequency, higher WUE was achieved by alleviating a limiting factor, N fertiliser, in this case, through increases in dry matter production. The highest WUE was achieved by irrigating once every two weeks. However, in some treatments, the WUE was not improved with the reduction in the frequency of irrigation as the water saved was overshadowed by yield loss. In summary, it can be said that the hypotheses that pasture production will be positively associated with soil moisture content, water stress can improve the quality of the pasture, N fertiliser will increase the DM response to soil moisture content and WUE will increase by alleviating a limiting factor, N fertiliser in this case were accepted. A logical extension of this work would be to do the trial in an open field to analyze the effect of irrigation and nitrogen fertilization on the growth, yield and quality of the pasture and then extrapolate the results to other sites and soil types using models. / Dissertation (MSc(Agric))--University of Pretoria, 2011. / Plant Production and Soil Science / unrestricted

L'obiettivo che qui ci si propone, è quello di cercare di delineare le caratteristiche essenziali di un genere letterario nuovo, il romanzo sociale, attraverso l'analisi particolareggiata di alcuni scrittori 'impegnati' della prima metà dell'Ottocento. II presente lavoro esaminerà, quindi, l'evolversi complesso e, a volte, contraddittorio, di questo prodotto letterario che, nonostante i suoi limiti artistici, si inserì - sulle orme del romanzo storico - nella vicenda culturale del momento, ne assorbì comuni caratteristiche sociali, didascaliche e ideologiche, fino a diventarne un fatto a sè, identificabile e isolabile di notevole interesse. In un clima storico-politico così particolare, quale quello dell'Italia romantica pre-unitaria, la vicenda culturale e letteraria del romanzo sociale rappresentò, infatti, per gli scrittori borghesi del periodo, il mezzo espressivo ideale, attraverso cui poter manifestare le proprie opinioni politiche ed artistiche nei confronti di un pubblico nuovo, di volta in volta da 'educare' o da controllare, da 'guidare' o da reprimere. All1internò della polemica romantica si cercherà di definire, appunto, questo rapporto complesso e difficile tra scrittore e destinatario del prodotto artistico, attraverso l'analisi di espressioni diverse dello stesso filone di questa letteratura 'impegnata': il romanzo sociale di G. Carcano e A. Ranieri, il romanzo rusticale di C. Percoto e C. Ravizza, il romanzo filantropico di G. Longoni e F. Dall'Ongaro. Nella parte conclusiva di questo saggio si tenterà di collocare il romanzo 'impegnato' all'interno di un preciso contesto socio-politico-culturale e letterario, per cercare di determinare, infine, le prospettive di sviluppo di questo genere e le sue eventuali responsabilità nella formazione delle basi essenziali di quelle che sarebbero state, poi, le successive istanze veriste. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

This study deals primarily with the efforts of Great Britain to bring the Italian-Ethiopian War to a halt through the Hoare-Laval peace plan of December 10, 1935. Based on memoirs, diaries, and public documents, this study is devoted to an examination of the reasons, both internal and external that formulated British foreign policy toward the war.