Luchino Visconti, né en 1906 et mort en 1976, a été un metteur en scène de cinéma, de théâtre, d’opéra et toute sa carrière a été placée sous le signe de l’amour pour les arts, avec une prédilection particulière pour la littérature de la fin du dix-neuvième siècle et du début du vingtième. L’objectif de notre étude est d’analyser la filmographie de Luchino Visconti, en nous arrêtant plus particulièrement sur quatre films, La terra trema, Rocco e i suoi fratelli, Vaghe stelle dell’Orsa… et L’innocente, où les rapports avec l’œuvre de Giovanni Verga et de Gabriele d’Annunzio sont les plus évidents. Plus spécifiquement le but est de démontrer que, contrairement aux stéréotypes qui marquent le discours critique sur l’œuvre du cinéaste, l’influence d’écrivains tels que Thomas Mann et Marcel Proust, tout en étant indéniable, a été surévaluée au détriment de celle des deux écrivains italiens, dont l’ascendant parcourt toute la filmographie viscontienne / Luchino Visconti (1906-1976), was a movie, theatre and opera director. He dedicated all his career to the love of art, with a particular focus on the literature from the end of the 19th and beginning of the 20th centuryThe goal of our study is to analyse the filmography of Luchino Visconti, more specifically the following four films: La terra trema, Rocco e i suoi fratelli, Vaghe stelle dell’Orsa and L’innocente where the references to the works of Giovanni Verga and Gabriele d’Annunzio are most explicit. More specifically, we want to demonstrate that the undeniable influence of writers such as Thomas Mann and Marcel Proust on Visconti has been overvalued, at the expense of the two Italian authors, Verga and d’Annunzio, who have heavily influenced Visconti’s entire filmography

Esta tese apresenta uma discussão do papel da cozinha na formação de identidades. Desenvolvendo uma discussão a partir dos conceitos da antropologia da alimentação, especialmente considerando a cozinha como um modelo capaz de expor relações sociais e um processo em constante contato com o diferente, ela se define com um importante instrumento para construir identidades. A etnografia foi conduzida em restaurantes que ofereciam uma cozinha particularmente emblemática para a cidade de São Paulo, a italiana, tomando estabelecimentos que tivessem mais de cinquenta anos de existência na cidade. Ante isso, ao utilizar esse critério para definir o recorte, era preciso buscar refinar essa seleção, especialmente ao lidar com memórias de proprietários desses estabelecimentos. Dessa forma, foram selecionados três períodos considerados centrais na trajetória dessa cozinha e intimamente associados ao processo de imigração: o início do processo no começo do século XX; os anos 1950 e 1960 que trouxeram novos imigrantes italianos do pós-guerra para uma cidade tomada pela modernidade e, finalmente, os anos de globalização, especialmente após a nomeação da cidade como Capital Mundial da Gastronomia, ou simplesmente capital gastronômica, em 1997. Essa metodologia nos permitiu abordar questões em torno das articulações entre etnicidade, identidade e nacionalidade. A conclusão após estes anos de pesquisa foi que a italianidade é uma percepção flexível, embora a imigração e, em especial a italiana, tenha sido tomada como um dos elementos de maior expressão para definir São Paulo como uma metrópole cosmopolita. A comida italiana acompanhou os ritmos urbanos e a cadência de imigrantes italianos que tentavam assentar identidades ainda frágeis em diferentes contextos. / This thesis presents a discussion about the role of the cooking in the identity construction. The starting point was the concepts of Anthropology of food and with a special focus on the idea of cuisine like a system and process where the practical operation exposes social relationships and, in fact of this, work on identities. The ethnography was made in restaurants of a particular cuisine at São Paulo, which is very emblematic, Italian cuisine. For this, the way adopted was enter in the process of the cuisine by the memories of the owners of these restaurants, which are selected by a special criteria, have more than fifty years of existence and divide this trajectory in three main parts: the first period of immigration around the first decade of 20th century, the 1950 and 1960s for enter at the new urban rhythms and the globalization years, specially at 1990s when the city was called Mundial Capital of Gastronomy. Adopting this, we could discuss the arrangements between ethnicity, identity and nationality. The final considerations shows that the italianity becomes part of the urban imaginary and one of t he most particularities of this cosmopolitan city. The Italian cuisine shows these articulations and how follows the new urban rhythms adapting fragile identities in different contexts.

Vitaliano Brancati was a Sicilian prosaist, playwright and essayist. The Czech reader knows him mainly as an author of The Handsome Antonio, the only novel translated into Czech so far. Brancati is a writer of the first half of the 20th century. In his work he utilized his own experience with fascism-youth passion, succeeded by disappointment, scepticism, and gradual transition into open anti-fascist positions in a completely idiomatic style. He can be undoubtedly considered one of the continuators of modern narrators who contributed to the formation of the image of Sicily not only at home but abroad as well. Due to the autobiographical character of Brancati's works, the first part of the thesis is concerned with Brancati's life story under historical circumstances. The core of the thesis is the analysis of Brancati's most popular novels, which due to the common theme of gallism are often considered as a trilogy: Don Juan in Sicily, The Handsome Antonio and Hot Paolo. Based on this analysis, we present, at the end of the thesis, a picture of the "Brancatian" Sicily.

The purpose of this thesis was to investigate the current status of the study of Italian in Miami and particularly to identify the motivational factors behind student enrollment in local Italian programs. A qualitative study was carried out based on interviews with the local director of “Società Dante Alighieri” and four students studying Italian in two different settings. Gardner and Lambert’s (1959) concepts of instrumental and integrative motivation and the motivation components identified by Csizér and Dörnyei (2005) provided the conceptual framework for this study. According to the information obtained from the five participants the study of Italian in Miami is mostly linked to integrative motivation and particularly to the motivation components referred by Csizér and Dörnyei as “attitude toward the L2 speakers/community” and “culture interest”. These findings are in line with previous research that linked the study of Italian in the United States to cultural and ethnic factors related to integrative motivation.

The teaching of a foreign language involves the use of methods, rooted in an approach to language teaching, and often incorporates the use of technology such as computers and multimedia. In order to examine the approach, method, and use of multimedia technology in the teaching of Italian in British Columbia at the elementary and secondary levels, it is important to first define these critical elements. The first chapter examines the global shift from using a Grammar-Translation Approach to teaching foreign languages towards using a Communicative Approach. It is interesting to note that this shift spans numerous centuries and develops gradually through a series of innovative foreign language teaching approaches and methods. The second chapter provides an in-depth look at this Communicative Approach. It examines the theories it is based on, the components a Communicative Language Teaching or CLT syllabus incorporates, as well as the classroom manifestations of CLT, including the types of activities used, the role of grammar, the learning resources used, the teacher's role, and the student's role. The chapter also reviews criticism levied against CLT. The third chapter examines the role of computer technology in foreign language teaching. As computers become ubiquitous, it is important to highlight the reason why computers go hand in hand with CLT; computer technology incorporates aspects of the theories which Communicative Approach is based upon. As such, computer technology should be part of the CLT classroom but only after the most effective Computer Assisted Language Learning or CALL program has been chosen. This chapter identifies criteria for the selection of effective CALL as well as identifying how to implement CALL in the classroom setting. In trying to examine CALL's overall value to CLT, the chapter also highlights some of the positive and negative attributes of CALL. The final chapter uses the terminology and approaches introduced in previous chapters and relates them to the actual panorama of Italian taught at the elementary and secondary levels in British Columbia. The driving force behind the use of the Communicative Approach and the use of computer technology in the local teaching of Italian comes from the Italian Ministero degli affari esteri, or MAE. This can be seen through MAE's foreign policy, their financial assistance, their trained personnel sent to assist local teachers of Italian, and their ongoing commitment to the teaching of Italian abroad. The chapter, through a questionnaire completed by local teachers of Italian, also tries to ascertain whether the resources offered by MAE are being used to their fullest. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

From at least the twelfth century, amid the growth of commerce, towns, and universities, notaries charged with the writing of various administrative documents formed an increasingly important professional group in the Italian communes and, later, across the whole northwestern Mediterranean. A large quantity of sources from the late medieval period were written by notaries, including notarial registers, court records, and other administrative books. Unlike modern administrative records, medieval counterparts surprise us with poems that look like contracts, images that have nominal functions, prayers interspersed with the text of the official record, and musical imagery that allows us to compare notaries to musicians. What do these marginalia betray about the meaning of contractual text and the notaries as their producers?“Minds and Margins: Notarial Culture in Bologna, ca. 1250-1350” is the first interdisciplinary study of notarial registers examining how notarial acts were brought together with poems, prayers, images, and music as they were entered into the registers’ pages by the notaries themselves. It demonstrates that to understand the contents of a quantitatively important source of medieval economic, social, legal, and political history—records written by notaries—we must not only take into account the social and legal-institutional contexts of their production, but also the cultural and religious worlds that shaped the registers and the minds of their makers, the notaries. “Minds and Margins” thus explores how notaries absorbed cultural modes of thought and practice and applied them to their administrative work. Examining poetry, images, music, and prayers in notarial registers—evidence that is not only physically located on the margins, but that has also been marginalized by previous scholars—I argue that notaries were both accountable officials and creators of an ideal urban order, using their culture to define contractual and institutional relationships. Bologna is at the center of this research because of its wealth of surviving notarial records and its university functioning as medieval Europe’s leading institution for the study of law. Moreover, the density and variety of archival records in Bologna provides the opportunity to draw out the connections notaries forged between the marginalia and their profession. Chapter 1, “Medicine and Literature in Salatiele’s Ars notarie,” treats notaries’ formation and shows how Salatiele (d. 1280), a Bolognese notary and jurist who maintained a school for notaries, relied on Galenic medical theory and Ovidian verses to theorize notarial instruments and notaries’ professional roles. I argue that Galen and Ovid allowed Salatiele to conceptualize the intellectual underpinnings of commercialization and monetization as ordering principles of the common good. Chapters 2 through 5 observe notaries at work to demonstrate how they used different cultural media to shape documentary principles and practices. Chapter 2, “Trustworthy Lovers,” examines poems notaries entered into the registers of the Memoriali, a Bolognese office that collected all notarial contracts involving sums of 20 lire. The two textual genres, poems and contracts, contain parallels in their formal and thematic frameworks. I argue that the poems are media by which notaries established for their colleagues and the public their own trustworthiness and ability to write truthfully. Chapter 3, “Signing with Religious Imagery,” examines signs that are analogous to monstrances and other religious objects notaries drew as part of signatures. I argue that in using images of devotional objects as signature signs, notaries were staking a claim to be creators of a quasi-sacred urban order. In Chapter 4, “The Music of Instruments,” I examine how the experience of music shaped notaries’ perceptions of contracts and their professional self-images. Liturgical chant may have inspired notaries’ reading practices, influencing their manner of reading instruments aloud to the contracting parties. From there, I turn to a broader question of the relationship between musical instruments and notarial instruments. The musical portrait of Zachetus de Viola can be seen as relating his musical skill to his reputation not only as a musician but also as a notary. While the teacher of notarial arts, Salatiele, turned to Galen and Ovid, former students drew on music and musical instruments as models for the social harmony they saw themselves constructing with notarial “instruments,” the technical term used for contracts. “Contracts,” “court records,” and “registers” are familiar legal terms. “Minds and Margins” argues that to medieval notaries, they could also mean musical instruments or poems—sometimes both at once. By examining the margins of notarial registers, we discover that the contracts, court records, and texts of other notarial acts at the center of today’s state archives in fact took shape out of a much broader cultural context. In this sense, “Minds and Margins” contributes to our understanding of historical margins as places that shaped the center—urban administrations, contractual and institutional relationships—in unexpected ways. The present research urges us to reconsider contractual and administrative principles—too hastily accepted by previous scholars as predecessors of their modern counterparts—through the lens of the minds of those who shaped them, medieval people.

L’étude des romans et des recueils de récits publiés par Stefano Benni entre 1976 et 2009 a pour but d’illustrer la poétique de cet écrivain à travers l’analyse des éléments thématiques, stylistiques et philosophiques qui la composent. Dans la première partie les thèmes déclinent la valeur de la narration orale et des lieux de socialisation, l’exploration de mondes imaginaires et de leur richesses, la solitude de l’individu, l’enfance avec sa capacité d’imagination et la vieillesse avec sa capacité de mémoire. Le repérage thématique effectué dans la première partie a montré que la production de Benni n’est conçue qu’à l’intérieur du contexte social contemporain, qui est à l’origine d’un travail autour de la parole et de sa signification. Cette partie de la recherche a été indispensable pour identifier les étapes motivationnelles qui déclenchent chez Benni la naissance du texte. L’identification du pouvoir cognitif que Benni reconnaît à la littérature a conduit à étudier, dans la troisième partie, l’arrière-plan philosophique dont s’inspirent la poétique et la vision du monde de Benni. Le processus de la création littéraire chez Benni part de l’observation du réel pour ensuite migrer vers une transfiguration humoristique en laquelle l’écrivain transpose aussi la tension qui s’engendre entre le sentiment individuel conditionné par les faits et la description représentative des faits mêmes. L’écrivain humoriste active ainsi des mécanismes de prise de conscience, de fraternité dans l’angoisse, de confiance dans le changement. / This study of the narrative works by Stefano Benni published between 1976 and 2009 aims to illustrate his poetic style through the analysis of its thematic, stylistic and philosophic elements. Themes have been identified to reflect Benni’s values: the importance of oral communication and socialization, the power of imagination to explore new worlds and new solutions, the importance of human diversity in the contemporary society, childhood with its visionary capacity and old age with its memory. Benni’s body of work exists within a contemporary social context. To the reader this is evident on every page due to his careful choice of words and rhythm. All forms of his humor are examined in order to recognize it as the most representative language for the contemporary complexity. This part of the research was essential to identify the motivation behind Benni’s writings. The cognitive power associated with his literature led us to study Benni’s philosophic background and his vision of the world in the third section. The literary process enables the writer to juxtapose the tensions that exist between individual feelings and emotions with the events surrounding a given situation. In this way humor and imagination stimulate empathy, awareness and a faith in change.

This dissertation considers how the artistic output of Michelangelo Buonarroti (1475-1564) was related to his poetic development and associations with different communities in Florence and Rome. The author of more than 300 poems, Michelangelo was arguably the most prolific artist-poet of the Renaissance. Still, no study has scrutinized the dynamic relationship between his work across media in relation to contemporary shifts in Italian literary culture. Centered on the decades surrounding Michelangelo's permanent move to the Eternal City in 1534, this dissertation shows how he used his creative production to achieve stability in an era buffeted by war and political upheaval. The fortunes of Florence and Rome were inextricably bound, and this dissertation uses surviving visual and written evidence to reconstruct Michelangelo's links to dense intellectual and homosocial networks in these cities. Michelangelo wrote poems to build social ties at a time when the status of artists was in great flux, and this dissertation demonstrates why his poetry, drawing, painting, sculpture, and architecture cannot be and would not have been understood apart from one another.

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