The aim of this work is to present Italian modernism and its forms as we can find them in the magazines from the beginning of the 20th century. Due to their long-term activity magazines are a useful mean for studying social processes. For our analysis four magazines were chosen from which everyone represents a specific area: Leonardo magazine offers an overview of modern philosophic thoughts, Il Rinnovamento magazine reports on modernist movement within the Catholic Church, Lacerba magazine represents area of modernist art and literature and finally La Voce magazine can be considered a synthesis of topics with regard to processes going on in the Italian society at the beginning of the 20th century. After introductory part with description of historical and culture context the attention is focused on the magazines themselves explaining what was the motivation of their origin, how their program declaration developed and especially offering thematic analysis of their content. One of the examined areas is also described with regard to the concrete magazine and the effect it had on it. At the very end of the analytic part there is an evaluation of the magazines and their influence within the social transformation. Conclusion part offers an answer to the initial question, whether the word "modernism" is...

Study of self-presentation of artist in the Italian painting of the 16th century - abstract Italian art of the 16th century, known as the Cinquecento, is undoubtedly a captivating chapter of art history. No less interesting are the lives of artists from that time, the understanding of self-value and its presentation, creating the artist's identity, i.e. their "artistic self". Within a century we may observe the transformation from a craftsman to an artist, and subsequently artist- the courtier. The main representatives of this "movement", trying to raise the status of arts and artists in the society, were Giorgio Vasari and Federico Zuccari. Each represented a different generation of artists; however, figures of both these painters are complemented in a curious way. There are moments when their lives meet and, in a certain way, follow one another. It is one of the reasons, why the connection Vasari-Zuccari is suitable for understanding social situation or the self-presentation of central Italian artists in the 16th century. It is almost as if this duo was representing a fictitious art figure of the Cinquecento, whose life began 1511 (with the birth of Giorgio Vasari) and ended in 1609 (with the death of Federico Zuccari) and by studying this figure we discover the development of artists' self-concept and...

Cases of Italian embedded self-portraiture appear in the sacred art of some of the most renowned artists of the Cinquecento and early Seicento, artists such as Bronzino, Michelangelo, Titian, Tintoretto, and Caravaggio. This thesis first examines the history of the practice from its origins in Quattrocento Florence and Venice then argues that an important development in the function and presentation of embedded self-portraits can be observed as Cinquecento artists experienced broad shifts in religious and cultural life as a result of the Reformation and Counter-Reformation. It also assesses three works by Caravaggio to suggest that embedding self-portraits in religious art was a variable and meaningful convention that allowed artists to inject both their personal and public emotions. This thesis argues that in the Cinquecento and early Seicento, the very gesture of embedding a self-portrait in sacred artworks provided a window into an artist's individuality, personality, and piety.

Orientador: Gabriela Kvacek Betella / Banca: Francisco Claudio Alves Marques / Banca: Altamir Botoso / Resumo: Nos últimos anos, publicações e reedições de obras em que o testemunho é a principal característica narrativa afirmam as identidades de determinados grupos. Assim, buscamos na literatura italiana, com temática da Resistência, obras que sustentam esta ideia e uma interpretação do modo de lidar com a memória de um período significativo no contexto da Segunda Guerra. Portanto, este trabalho tem como objetivo analisar e comparar duas obras de autoria feminina nas quais as autoras reconstroem a memória partigiana a partir de suas experiências, neste episódio que foi marcante para a tradição e cultura italiana. Para isso nos embasaremos nas teorias da literatura de teor testemunhal de períodos autoritários, observando os aspectos literários; da micro-história, ressaltando as obras como materiais úteis para o estudo da História; e memorialístico, discutindo o valor da memória para a história e literatura, preservando a cultura italiana e demonstrando a característica híbrida e fronteiriça das obras. Com a apresentação destas teorias analisaremos as obras autobiográfica e diarística de Carla Capponi e Ada Gobetti, respectivamente, Con cuore di donna e Diario Partigiano / Abstract: In the last years, publications and re-editions of literary works in which the testimony is the main narrative feature affirm the identities of particular groups. Thus, we search in the Italian literature, with the theme of the Resistance, works that support this idea and an interpretation of the way of how to deal with the memory of a significant period in the World War II context. Therefore, this study aims to analyze and compare two works of female authorship in which the authors reconstruct the partisan memory from their experiences, in this remarkable episode for the Italian tradition and culture. To do so, we will rely on theories of the literature's testimonial wording of authoritarian periods, observing the literary aspects; of the micro - history, emphasizing the works as useful materials for the study of History; and memorialistic, discussing the value of memory for the History and Literature, preserving the Italian culture and demonstrating the hybrid and frontier characteristic of the works. With the presentation of these theories we will analyze the autobiographical and diaristic works of Carla Capponi and Ada Gobetti, respectively, Con cuore di donna and Diario Partigiano / Mestre

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação aborda o tema da imigração italiana à luz do imaginário daqueles que se dirigiam em massa para o Brasil, entre o final do século XIX e início do XX, em busca de um mundo novo, perseguindo o sonho de um Paraíso Terrestre, o país imaginário da Cocanha. O tema é abordado a partir de obras literárias, como o poema francês, datado do século XIII, o Fabliau da Cocanha e da narrativa Vita e Stòria di Nanetto Pipetta, que apresenta o jovem personagem imigrante clandestino vêneto, criado por Aquiles Bernardi, e cujas aventuras eram publicadas semanalmente em capítulos no jornal gaúcho Stafetta Riograndense, nos anos 1924-1925. A trama vivida pelo personagem que dá título à obra é fio condutor das reflexões apresentadas. Para o imigrante italiano, o imaginário sobre o Brasil como o país da Cocanha encontra neste personagem sua expressão fiel, mantendo acesa a chama da esperança de uma vida melhor para si e para as gerações futuras. / This study is about Italian immigration and it gives light to the imaginary of those who came in mass to Brazil in search of a new world, pursuing the dream of a Terrestrial Paradise, the imaginary country of the Cocanha. This subject is illustrated from literary compositions, as the French poem dating from the thirteenth century, Fabliau of Cockaigne, and by using the personage Nanetto Pipetta, clandestine young Veneto immigrant, whose adventures were published weekly in chapters (in a local) periodical from the south of Brazil, Stafetta Riograndense, in the years 1924-1925. The plot experienced by the central character was the constructing wire of the reflections presented. The imaginary of Brazil as the country of the Cocanha for the Italian immigrant finds in this personage its faithful expression, keeping lighted the flame of the hope of a better life for themselves and the future generations.

Cette étude porte sur les influences réciproques du « Plan Poggi » (projet d’agrandissement de Florence) et des relations diplomatiques, politiques, militaires et économiques entre l’Italie et les Puissances européennes, en particulier la France et le Saint-Siège, depuis la « Convention de Septembre » 1864 jusqu’à la « Porta Pia » en 1870, puis le transfert de la capitale à Rome en 1871. Viendra ensuite une analyse de l’état d’esprit de la population face aux bouleversements économiques et sociaux entraînés par l'arrivée du gouvernement, à travers les témoignages des acteurs politiques, des habitants, de l’architecture, de l’art, de la littérature, de la Presse. Enfin, sera analysée l'influence de ces modifications urbaines, sociales, sur les mentalités, sur la perception du patrimoine culturel et historique. En conclusion, sera menée une analyse des conséquences de la perte du statut de capitale sur les mentalités et les projets d'urbanisme, avec en particulier la « Question Florentine », concernant le subventionnement par l'Etat d'une partie des travaux liés aux institutions gouvernementales, encore non achevés au départ de la capitale, qui vont grever les finances de la municipalité, jusqu'à la mener à la faillite dans les années 1880.Il a été mené une accentuation de la recherche sur les questions militaires, qui sont d'une grande importance à l'époque ; en effet, le transfert de la capitale de Turin à Florence conduit à repenser totalement le système stratégique de l'Etat-Major militaire italien, ainsi que le système de défense de la ville promue au rang de capitale (ainsi qu'à réduire sensiblement celui de Turin, qui peut cependant rester une importante base d'attaque contre l'ennemi Autrichien) : les manœuvres de 1869 en sont l'exemple concret. L' accentuation des revendications en, et sur la Vénétie (qui conduiront à la guerre en 1866) provoquent un basculement stratégique : le bas-Pô gagne en importance par rapport au Mincio. L'armée est ainsi une des clés de la concrétisation des projets urbanistiques du Risanamento Florentin, imposant sa marque dans le paysage, par la construction de casernes (parfois aux dépends d'équipement de salubrité publique), et la planification d'importantes zones d'exercices militaires, le Campo di Marte dont la localisation fera l'objet de nombreuses polémiques et discussions. La réorganisation de Florence en ville vitrine du nouveau royaume, de la nouvelle Italie unitaire et de la nouvelle bourgeoisie libérale doit également (comme à Paris) être une ville permettant des manœuvres militaires efficaces et faciles.Il s'agira également d'étudier dans quelle mesure les opérations et la stratégie militaires ont conditionné la construction des infrastructures ferroviaires, autre point important de l'urbanisme de Florence capitale, avec les débats sur la construction et la localisation d'une nouvelle gare en remplacement de l'ancienne, et désaffectée, Stazione Leopolda : la localisation des voies conditionne l'urbanisme, mais subit des contraintes stratégiques, Florence devenant rapidement (même si la ville avait déjà joué un rôle similaire, quoiqu'à une bien moindre mesure en 1859 contre l'Autriche, avec l'arrivée massive de volontaires venus s'enrôler en ville) un carrefour ferroviaire (et routier) permettant de faire remonter vers le Nord le gros de l'armée italienne, employée au début des années 1860 dans le Sud pour réprimer le Brigantismo. / This study concerns the mutual influences of the "Plan Poggi" (project of Florence's enlargement) and diplomatic, political, military and economic relations between Italy and the European Powers, particularly France and Holy See, since the 1864 " September Convention " until the breach of " Porta Pia " in 1870, and the transfer of the capital city in Rome in 1871. An analysis of the population's state of mind in front of economic and social upheavals pulled by the arrival of the government, through political actors, inhabitants, architecture, art, literature and Press testimonies will come then. Finally, the influence of these urban, social modifications on the mentalities, on the perception of the cultural and historic heritage will be analyzed. In conclusion, will come an analysis of the consequences of the loss of the status of capital city on the mentalities and on the urban planning projects, with in particular the "Florentine Question ", e.g the subsidization by the State of a part of the works bound to the governmental institutions, still not finished when the capital city leaves Florence, which are going to burden the finances of the municipality, and lead it to bankruptcy in the 1880s. An accentuation of the research on the military questions, which are of a big importance for the period, seems important; actually, the transfer of the capital city from Turin to Florence leads to totally rethink the strategic system of the Italian military General commandment, as well as the defensive system of the city promoted to the rank of capital (as well as to drastically reduce Turin's own, which however remain an important base for attacks against the Austrian enemy): the 1869 military exercise are the concrete example. The accentuation of the claiming for Venetia (which will drive to the war in 1866) provokes a strategic shift: the Lower Po Valley grows importance compared to the Mincio. The army is one of the keys of the realization of the urbanisation projects of Florentine Risanamento, posing its marks in the landscape, by the construction of barracks (sometimes at the expense of public health equipment), and the planning of important zones of military exercises, e.g the "Campo di Marte" whose localization will be object of numerous debates and discussions. Florence's reorganization in model town of the new kingdom, the new unitarian Italy and the new liberal bourgeoisie also owes (as in Paris) to be a city allowing effective and easy military operations.It will also be a question of studying to what extent the military operations and the strategy conditioned the construction of the railroad infrastructures, other important point of the town planning of Florence, with the debates on the construction and the location of a new station as a replacement of the former, and closed down, Stazione Leopolda: the location of circulation ways determines the town planning, but has to face strategic constraints, as Florence quickly becoming (even if the city had already played a similar role, although in a much lesser measure in 1859 against Austria, with the volunteers' massive arrival coming to enlist in the army) a railway and road junction allowing to make the main part of the Italian army go back to the north, used since the beginning of 1860s on the south to repress the Brigantismo.

My thesis explores the way in which the Italian language and literary culture contributed to John Milton’s early development as a poet (over the period up to 1639 and the composition of Epitaphium Damonis). I begin by investigating the nature of the cultural relationship between England and Italy in the late medieval and early modern periods. I then examine how Milton’s own engagement with the Italian language and its literature evolved in the context of his family background, his personal contacts with the London Italian community and modern language teaching in the early seventeenth century as he grew to become a ‘multilingual’ poet. My study then turns to his first published collection of verse, Poems 1645. Here, I reconsider the Italian elements in Milton’s early poetry, beginning with the six poems he wrote in Italian, identifying their place and significance in the overall structure of the volume, and their status and place within the Italian Petrarchan verse tradition. After considering the significance of the Italian titles of L’Allegro and Il Penseroso, I assess the impact of Italian verse forms (and particularly the canzone) upon Milton’s early poetry in English and the question of the nature of the relationship between Milton’s Mask presented at Ludlow Castle and Tasso’s ‘favola boschereccia’, Aminta. Finally, I consider the place in Milton’s career of his journey to Italy in 1938-9 and its importance to him as a personal ‘conquest’ of Italy. I suggest that, far from setting him upon the path toward poetic glory, as is often claimed, his return England marked the beginning of a lengthy hiatus in his poetic career. My argument is that Milton was much more Italianate, by background, accident of birth and personal bent, than has usually been recognised and that an appreciation of how this Italian aspect of his cultural identity contributed to his poetic development is central to an understanding of his poetry.

Made available in DSpace on 2015-05-14T16:52:59Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-12-19Bitstream added on 2015-05-14T16:59:36Z : No. of bitstreams: 1 000825150.pdf: 559584 bytes, checksum: 6280d4cb6bfa3b3128b9d7fe207762ed (MD5) / Astratto: Basato su Il lago dei cigni, da Piotr IIyich Tchaikovsky nel 1877, il lungometraggio Cigno nero (2010), sulla regia di Darren Aronofsky, è la combinazione di un drama psicologico con la drammaturgia che, allo stesso tempo, fanno parte della vita della protagonista. Il lago dei cigni, racconto scritto dal tedesco Johan Karl August Musäus nel secolo XVIII, aquista vita e potenza nel film componendo una struttura che mescola soggetività e stranezza, provocando molteplice sentieri nello spetattore. Al rispetto degli studi letterari, il film è poco esplorato giacché il suo fuoco maggiore si trova nella presenza psicoanalistica esistente. Così, allontanando parzialmente l’aspetto psicologico, rendiamo conto della presenza di tracce letterari che s’incastrano con pertinenza, construendo una tramma complessa tra le atmosfere della realtà e dello psicologico. Con la conoscenza della letteratura dello scrittore italiano Luigi Pirandello (1867-1936), così detto uno dei maggiori drammaturghi della letteratura mondiale, useremo le opere Sei personaggi in cerca d’autore (1921) e Così è (se vi pare) (1917) per dicutere i punti che seguono: 1) il personaggio della drammaturgia pirandelliana e cinematografica volgendosi alla protagonista Nina; 2) il teatro pirandelliano mettendo a fuoco il dramma moderno e il concetto di teatro nel teatro’ e come si trova nel film e 3) Cigno nero come tragedia moderna, utilizzando le teorie di Aristotele, Arnold Hauser, Raymond Wiliams e Pirandello per gli esempi. Nel campo teorico, ci baseremo anche in Antonio Candido, Peter Szondi, Sergei Einsenstein tra gli altri che costruiranno uno studio conciso e oggetivo del corpus proposto / Baseado em O lago dos cisnes, de Piotr Ilyich Tchaikovsky em 1877, o longa metragem Cisne negro (2010), dirigido por Darren Aronofsky, é a combinação de um drama psicológico com a dramaturgia que atuam reciprocamente na vida da protagonista. O lago dos cisnes, conto escrito pelo alemão Johan Karl August Musäus no século XVIII, ganha vida e potencialidade no filme em uma estrutura que mescla subjetividade e estranhamento, produzindo no espectador os mais variados sentimentos. No que concerne aos estudos literários, o filme é pouco explorado visto que seu maior foco versa sobre a presença psicanalítica à ele empregada. Desse modo, isolando parcialmente a carga psicológica, percebemos a presença de traços literários que se encaixam pertinentemente, construindo uma trama complexa entre os planos da realidade e do psicológico. Tendo como base a literatura do escritor italiano Luigi Pirandello (1867-1936), considerado um dos maiores dramaturgos da literatura mundial, usaremos as obras Seis personagens à procura de um autor (1921) e Assim é (se lhes parece) (1917) para discutir os seguintes pontos: 1) a personagem dramatúrgica pirandelliana e cinematográfica voltando-se para a protagonista Nina; 2) o teatro pirandelliano focado no drama moderno e no conceito de ‘teatro no teatro’ e como se dão no filme e 3) Cisne negro como tragédia moderna valendo-se de pressupostos teóricos de Aristóteles, Arnold Hauser, Raymond Williams e Luigi Pirandello para exemplificações. No campo teórico, nos apoiaremos também em Antonio Candido, Peter Szondi, Sergei Einsenstein entre outros para a construção de um estudo conciso e objetivo do corpus proposto

Orientador: Javier Telis Romero / Coorientador: Expedito Tadeu Facco Silveira / Banca: José Francisco Lopes Filho / Banca: Patricia de Carvalho Damy Benedetti / Resumo: Este estudo teve como objetivo caracterizar a matéria-prima (paleta suína) e o produto salame tipo italiano, obtidos através de suínos provenientes da linhagem genética Topigs (Tempo, macho x Topigs 40, fêmea). A primeira etapa deste experimento foi desenvolvida em uma granja comercial envolvendo um total de 450 suínos, submetidos à imunocastração e à inclusão de ractopamina (RAC) no plano nutricional dos suínos na fase de terminação (21 dias antes do abate), tendo assim 6 tratamentos: fêmeas com adição de ractopamina (FR), fêmeas sem ractopamina (F), machos castrados fisicamente com ractopamina (CR), machos castrados fisicamente sem ractopamina (C), machos imunocastrados com ractopamina (IR) e machos imunocastrados sem ractopamina (I). Foi aplicado um delineamento experimental inteiramente casualizado, em esquema fatorial 3 (castração física, imunocastração e fêmeas) x 2 (com e sem ractopamina). Foram abatidos sessenta animais selecionados com 163 dias de idade. Após a desossa, a matéria-prima cárnea (paleta e toucinho costo-lombar) foi utilizada na fabricação de salame. Foi analisada a composição centesimal, pH e cor da paleta. Durante o período de processamento do salame, foram avaliados pH, atividade de água, cor e perda de peso. No produto final, foi realizada análise microbiológica e sensorial. Os resultados foram submetidos à análise de variância e teste de Tukey. A adição da ractopamina na dieta não mostrou influência (p > 0,05) sobre os teores de proteína, gordura, umidade e cor das paletas. Foram encontradas diferenças significativas (p < 0,05) para os valores de pH e atividade de água ao longo do processamento do salame, porém, apresentaram resultados dentro de faixas encontrados em outros estudos na literatura. Pela análise sensorial foi observada uma boa aceitação do produto pelos consumidores, tendo apresentado nota 7 que indica que os consumidor / Abstract: This study aimed to characterize the raw material and Italian salami products obtained through pork from TOPIGS (Tempo, macho x Topigs 40, fêmea). The first step of this experiment was developed on a commercial farm involving a total of 450 pigs submitted to immunocastration and the inclusion of ractopamine (RAC) in the plane of nutrition of pigs in the finishing phase (21 days before slaughter), and thus six treatments: females with the addition of ractopamine (FR), females without ractopamine (F), castrated males physically with ractopamine (CR), castrated males physically without ractopamine (C), males immunocastrated with ractopamine (IR) and males immunocastrated without ractopamine (I) . It was applied a completely randomized design, factorial scheme 3 (physical castration immunocastration and female) x 2 (with and without ractopamine). Sixty animals were slaughtered selected with 163 days of age. After boning, the raw material was used in the manufacture of salami. It was analyzed the chemical composition, pH and color palette. During the processing of the sausage it were measured pH, water activity, color, and weight loss. In the final products was carried out microbiological and sensory analysis. The results were submitted to ANOVA and Tukey's test. The addition of ractopamine in the diet showed no influence (p> 0.05) on the levels of protein, fat, moisture and color palettes. There were significant differences (p <0.05) for pH and water activity during the processing of the sausage, however, showed results within ranges found in other studies in the literature. The sensory evaluation showed a good acceptance by consumers of the product, presenting 7 note that indicates that consumers liked moderately salami. he present results suggest that the technologies studied, immunocastration addition of ractopamine in swine diets, can be successfully applied in the production of Italian salami / Mestre

The present paper investigates the use of two high–frequency verbs: make and take. These verbs are particularly interesting since they express basic meaning (the meaning of the verb is mostly determined by its combinations). Therefore, they do not constitute a problem in learners’ comprehension. However, because they have little semantic content, learning how to use them appropriately has proved to be tricky even for advanced learners (Howarth, 1998; Altenberg &amp; Granger, 2001; Nesselhauf, 2003; Futgi et al. 2008). The aim of this study is to analyse learners’ ability to produce the two high-frequency verbs to uncover features of non–nativeness of learner language in relation to the use of these verbs, such as overuse/underuse of certain verbs, nouns, collocations or structures, focusing on Spanish and Italian learners of English. Corpus Linguistics (CL) is particularly useful for looking for this type of non–native usage patterns. Learner Corpora will be studied using CIA, Contrastive Interlanguage Analysis (Granger, 1998) as a method, more specifically NL/IL comparison (native language vs interlanguage) to be able to compare native and non–native speakers’ performances in comparable situations. A second type of comparison will be made between two interlanguages (Spanish and Italian). Including a second L2 variety allows to distinguish general L2 features from characteristics that are exclusive to one particular language. Authentic learner data has been retrieved from the International Corpus of Learner English (ICLE). ICLE contains argumentative essays produced by advanced second language learners of English from different mother–tongue backgrounds. The Louvain Corpus of Native English Essays (LOCNESS) is used as a control corpus to compare it with the learner corpora. Results bring further evidence that high-frequency verbs are difficult items even for advanced English learners. In addition, the two learner groups share some of the problems, while others, despite the similarities between the two languages, are related to the L1 of the learners. These results have pedagogical implications: teachers should aim to improve learners’ productive capacities of those items that have not been fully mastered yet, such as high-frequency verbs.