De récentes découvertes sur le rôle du détail phonétique ont inspiré des modèles prosodiques basés sur une approche exemplariste. Au travers de quatre expériences portant sur la production et la perception du détail mélodique et temporel dans la variété napolitaine de l'italien, nous montrons que la notion de détail prosodique n'est pas non plus incompatible avec une approche abstractionniste. Plus particulièrement, nous suggérons que l'exploration du détail prosodique permettrait de mieux encadrer les rapports entre substance phonétique et formes phonologiques, en éclairant ainsi comment les fonctions pragmatiques sont véhiculée par la prosodie. / Recent findings on phonetic detail have been taken as supporting exemplar-based approaches to prosody. Through four experiments on both production and perception of both melodic and temporal detail in Neapolitan Italian, we show that prosodic detail is not incompatible with abstractionist approaches either. Specifically, we suggest that the exploration of prosodic detail leads to a refined understanding of the relationships between the richly specified and continuous varying phonetic information on one side, and coarse phonologically structured contrasts on the other, thus offering in-sights on how pragmatic information is conveyed by prosody.

This thesis purpose is to examine the development of the European Union’s threat perception and identetity construction in regards to Russia. It uses a qualitive text analysis to study the national security strategies formulated by the memberstates Sweden, Germany, Italy and Poland and how these countries view of Russia is formulated. Furthermore it compares the change from before the annexation of Crimea and the Ukraine crisis and how this influenced the possibly change in perception of Russia. The study finds that the Russian action in Crimea and Ukraine has changed the threat perception in Sweden, Germany and Poland but that Russia is not mentioned in the Italy papers. Hence the identity construction is similar in the countries north of the Alps but Italy does not contrast its identety to Russia. From this the study concludes that the Russian threat is not enough to construct an European identity throughout Europe but there are patterns within the Union, which might indicate how the European project might continue.

Bei dieser Arbeit handelt es sich um eine Untersuchung zum Thema Renaissance-Humanismus und Individualismus untersucht in pädagogischen Schriften des italienischen und deutschen Humanismus. Im ersten Kapitel wird die Entwicklung dargestellt, die in der Geschichtsschreibung zur Herstellung der Verbindung zwischen Renaissance, Humanismus und Individualismus geführt hat. Nach einer Klärung der Terminologie, die zur Beschreibung des Individualismus verwendet wird (z.B., Individuum, Individualität, Subjektivität, Autonomie, kritische Einstellung) im zweiten Kapitel, werden im dritten und vierten Kapitel die bedeutendsten Schriften des italienischen und deutschen Humanismus anhand der Fragestellung analysiert, ob darin Zeichen von Individualismus zu finden sein können. Die Analyse ergab, dass es, trotz aller Ähnlichkeiten, wie der Betonung der Leistung des einzelnen Menschen oder der Aufforderung zur Berücksichtigung der Naturanlage des Einzelnen, ungerechtfertigt ist, von Individualismus in den humanistischen pädagogischen Schriften zu sprechen. U. a. wird in diesen Schriften der einzelne Mensch in erster Linie als Teil der Gesellschaft angesehen, und in der Argumentation der Humanisten spielen wesentliche Elemente des modernen Individualismus, wie die Idee des „Selbst“ als Grundlage der Identität oder die Idee der Selbstverwirklichung, keine eindeutige Rolle. / The present thesis comprises a research on the subject of Renaissance Humanism and Individualism on the basis of educational writings of Italian and German humanism. The first chapter approaches the developments in the historiography, which led to the connection between Renaissance, humanism and individualism. After an explanation in the second chapter about the terminology which is commonly used to define individualism (e.g. individual, individuality, subjectivity, autonomy, critical thought), the most significant educational writings of Italian and German humanism are analyzed in the third and fourth chapters, in light of the question whether signs of individualism can be found in them. The analysis comes to the conclusion that it is unwarranted to speak of individualism in the humanistic educational writings, in spite of all possible resemblances, for instance, the stress on the individual’s effort and achievement and the urge to account for the nature of the individual. In these writings, the individual is primarily seen as a part of the society. Furthermore the idea of the “self” as the basis of identity or the idea of self-realization, which are essential concepts of the modern individualism, plays no significant role in the argumentation of the humanists.

Cette thèse s’inscrit dans le courant des études portant sur la relation langage-cognition enL2. L’objectif principal est d’analyser la conceptualisation spatiale dans une tâchenarrative orale (Frog story) chez plusieurs groupes d’apprenants qui se distinguent a) pourleur L1 (anglais, français, italien), b) pour leur L2 (italien, français) et c) pour leur niveaude compétence en L2 (intermédiaire vs. avancé). Pour ce faire, nous adoptons uneméthodologie impliquant des comparaisons successives entre les récits de groupes natifs etnon natifs ayant accompli la même tâche, afin de comprendre de quelle manière lesapprenants se rapprochent de la LC et s’ils sont influencés par leur L1 lors du discoursspatial en L2.L’analyse des récits natifs confirme les différences intertypologiques entre les languesverb-framed, français et italien, et satellite-framed, l’anglais (Talmy 1985). Néanmoins,une variation intra-typologique entre l’italien et le français est attestée: seul l’italienexploite des constructions satellitaires.Quant aux productions en L2, les apprenants, surtout les intermédiaires, traitent la tâche defaçon minimale (traitement prototypique, Watorek 1996) en exprimant essentiellement latrajectoire, qui représente la composante de base dans la tâche demandée. Au niveauintermédiaire, il n’y a pas de traces d’influence de la L1 sur la conceptualisation spatiale enL2, qui est, en revanche, attestée chez les apprenants anglophones avancés de l’italien L2 àtravers l’emploi de constructions satellitaires. L’existence de structures similaires dans laLS et la LC et l’évidence positive dans l’input semblent favoriser le transfert conceptuel enL2. / This thesis intervenes in the line of studies about the relation between language andcognition in L2. The main objective is to analyze spatial conceptualization in an oralnarrative task (Frog story) by several groups of learners who differ for a) their L1 (English,French, Italian), b) their L2 (Italian, French) and c) their L2 proficiency level (intermediatevs. advanced). In order to do this, we adopt a methodology that implies successivecomparisons between the productions performed by different native and non-native groupsaccomplishing the same task. The aim is to distinguish to what extent learners get closer tothe TL and if they are influenced by their L1 during the spatial production in L2.The L1 results confirm the intertypological differences between verb-framed, Italian andFrench, and satellite-framed languages, English (Talmy 1985, 2000). Nevertheless, anintratypological variation between Italian and French is attested: only Italian makes use ofsatellite constructions.As for L2 productions, learners, especially the intermediate ones, provide a minimalresponse to the task (traitement prototypique, Watorek 1996) by encoding mainly Path, thebasic component of the task. At the intermediate level, there are no traces of the influenceof the L1 on spatial conceptualization in L2, instead attested by advanced English learnersof Italian L2 through the use of satellite constructions. The existence of similar structure inthe SL and TL and the positive evidence in the input seem to favour conceptual transfertfrom L1 to L2.

L'objectif de ma thèse était de créer un catalogue de films de fiction relatifs à la Première Guerre mondiale produits en Italie et en France entre 1914 et 2013. Méthodologiquement, j'ai travaillé sur une variété de sources (répertoires cinématographiques, revues spécialisés, visas de censure et vision des films) selon la disponibilité des matériaux qui sont parvenus jusqu'à nous. J'ai essayé de proposer une enquête analytique qui comprend aussi des films qui se rapportent la guerre sans la montrer, pour cette raison mon travail sera sûrement incomplet mais il vise à une exhaustivité la plus grande possible. J'ai consacré une attention particulière à la censure exercée par |'État, en particulier jusqu’au les années `GD, une époque où la censure politique a été particulièrement forte. En plus de la censure définitive, j’ai aussi analysé celle préalable (en Italie de 1945 à 1965, en France de 1945 à 1961.] et en relevant deux attitudes qui sont similaires mais avec différentes méthodes d'intervention. Bien que l’enquête soit centrée sur les deux pays, l’espace donné à l’affaire italienne est supérieure à celui français. Le choix de la comparaison avec la France a été conditionné par plusieurs considérations, notamment la centralité qui, encore aujourd'hui, à la Première Guerre mondiale dans les cinémas et la public history française. L'évolution du récit cinématographique a été mise en relation avec le contexte politique, cinématographique, Législatif et historiographique; j'ai aussi essayé de comprendre la réception critique des films à travers deux facteurs : les résultats du box-office et les opinions exprimées dans les revues. / The aim of my thesis was to create a catalog of fiction films related to the First World War produced in Italy and France between 1914 and 2013. Methodologically, 1 worked on a variety of sources (movie collections, specialized magazines, rating and direct viewing of picture show), depending on the availability of materials which came to us. I have tried to propose an analytical investigation that also includes movies concerning the war without showing it; I am well aware my work will be certainly incomplete but it tries to be the more comprehensive possible. I have devoted a special attention to the censorious intervention exercised by the government, particularly until the early Sixties, indeed those years political censorship was very strong. In addition to the analysis of general censorship, I added that of prior one (in Italy 1945-65, in France 1945-61) and I found two similar attitudes but with different methods of intervention. Although the investigation is centered on the two countries, more importance will be given to the Italian CBSE instead of French one. The choice of comparison with France was influenced by several considerations; not least, the main point of the First World War has in both film and French public history even today. These factors have not been strange to the will to compare with the history of this country, considered as one of the most interesting. The evolution of fiction story has been put in relation with the political, cinematographic, and legislative and historiography background; I also tried to understand the film reception through two factors: the results of the box office and the opinions expressed in specialized magazines

Ce projet propose une étude comparée de deux cinéastes essentiels, dont l'œuvre montre un fort rapport à l'onirisme et à l'imaginaire : Alain Resnais et Federico Fellini. Ayant commencé à la même époque (après la Seconde Guerre mondiale), ils ont traversé plusieurs périodes en parallèle. Nombre d'aspects les rapprochent, malgré leurs différences de styles et de cultures. Alain Resnais porte un regard sur l'histoire contemporaine, mais travaille également sur la vision subjective, la mémoire individuelle, et divers états de conscience. Fellini porte un regard acerbe sur la bourgeoise italienne, et propose simultanément un vagabondage dans les consciences et l'inconscient marqué par le merveilleux et l'onirique. Les deux cinéastes refusent de limiter la réalité « au constat purement objectif d'un monde scientifiquement analysable » pour montrer une « autre réalité », qu'il s'agit ici de questionner à l'aide de différentes théories (psychanalytiques, littéraires, philosophiques…). / This project proposes a comparative study between two essential film directors: Alain Resnais and Federico Fellini. Their work shows a strong relation with the oneiric and the imaginary. They began in the same period (after the Second World War) and they shared the same historical experiences in two different countries. Despite a difference of style and culture, a lot of aspects approach them. Alain Resnais focuses on contemporary history, but he works also on the subjective vision, individual memory, and different states of consciousness. Fellini focuses on the Italian bourgeoisie and he proposes simultaneously a kind of vagrancy in the conscious and in the unconscious, always marked by the oneiric. The two film directors refuse to limit the reality «to an objective analysis of a world scientifically analyzable». They want to show an «other reality». We want to interrogate this reality with the help of different theories (psychoanalytic, literary, philosophical…).

L’Europe du XXe siècle voit la création de compagnies et centres de recherche qui se consacrent à la redécouverte des modules de la Commedia dell’Arte, véritable forme de théâtre traditionnel en Occident qui a décliné après la ‘réforme’ de Goldoni. Giovanni Poli représente l'exemple le plus significatif de ce processus de réinvention que nous appelons, avec un néologisme, néo-Commedia dell'Arte. Ayant eu accès à ses archives privées et après les avoir retranscrites et proposées en annexe, nous avons pu entrer dans tous les méandres de son activité polymorphe et voir comment elles répondaient à nos questionnements. La présente thèse est structurée en trois parties allant de la pensée à la pratique et vice-versa. La première interroge la formation de la pensée de Poli autour de la Commedia dell'Arte afin de comprendre quelle était la démarche qui l'a conduit à concevoir son spectacle le plus célèbre La Commedia degli Zanni (1958). La deuxième est dédiée à sa pratique artistique, corrélée à la fois à la dramaturgie et aux mises en scène inspirées du phénomène historique, attachant une importance particulière à la technique du montage anthologique, l'une des caractéristiques principales de son écriture ‘postdramatique’. La dernière partie analyse les processus de transmission de cette réinvention, qui advient à travers son activité pédagogique et les ‘voyages’ au sens propre et au sens figuré entrepris avec sa néo-Commedia dell'Arte. Puisant à la fois dans la tradition théâtrale italienne et dans l’avant-garde, il réinvente un système référentiel, se révélant une cheville indispensable à la reconstruction du panorama européen et mondial de la néo-Commedia dell'Arte. / Europe of the XXth century sees the creation of companies and research centers which dedicate themselves to the rediscovery of the modules of Commedia dell'Arte, the real shape of western traditional theater, which declined after the 'reform' of Goldoni. Giovanni Poli represents the most significant example of this process of reinvention that we call, with a neologism, néo-Commedia dell'Arte. Having had access to his private archives and having transcribed and proposed them in appendix, we were able to enter all the meanders of his polymorphic activity and to see how they answered our questionings.This thesis is structured in three parts, moving from the thought to the practice and vice versa. The first one, questions the formation of Poli’s thought around Commedia dell'Arte to understand what was the approach which led him to conceive his most famous play La Commedia degli Zanni (1958). The second part is dedicated to his artistic practice correlated, at the same time, with dramatic art and with directions inspired by the historical phenomenon, setting a particular importance to the technique of anthological editing, one of the main features of his 'postdramatic' writing. The last part analyzes the processes of transmission of this reinvention, which happens through his educational activity and the 'journeys' literally and figuratively undertaken with his néo-Commedia dell'Arte. Drawing at the same time on Italian theatrical tradition and on the avant-garde, he reinvents a reference system, showing itself an essential core to the reconstruction of European and world panorama of néo-Commedia dell'Arte.

La présente thèse étudie la transformation de l’Italie vers la postmodernité (1957-1978) à travers le cinéma de trois auteurs : Michelangelo Antonioni, Federico Fellini et Pier Paolo Pasolini. Elle explore l’historicité du cinéma, en interrogeant la manière par laquelle le septième art constitue une mise en forme et une écriture de l’histoire. Dans la convergence de deux histoires, celle humaine et celle du cinéma, elle met en récit l’expérience de la transformation sociétale et artistique. En dernière analyse, il est question d’étudier le cas italien comme un paradigme. En réactualisant les propositions des trois cinéastes dans le contexte contemporain de la mondialisation, de l’hypermédiatisation et de la domination technologique, le présent travail nous invite à repenser la vie humaine et la création artistique face aux défis de la postmodernité. / This thesis examines the transformation of Italy towards postmodernity (1957-1978) through the cinema of three film directors: Michelangelo Antonioni, Federico Fellini, and Pier Paolo Pasolini. It explores the historicity of cinema, by questioning the concrete means through which film constitutes a form and a writing of history. In the coming together of two histories, the human one and that of the cinema, the thesis recounts the experience of a societal and artistic transformation. In the final analysis, it is a question of studying the Italian case as a paradigm. By updating the proposals of the three filmmakers in the contemporary context of globalization, hypermedia and technological domination, this work invites us to rethink human life and artistic creation, facing the challenges of postmodernity.

<p>This essay is called ”<em>The hunt for anarchists- a study</em> <em>about the police in Stockholm's collection of bandit portrait during the turn of the century 1900</em>”<em> </em>and it is about the criminal category ”Anarchists” who the police in Stockholm used at the turn of the century 1900.  In the archive from the police in Stockholm during the essays time perspective, 1899-1909,  there are about one hundred photographs in the category ”Anarchists”, about half of these pictures have no information besides the names of the people, but the other half, 48 persons, have some information about age, work title and where the person come from. The information showed that the people in the pictures where not from Sweden, and after controlling them in all different kinds of archives I found only ten of them have left any traces in Stockholm. What I realized then was that the people on the pictures are anarchists from different countries in Europe, mostly from Italy, and that the police in Stockholm had these pictures because different police stations around Europe had sent them to the police in Stockholm. The police in Stockholm where on the lookout for fugitive anarchists.</p><p>The literature about the anarchist movement in Italy during this time describe the hard situation for Italian anarchists. The police had persecuted, arrested and executed manyof them so many anarchists had fled abroad. The same was for Russian anarchists after the unsuccessful revolution in 1905. Eight of the ten anarchists of the police photographs who had been in Stockholm where Russians. They were a group who was accused of trying to kill the Russian czar visiting Stockholm in 1909.</p><p>None of the anarchists on the pictures have ever in Stockholm committed a political crime so to find out what a anarchist crime is have not been possible. But the general picture of the anarchists in the photographs is of a man in his 30’s with a working class job, in short: an everyday man.</p>

This essay is called ”The hunt for anarchists- a study about the police in Stockholm's collection of bandit portrait during the turn of the century 1900” and it is about the criminal category ”Anarchists” who the police in Stockholm used at the turn of the century 1900.  In the archive from the police in Stockholm during the essays time perspective, 1899-1909,  there are about one hundred photographs in the category ”Anarchists”, about half of these pictures have no information besides the names of the people, but the other half, 48 persons, have some information about age, work title and where the person come from. The information showed that the people in the pictures where not from Sweden, and after controlling them in all different kinds of archives I found only ten of them have left any traces in Stockholm. What I realized then was that the people on the pictures are anarchists from different countries in Europe, mostly from Italy, and that the police in Stockholm had these pictures because different police stations around Europe had sent them to the police in Stockholm. The police in Stockholm where on the lookout for fugitive anarchists. The literature about the anarchist movement in Italy during this time describe the hard situation for Italian anarchists. The police had persecuted, arrested and executed manyof them so many anarchists had fled abroad. The same was for Russian anarchists after the unsuccessful revolution in 1905. Eight of the ten anarchists of the police photographs who had been in Stockholm where Russians. They were a group who was accused of trying to kill the Russian czar visiting Stockholm in 1909. None of the anarchists on the pictures have ever in Stockholm committed a political crime so to find out what a anarchist crime is have not been possible. But the general picture of the anarchists in the photographs is of a man in his 30’s with a working class job, in short: an everyday man.