Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

L'objectif de ce travail de recherche est d’élaborer une approche pédagogique renouvelée pour un enseignement du français et de l’italien comme langues étrangères qui utilise le support publicitaire. Pour cela, nous avons fait référence aux principaux travaux existant dans ce domaine et nous avons analysé les caractéristiques de la publicité dans une approche contrastive en français et en italien et dans une perspective didactique. L’étude de l’évolution des stratégies et des formes de codage du message publicitaire ainsi que de ces spécificités linguistiques, iconographiques et culturelles est mis au service d’une approche qui s’inscrit tant dans la dimension actionnelle, interculturelle et plurilingue prônée dans le CECRL que dans l’éducation aux médias recommandée par l’UE et présente dans les plans d’études des systèmes scolaires et universitaires français et italiens. Notre propos est à la fois de montrer les atouts d’une exploitation didactique de ce type de documents à plusieurs niveaux de compétence et pour différents publics et de prouver l’efficacité de certaines approches méthodologiques, notamment celles qui intègrent les nouvelles technologies de l’information et de la communication et les outils numériques. Ce travail de recherche constitue le cadre général d’un vaste programme multimédia interculturel et interlinguistique pour l’enseignement de l’italien et du français qui aboutira à la creation d’un site ou d’un blog didactique offrant la possibilité de réaliser et répertorier de nouveaux scenarios pédagogiques dans le domaine de l’enseignement-apprentissage des langues étrangères en milieu scolaire et universitaire. / The purpose of this research work is to develop a renewed pedagogical approach which uses advertising as tool for the teaching of French and Italian as foreign languages. To this end, we have made reference to the major studies in this area, and we have analysed the characteristics of advertising adopting a contrastive approach in French and Italian and in a didactic perspective. The study of the evolution of the strategies and forms of encoding of the advertisements message – as well as the linguistic, iconographic and cultural peculiarities – is put at the service of an approach which places itself in an action-orientated, intercultural and plurilinguistic dimension. This approach – adopted in the educational plans of French and Italian schools and universities - meets both the recommendations of the CEFR and the media literacy endorsed by the EU. In addition to illustrate the advantages of a didactic exploitation of this type of documents at different levels of competence and for different users, our objective is also to prove the effectiveness of certain methodological approaches, especially those integrating new information and communication technologies and digital tools.This research work represents the general framework of an extended multimedia, intercultural and interlinguistic programme for the teaching of Italian and French and it will lead to the creation of a website or an educational blog, offering the opportunity to implement and catalogue new pedagogical scenarios in the field of teaching-learning of foreign languages in schools and universities.

Despite measures on the European level to increase the compatibility between the HE sectors of the member states, the recent literature exposes variations in their efficiencies. To gain insights into these differences we split the efficiency term according to the two management levels each university is confronted with. Utilizing a recent advancement in the method to measure efficiency, we separate short-term (transient) and long-term (persistent) efficiency, while controlling for unobserved institution specific heterogeneity. While the first term reflects the efficiency of the individual universities working within the country, the second term echoes the influence of the country specific overall HE structure. The cross-country comparison displays if the overall efficiency difference between countries is related to individual performance of their universities or their HE structure. This allows more purposeful policy recommendation and expands the literature regarding the efficiency of universities in a fundamental way. Choosing Italy and Germany as two important illustrative examples we can take advantage of a novel dataset including characteristics of institutions in both countries for an exceptional long period of time from 2001 to 2011. We show that the Italian universities exhibit a higher overall efficiency value than their German counterparts. With the individual universities working at the upper bound of efficiency in both countries, the overall inefficiency as well as the gap between the countries is caused by persistent, structural inefficiency. To expedite a true European Area of Higher Education future measures should hence aim at the country specific structure, not solely at affecting the activities of single universities.

The aim of this thesis is to show how the contemporary critical debate on migrant literature in Italy has proved to be inadequate to grasp the complexity of novels such Onela Vorpsi’s The Land where No One Ever Dies and Anilda Ibrahimi’s Rosso come una sposa (“Red as a Bride”). The main critical trends are presented, the two novels are analysed in their themes and new methods of analysis are suggested. In particular, I open for the possibility of framing these two novels within the multidisciplinary debate on the imaginative colonisation of Eastern Europe.

Ce travail de recherche s’interroge sur l’usage des langues dialectales dans le théâtre italien contemporain. De fait, celles-ci restent une source d’inspiration importante dans les créations les plus innovantes des trente dernières années, malgré l’affirmation de l’italien sur tout le territoire national depuis l’Unité. Cette étude s’interroge sur les valeurs et les enjeux de ces langues dialectales dans un théâtre actuel qui est, pour une part importante, le fait d’acteurs-auteurs : ainsi, la relation qui s’établit entre l’artiste, à la fois créateur et interprète, et la langue théâtrale, s’appuie sur une approche de l’élément langagier qui est aussi fondamentalement pré-cognitive, voire corporelle.Après avoir élucidé dans un premier temps les dynamiques linguistiques à l’œuvre dans le théâtre italien depuis l’Unité, cette étude se resserre autour de la pratique de cinq acteurs-auteurs contemporains : Marco Paolini, Ascanio Celestini, Spiro Scimone (Compagnia Scimone Sframeli), Emma Dante (Compagnia Sud Costa Occidentale) et Enzo Moscato. L’analyse du parcours de chacun de ces artistes, ainsi que d’une œuvre en particulier, se propose d’établir une cartographie du théâtre italien contemporain puisant dans les dialectes la matière de sa langue théâtrale. Il s’agit de mettre en évidence les lignes de fuite de créations qui interrogent trois notions clés au cœur de l’analyse : le temps, le territoire et l’identité, notions qu’une réflexion constante sur le concept de limite et de frontière affine et redéfinit progressivement. / This doctoral dissertation deals with the use of dialectal languages in the contemporary Italian theater. Indeed, these languages remain an important source of inspiration in the most innovating creations of the last thirty years, in spite of the paramount place the Italian language has come to have in the whole national territory since the Italian Unification. This study deals with the values and with what is at stake in these dialectal languages in today's theater which is, most of the time, created by actors-authors: therefore, the relationship between the artist, who is both creator and performer, and dramatic language, relies on a way of tackling the linguistic element that is fundamentally precognitive and corporal as well.After having cleared up the linguistic dynamics in the Italian theater since the Unification ; the study focuses on the work of five contemporary actors-authors: Marco Paolini, Ascanio Celestini, Spiro Scimone (Compagnia Scimone Sframeli), Emma Dante (Compagnia Sud Costa Occidentale) and Enzo Moscato. Studying the work of these artists, as well as a specific play, intends to draw up a cartography of the contemporary Italian theater that is inspired by dialect languages to create its own dramatic language. The study aims to lay emphasis on the convergence lines of creations which deals with three key notions, at the core of the study: time, territory and identity. These three notions will be progressively redefined and precised by working on the idea of limit and boundary. / Questo lavoro di ricerca si interroga sull’uso delle lingue dialettali nel teatro italiano contemporaneo. Infatti, esse restano un’importante fonte d’ispirazione nelle creazioni più innovative degli ultimi trent’anni, nonostante l’affermarsi dell’italiano sull’intero territorio nazionale a partire dall’Unità. Questo studio si interroga sui valori e sul peso di queste lingue dialettali nel teatro odierno che, in larga parte, viene realizzato da attori-autori: perciò, la relazione che si stabilisce tra l’artista, insieme creatore ed interprete, e la lingua teatrale è fondata su un approccio fondamentalmente pre-cognitivo, e perfino corporeo, dell’elemento linguistico.Dopo aver chiarito, in un primo momento, le dinamiche linguistiche in atto nel teatro italiano sin dall’Unità, questo studio si accentra intorno alla pratica di cinque attori-autori contemporanei: Marco Paolini, Ascanio Celestini, Spiro Scimone (Compagnia Scimone Sframeli), Emma Dante (Compagnia Sud Costa Occidentale) e Enzo Moscato. L’analisi del percorso di ognuno di questi artisti, nonché di una loro opera in particolare, mira a stabilire una cartografia del teatro italiano contemporaneo che attinge dai dialetti la materia della propria lingua teatrale. Si tratta di evidenziare le linee di fuga di creazioni che interrogano tre nozioni-chiave al cuore dell’analisi: il tempo, il territorio e l’identità, nozioni affinate e progressivamente ridefinite da una costante riflessione sul concetto di limite e di confine.

Notre recherche porte sur la compréhension approfondie de la chronogenèse italienne et, en son sein, de l'expression du futur, selon les principes théoriques et méthodologiques guillaumiens. Notre étude comparative associe les approches diachronique et synchronique. Nous étudions l'évolution de l'expression du futur de l'ancien italien à l'italien contemporain écrits grâce à un 1er corpus construit à partir du texte original du Decamerone de G. Boccaccio, de sa traduction en italien contemporain proposée par A. Busi et de sa traduction en français par J. Bourciez. Nous comparons l'expression du futur dans trois romans graphiques rédigés en italien (par des auteurs originaires de Vénétie et de Sicile) et en français, à l'aide d'une 2e série de corpus extrapolée à partir des transcriptions de ces BD. Nous observons, d'une part, les différences entre le français et l'italien standards contemporains, d'autre part, les réalisations de l'italien standard selon l'influence des substrats régionaux. Grâce à un 3e corpus, nous étudions l'expression du futur en napolitain en comparant les textes de chansons napolitaines du XIXe au XXIe, avec leurs traductions en italien et français standards. Notre confrontation des diverses solutions pour le futur couvre d'Ouest en Est la Romania occidentale (français standard, italien régional de Vénétie), la position centrale qu'occupe l'italien standard issu du florentin littéraire, la Romania orientale (italien régional de Sicile, napolitain). Nous étudions la distribution des formes morphologiques du futur (synthétiques, analytiques), leurs emplois (temporels, modaux) ainsi que les solutions alternatives d'expression du futur (autres temps, CC de temps). Nous discutons les concepts d'aspect, d'accompli et d'inaccompli, de perfectif et d'imperfectif et étudions leur distribution dans les formes morphosyntaxiques de l'expression du futur. / Our research focuses on the deep understanding of the Italian chronogenesis, and within it, of the expression of future, based on the theoretical and methodological principles of G. Guillaume. Our comparative study combines diachronic and synchronic approaches. We study the evolution of the expression of future from former Italian to contemporary Italian literature through a first corpus built from the original text of the Decameron of G. Boccaccio, its contemporary translation proposed by A. Busi and its French translation by J. Bourciez. We compare the expression of future in three Italian (by authors from the Veneto and Sicily) and French graphic novels, with a second series of corpus extrapolated from the transcripts of these comics. We observe, on one hand, the differences between French and Italian contemporary standards, and on the other hand, the achievements of the Italian standard according to its substrates' regional influence. With a third corpus, we study the expression of future by comparing Neapolitan songs texts from the XIXth to the XXth century, with their translations in Italian and French. Our comparison of the various solutions for future covers, from West to East, the western Romania (standard French, Veneto regional Italian), and the central position of the Italian literary standard from Florentine, Eastern Romania (Sicilian regional Italian, Neapolitan). We study the distribution of future's morphological forms (synthetic, analytic), uses (temporal, modal) and alternative expression of future (other times, adverbial phrase of time). We discuss the concepts of aspect, accomplished and unaccomplished, perfective and imperfective and study their distribution in the morphosyntactic forms of future's expression.

Expression globalisante des moyens d’action du secteur privé au service du secteur public, le partenariat public-privé pourrait être appréhendé comme révélant l’effritement des catégories notionnelles des contrats de commande publique. Cependant, le partenariat public-privé n’a pas remis en cause l’unité de la matière. Au contraire, les instruments juridiques du P.P.P. la renforcent. Cette analyse se vérifie aussi bien en France qu’en Italie et cette étude se propose d’analyser la signification juridique du phénomène dans ces deux pays. Les évolutions induites par la notion s’inscrivent dans cette logique. La démarche comparatiste utilisée permet alors de comprendre les tenants et les aboutissants de cette évolution et s’inscrit dès lors comme une contribution à la théorie générale des contrats publics. / Holistic expression as a means of action by the private sector to further the public sector, the publicprivate partnership could be perceived as revealing the erosion of the notional categories of public procurment contracts. However, the public-private partnership has not called into question the subject unity. In fact, on the contrary, the legal instruments of the PPP strentgthen it. This analysis can be verified in France as well as in Italy and the present study offers to analyse the legal signification of the phenomenon in both countries. The development induced by this notion confirms this trend. The comparative approach enables to understand the whys and wherfores of the development and formspart of the general theory of public contracts. / Espressione globalizzata dei mezzi d’azione del settore privato al servizio del settore pubblico, il partenariato pubblico-privato potrebbe essere visto come rivela la dislocazione delle categorie del diritto dei contratti pubblici. Tuttavia, il partenariato pubblico-privato essa non pregiudica sulll'unitàdella disciplina. Invece, gli strumenti giuridici del P.P.P la rafforza. Questa analisi è confermata in Francia e in Italia ed lo studio permette di analizzare l'importanza giuridica del fenomeno in i due paesi. L'approccio comparativo utilizzato permette di capire questa evoluzione e può essere percepitocome un contributo alla teoria giuridica dei contratti pubblici.

Die vorliegende Arbeit stellt für die Bildwissenschaften eine methodische Grundlage dar, Kleidung im Bild als Konstruktion zu begreifen und zu interpretieren. Anhand der eindrucksvollen Patronageprojekte der Familie Tornabuoni – einer gerade emporgestiegenen Kaufmannsfamilie im Umkreis der Medici – werden die Möglichkeiten und Grenzen von symbolischer Kommunikation in der Florentiner Frühneuzeit untersucht. Unter anderem über Symbole wurde die Position im Gesellschaftsgefüge des unsicheren frühneuzeitlichen Regierungsklimas immer wieder neu hergestellt und von Neuem ausgehandelt. Die gewählte Bildgarderobe ist dafür ein hervorstechendes Beispiel. / The thesis presents an art historical methodology that assesses clothing and its pictorial representations in order to interpret how material culture relates to social construction. Using as an example an impressive patronage project of the Tornabuoni family – a newly rich family of merchants in the circle of the Medici – reveals the possibilities as well as the limitations of symbolic communication through dress in early modern Florence. In addition to outward style, these subtle symbols helped to establish and renegotiate their bearer’s position in the shifting hierarchy of an uncertain political climate. By closely examining Tornabuoni commissions, the thesis demonstrates how clothing is a critical means of understanding social motivations and aspirations.

Développées par la Cour de Justice, les invocabilités des directives européennes définissent les conditions permettant aux personnes juridiques de se prévaloir d'une directive dans leurs rapports juridiques. La Cour de Justice a réussi à introduire ces invocabilités dans les ordres juridiques nationaux, notamment en Italie et en France, en s'appuyant, d'une part, sur des éléments déjà existants dans les ordres juridiques des États membres, tels que la technique de l'interprétation conforme et le principe de la responsabilité de la puissance publique, en les faisant évoluer dans le sens européen. D'autre part, la Cour a aussi créé des outils nouveaux et, finalement, révolutionnaires, tels que les invocabilités de substitution et d'exclusion de la norme nationale incompatible avec une directive européenne. La mise en oeuvre de ces invocabilités a eu des répercussions importantes sur le rôle des juridictions nationales, qui ont vu l'ensemble de leurs missions s'étendre. La sphère juridique des particuliers a également été influencée, de façon imprévisible et, parfois, préjudiciable. / Developed by the European Court of Justice, the invocability of EU directives defines the conditions allowing legal subjects to exercise the rights conferred by a directive in their legal relationships. The ECJ has managed to introduce different types of invocability into the member States national legal orders, and notably in Italy and France, by, on the one hand using some pre-existing elements of the national legal orders, such as consistent interpretation and the principle of State liability, and making them evolve in a European way. And, on the other hand the ECJ has also created new and, finally, revolutionary tools, such as invocability of substitution and invocability of exclusion of the national law incompatible with a EU directive. The implementation of these different types of invocability has had a deep impact on the role of national courts, who have seen their mandate extended. The legal sphere of legal subjects had also been influenced, in unpredictable and sometimes detrimental ways.

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