This dissertation analyses the influence and impact of the discourse on Physiognomy on European theatrical culture at the end of the eighteenth and the beginning of the nineteenth centuries. The debate about the scientific nature of Physiognomy prompted by the work of Johann Caspar Lavater, is discussed in the theoretical and philosophical introduction. Starting from the concept that Physiognomy refers to particular signs on the face, which can be read and interpreted through a well-defined system, this dissertation looks for evidence of a knowledge and awareness of this pseudo-scientific theory among various authors of theatrical works. The methodology applied in the two analytical parts refers to the semiotics of theatre and the subdivision of its material into “performance text” and “dramatic text”. The first part discusses the influence of Physiognomy on theatrical performance. Theatre is seen as a public space and the actor stands at the centre of the performance. The acting manuals published between 1740 and 1840, offer a large amount of physiognomic and pathognomic elements, among them, the theory related to the passions and emotions comes to be of crucial importance in this analysis. In the second part, the influence of Physiognomy on the plays is analysed. This part is dedicated to a text analysis of a selected dramatic corpus of plays in French, English, Italian and German. The analyses begin by summarizing some newly developed genres, such as Melodrama, Comédie Larmoyante, Drame bourgeois, Rührstück, and Bürgerliches Trauerspiel. Physiognomy makes an appearance in many different guises: in the so-called “physiognomical portraits”, for instance, where we find animated discussions on the passions to be displayed, and also direct references to Johann Caspar Lavater and his science. The text analysis ends with a contextualization of the dramatic corpus seen within a wider artistic production of the time (portraits, caricatures, silhouettes).

Within the framework of third-wave feminist philosophy, this dissertation explores female subjectivity in twentieth and twenty-first century literary and cinematic representations of Sleeping Beauty in which the magic typical of the classical versions of the fairy tale has been substituted by science and technology. We reveal the complexities of female subjectivity in the different versions of the fairy tale and reject the universalistic notion of Sleeping Beauty as passive. While contextualizing Sleeping Beauty in the historical, oral, and literary traditions from which she derived, we first explore female subjectivity through a close reading of the tale’s classical versions, that is: Giambattista Basile’s “Sole, Luna e Talia” (1634), Charles Perrault’s “La Belle au bois dormant” (1697), and the Brothers Grimms’ “Dornröschen” (1812-1857). This study serves as the foundation for our subsequent investigation of Sleeping Beauty in the twentieth and twenty-first centuries. Since the middle of the twentieth century when a new “vogue” in fairy tale studies merged with the rising interest in the compatibility of science and the humanities, Sleeping Beauty has appeared at the crossroads of science and fiction in: Primo Levi’s “La bella addormentata nel frigo” (1966), Angela Carter’s “The Lady of the House of Love” (1979), Harold Pinter’s A Kind of Alaska (1982), Pedro Almodóvar’s Hable con ella (2002), Michel Gondry’s Eternal Sunshine of the Spotless Mind (2004), and Marco Bellocchio’s Bella Addormentata (2012). Each work, or hypertext as Gérard Genette calls a work deriving from a previous work, uniquely builds on the Sleeping Beauty topos in a scientific and technological framework. In analyzing Sleeping Beauty in her new context, we analyze the relationship between science, technology, and female subjectivity.

Pour la première fois dans l’histoire, au cours de la troisième décennie du XIXe siècle après J.C., le choléra arrive d’Asie en Europe. Jusqu’à la fin du siècle, la médecine et la littérature en font un domaine de recherche commun. En effet, toutes deux cherchent, à ce mal inconnu, une cause respectivement, scientifique et eschatologique, sociale ou humaine. En réalité, les deux domaines se superposent: en effet, jusqu’à la moitié du siècle, la littérature offre à la toute nouvelle science du choléra son répertoire linguistique fantaisiste de la même manière que les importants résultats scientifiques obtenus par Pasteur et Koch viennent enrichir l’imaginaire littéraire européen, que ce soit en langue française, anglaise ou encore italienne. Les deux domaines progressent ensemble, de façon complémentaire, jusqu’à ce que le choléra reste incurable. La littérature offre plusieurs visages de la maladie: tantôt le choléra est un voyageur qui, sous forme de spectre justicier, de pèlerin maudit ou d’être omniprésent, arrive d’Orient, poussé par une force divine, pour punir la population occidentale; tantôt, le choléra est un venin diffusé en ville par un empoisonneur, un responsable de la contagion pouvant prendre la forme d’un étranger errant, d’un adversaire politique ou d’un savant maudit, se faisant le porte-voix d’une rédemption sociale; et enfin, le choléra est aussi un événement traumatique capable de bouleverser la vie et le morale d’individus se rendant coupables de meurtres passionnels, de vengeances personnelles ou de la dégénérescence de leur propre équilibre mental. Dans chacun de ces choix littéraires, la maladie du choléra devient l’expression d’une Némésis, interprétable tantôt comme une justice divine, une justice sociale ou une justice humaine. / For the first time in the history, around the thirties of the nineteenth century, cholera reaches Europe coming from Asia. Until the end of the century, both Medical Science and Literature deal with it as a common subject of investigation: they try to inspect the causes of this unknown disease under a scientific, eschatological and social or human perspective. Both the branches of knowledge overlap their area of interest about cholera up to the first half of the century; for instance, Literature offers its creative linguistic archive to the study, whereas Pasteur and Koch’s researches enhance the European narrative imaginary in English, French and Italian cultural contexts. Medical Science and Literature go along a parallel path but cholera lingers as incurable disease. In particular, Literature gives many facets to this ailment: images of cholera are linked to a traveler under the shape of an avenger or to a cursed pilgrim and sometimes to a ubiquitous presence: they all come from East to punish Western populations and a supernatural force pushes them. Furthermore, cholera is a kind of poison that a plague-spreader, as spokesperson for a social redemption, has disseminated in the city in disguise of a foreign wanderer, a political opponent or a doomed scientist. Eventually, cholera is an upsetting occurrence able to subvert individuals’ life and their moral values because leads them to mental degeneration: protagonists are able to commit crimes of passion and to take revenge. Cholera becomes expression of a nemesis in each of these literary characterizations, portrayed like divine justice, social justice or human justice.

Il paesaggio sacro dell'Epiro al di fuori dei centri di fondazione coloniale si caratterizza per una grande uniformità, determinata dall'esclusiva adozione delle forme templari non periptere. La ricerca si concentra sugli aspetti propriamente architettonici (planimetrici, tecnico-costruttivi, decorativi e formali) e sulle articolazioni funzionali dell'edilizia di culto regionale, troppo spesso trascurati nella storia degli studi a vantaggio di altre dimensioni dello spazio santuariale come quella religiosa o politico-istituzionale. / The sacred landscape of Hellenistic Epirus, outside of colonial centers, shows an absolute prevalence of non-peripteral temples (closed-front oikoi, prostyle naiskoi, naiskoi in antis). Even the only supposed peripteral temple in the region, the so called “Temple of Zeus Areios” at Rodotopi (Ioannina) appears to a close analysis to be the product of the Roman monumentalization of a previous prostyle temple. This research focuses namely on the architectural aspects of this “peripheral” cultic landscape, which have generally been neglected by scholars when compared with other aspects such as religious or political ones.

Lo scritto ha l’obiettivo di definire dinamiche e cronologie di quel complesso processo espansionistico che portò Roma alla conquista dei territori dell’Ager Gallicus, partendo dall’analisi dettagliata della cultura materiale e dei rispettivi contesti di provenienza emersi dalle recenti indagini archeologiche realizzate dal Dipartimento di Storia Culture Civiltà dell’Università degli Studi di Bologna nella città di Senigallia. In armonia con quanto testimoniato dalle sequenze stratigrafiche documentate, si delineano quattro principali fasi di vita dell’abitato: la prima preromana, la seconda riferibile alla prima fase di romanizzazione del sito, la terza inerente allo sviluppo dell’insediamento con la fondazione della colonia romana e l’ultima riferibile all’età repubblicana. Emerge con chiarezza la presenza già dalla fine del IV-inizio III a.C., di un insediamento romano nel territorio della città, sviluppatosi con la fondazione di un’area sacra e la predisposizione di un’area produttiva. La scelta del sito di Sena Gallica fu strategica: un territorio idoneo allo sfruttamento agricolo e utile come testa di ponte per la conquista dei territori del Nord Italia. Inoltre, questo centro aveva già intrecciato rapporti commerciali con gli insediamenti costieri adriatici e mediterranei. La presenza di ceramica di produzione locale, il rinvenimento di elementi distanziatori e le caratteristiche geomorfologiche del sito, fanno ipotizzare la presenza in loco di un’officina ceramica. Ciò risulta di grande importanza dato che tutte le attestazioni ceramiche prodotte localmente e rinvenute nel territorio, fino ad oggi sono attribuite alle officine di Aesis e Ariminum. Dunque Sena Gallica sarebbe stata un centro commerciale e produttivo. La precoce presenza di ceramica a Vernice Nera di tipo romano-laziale prodotte localmente prima dell’istituzione ufficiale della colonia, che permette di ipotizzare uno stanziamento di piccoli gruppi di Romani in territori appena conquistati ma non ancora colonizzati, attestata a Sena Gallica, trova riscontro anche in altri centri adriatici come Ariminum, Aesis, Pisaurum, Suasa e Cattolica. / The thesis wont to define dynamics and histories of the complex process that led Roma to the expansionist conquest of the territories Ager Gallicus, starting from the detailed analysis of the material culture and of their original contexts emerged from recent archaeological investigations made by the Department Culture History of Civilization at the University of Bologna in the city of Senigallia. We can identify four major stages of life of the town: the first pre-Roman times, the second relates to the first phase of Romanization of the site, the third linked to the development of the settlement with the founding of the Roman colony and the last one refers to the Republican age. It results the presence since the late fourth or early third century BC, of a Roman settlement in the territory of the city, developed with the foundation of a sacred area and the establishment of a production area. The territory of Sena Gallica was chosen because it was a place suitable for agriculture and also for its strategic location. The presence of local production of ceramics, the discovery of the spacer and the geomorphological features of the site, they assume the presence of on-site pottery workshop. This is very important since all claims and locally made ceramics found in the area to date are attributed to the workshops of Aesis and Ariminum. So Sena Gallica was a center of trade and manufacturing. The early presence of ceramic Black Paint type Rome-Lazio produced locally first official institution of the colony, which allows to consider an allocation of a small group of Romans in newly conquered territories but not yet colonized, settled at Sena Gallica, is reflected in other centers Adriatic as Ariminum, Aesis, Pisaurum, Suasa and Cattolica.

Il lungo processo che avrebbe portato Ottaviano alla conquista del potere e alla fondazione del principato è scandito da alcuni momenti chiave e da diversi personaggi che ne accompagnarono l'ascesa. Prima ancora che sul campo di battaglia, il figlio adottivo di Cesare riuscì a primeggiare per la grande capacità di gestire alleanze e rapporti personali, per la grande maestria con la quale riuscì a passare da capo rivoluzionario a rappresentante e membro dell'aristocrazia tradizionale. Non fu un cammino facile e lineare e forse il compito più difficile non fu sbaragliare gli avversari ad Azio, ma conservare un potere che gli fu costantemente contestato. Ancora dopo il 31 a.C., infatti, in più di un'occasione, Augusto fu chiamato a difendere la sua creatura (il principato) e a procedere a modificarne costantemente base di potere e struttura: solamente attraverso questa fondamentale, minuziosa, ma nascosta opera, egli riuscì a porre le basi per una struttura di potere destinata a durare immutata almeno per un secolo. In base a queste premesse, la ricerca è organizzata secondo un duplice criterio cronologico, inserendo -all'interno della cornice rappresentata dagli eventi- una partizione che tenga presente ulteriori cesure e momenti determinanti. Il proposito è quello di sottolineare come all'interno di un regno unitario, caratterizzato dalla permanenza di un unico sovrano, sia possibile intravedere l'alternarsi di situazioni storiche diverse, di rapporti di forze, alleanze e unioni in virtù delle quali si determinino orientamenti differenti nell'ambito tanto della politica interna quanto di quella esterna. / The long process that would have ultimately led Ottavian to power, thus founding the principate, is marked by several characters and key moments, all along his path. Even before facing the battlefield, Caesar’s adopted son managed to climb to the top ranks of the state, thanks to his great ability in forging alliances and personal relationships, and to the mastery through which he was able to transform himself from revolutionary leader to member (and a representative one) of the traditional aristocracy. This did not develop through an easy and linear track, and the most difficult task was not – very likely – defeating his opponents at Actium, but rather keeping hold of a power that was being constantly contested. Well after 31 b.C., in more than one occasion, Augustus had to defend his new creation (the principate) and tweak time after time its foundations and structure: it was only through this capital, meticulous, and hidden work that he succeeded in building the basis for an institution that would carry on almost unchanged for about one century, to say the least. On these grounds, the present research is organised following a double chronological criterion, by placing – within the framework of the main events – a partition that takes into account further breaks and critical moments. The purpose is that of highlighting how, within a single reign, determined by the presence of one ruler, it is possible to distinguish the succession of different historical situations, balances of power, alliances and marriages through which various directions were decided, both in domestic and in foreign affairs.

No description available.

No description available.

No description available.

No description available.