ALVES, F. C. S. Avaliação do potencial antimicrobiano de infusões de folhas de cajueiro (Anacardium occidentale Lin) frente a bactéria Streptococcus mutans. 2011. 61 f. Dissertação (Mestrado em Biotecnologia) - Campus de Sobral, Universidade Federal do Ceará, Sobral, 2011. / Submitted by Djeanne Costa (djeannecosta@gmail.com) on 2016-06-28T15:50:44Z No. of bitstreams: 1 2011_dis_fcsalves.pdf: 1066548 bytes, checksum: 15fe732d602ccb3d5dd1a84864fb1f98 (MD5) / Approved for entry into archive by Djeanne Costa (djeannecosta@gmail.com) on 2016-06-29T12:18:12Z (GMT) No. of bitstreams: 1 2011_dis_fcsalves.pdf: 1066548 bytes, checksum: 15fe732d602ccb3d5dd1a84864fb1f98 (MD5) / Made available in DSpace on 2016-06-29T12:18:12Z (GMT). No. of bitstreams: 1 2011_dis_fcsalves.pdf: 1066548 bytes, checksum: 15fe732d602ccb3d5dd1a84864fb1f98 (MD5) Previous issue date: 2011 / The cultivation of Anacardium occidentale Lin, more known as cashew tree, is one of the most important agriculture and stock-breeding activities in the northeast of Brazil. It is used in traditional medicine with therapeutic purposes, including antigerm activitiy. The objective of this work is to check the antigerm potential by infusing the leaves of the cashew tree in different hours of collection before the bacterium Streptococcus mutans. Its objective also includes the analysis of the toxical and cytotoxical potential of these infusions in used concentrations. The Minimum Inhibitory Concentration (MIC) was determined in the time- tables 7,9,11,13,15,17 and 19H using the cepa of S.mutans UA159. It was also determined the Minimum Bactericidal Concentration (MBC), when tests of toxicity of infusions were done in Artemia salina Leach and cytotoxicity in the presence of LDH enzyme in human neutrophil. The results of the antigerm samples showed that the infusions of the leaves of the cashew tree may stimulate, inhibit or not present effects on the bacterium growth, according to the time of collection and concentration. The values of the MIC (Minimum Inhibitory Con- centration) were 250 µg.mL-1 (7h), 125 µg. mL-1 (9-15h) e 62,5 µg. mL-1 (17 e 19h). Some stimulus occured in the bacterium growth in the following concentrations: 15,62 µg. mL-1 (9- 19h), 31,25 µg mL-1 .(15h) e 62,50 µg. mL-1 (15h). The collected infusion at 7 A.M. did not present any stimulus concentration. In the tests of Minimum Bactericidal Concentration (MBC), the infusions were considered bacteriostatic. The tests of toxicity in Artemia salina resulted in values for the average lethal concentration (CL50) of 266,15; 285,48 and 345,15 in the collection times of 11, 17 and 19h, respectively. Therefore, for the hours of colletion the infusions were considered nontoxical in their values of Minimum Inhibitory Concentration (125 e 62,5µg.mL-1 ). The tests of cytotoxicity showed that the infusions were not toxical in the concentrations of 1, 10, 100 e 200µg. mL-1. / O cultivo de Anacardium occidentale Lin, mais conhecido popularmente como cajueiro, é uma das atividades agropecuárias mais importantes do Nordeste brasileiro. É utilizada na medicina tradicional para fins terapêuticos, incluindo atividade antimicrobiana. O objetivo do presente trabalho foi avaliar o potencial antimicrobiano da infusão de folhas de cajueiro em diferentes horários de coleta frente à bactéria Streptococcus mutans e analisar o potencial tóxico e citotóxico das infusões nas concentrações utilizadas. A Concentração Inibitória Mínima (CIM) foi determinada nos horários de 7, 9, 11, 13, 15, 17 e 19h utilizando a cepa de S. mutans UA159. Também foi determinada a Concentração Bactericida Mínima (CBM) e foram realizados testes de toxicidade das infusões em Artemia salina Leach e citotoxicidade na presença da enzima LDH em neutrófilo humano. Os resultados dos ensaios antimicrobianos mostraram que as infusões de folhas de cajueiro podem estimular, inibir ou não ter efeito sobre o crescimento bacteriano, conforme a hora de coleta e a concentração. Os valores das CIMs foram de 250 µg.mL-1 (7h), 125 µg.mL-1 (9-15h) e 62,5 µg.mL-1 (17 e 19h). Ocorreu estímulo no crescimento bacteriano nas concentrações de 15,62 µg.mL-1 (9-19h), 31,25 µg mL-1 .(15h) e 62,50 µg.mL-1 (15h). A infusão coletada às 7h não apresentou nenhuma concentração de estímulo. Nos testes de Concentração Bactericida Mínima (CBM) as infusões foram consideradas como bacteriostática. Os testes de toxicidade em Artemia salina resultaram em valores para a concentração letal média (CL50) de 266,15; 285,48 e 345,15 nos horários de coleta de 11, 17 e 19h, respectivamente. Assim, para esses horários de coleta as infusões foram consideradas atóxicas nos seus valores de CIMs (125 e 62,5µg.mL-1 ). Os testes de citotoxicidade mostraram que as infusões não são tóxicas nas concentrações de 1, 10, 100 e 200µg.mL-1

De par leurs faible coût, légèreté et propriétés thermiques, les co-produits lignocellulosiques ont reçu une attention particulière pour la fabrication de bétons légers. Cependant ces co-produits ne sont pas totalement compatibles avec une matrice cimentaire, d'où un retard de prise, des variations dimensionnelles élevées et des résistances mécaniques faibles des matériaux résultants. Pour pallier ces inconvénients, un procédé d'enrobage d'anas de lin avec différentes substances a été adopté. Les composites élaborés présentent des améliorations significatives de leurs comportement hydrique et résistances mécaniques avec une augmentation modérée de masse volumique apparente et de conductivité thermique. Les phénomènes de transfert d'humidité dans les composites obtenus peuvent influencer de manière significative leur durabilité et performance. En effet la plupart des matériaux utilisés dans le bâtiment sont poreux, contenant de l'eau sous forme vapeur ou liquide. La perméabilité à la vapeur d'eau, les isothermes de sorption et la capacité tampon à la vapeur d’eau ont donc été déterminées. Les résultats obtenus montrent la bonne performance hygrique des éco-composites élaborés. Trois tests de lixiviation ont été proposés pour identifier la spéciation chimique des matériaux et évaluer leurs relargages. Les conditions expérimentales ont été choisies pour simuler différents états des composites dans des environnements externes en service ou fin de vie. Le comportement à la lixiviation des composites élaborés diffère peu selon le traitement subi par les anas et la libération de substances toxiques n'a pas été mise en évidence / Due to their low cost, lightness and thermal properties, lignocellulosic byproducts received a particular attention, in the recent years, for manufacturing lightweight concretes. However, these byproducts are not fully compatible with the cement matrix, leading to setting delay, significant dimensional variations, and low mechanical strengths of the composites elaborated. To avoid such drawbacks, a coating process of flax shives using different substances has been adopted in this study. It leads to a reduction in treated shive water absorption compared to raw shives. The composites obtained exhibit significant improvements in hydrous behavior and mechanical strengths with moderate increase in the apparent bulk density and thermal conductivity. The phenomena of moisture transfer in the produced composites can significantly influence the durability and performance of them. In fact most of the materials used in the building area are porous, containing water as vapor or liquid. Therefore the water vapour permeability, sorption isotherms and moisture buffering capacity have been determined. The results obtained show the good hygric performance of the eco-composites elaborated. Three leaching tests have been proposed in this study to identify the chemical speciation of the materials and to evaluate their releasing into the environment. The experimental conditions of the leaching tests have been chosen to simulate different states of our composites in external environments in service or end of life. The leaching behaviour of the cement-based products elaborated differs little according to flax shive treatment and the leaching of toxic substances has not been identified

« Dieu est mort » proclame à l’envi le fou nietzschéen. C’est sous l’égide inquiète de cette assertion paroxystique, traduisant ce «malaise de la culture» qu’évoquait Freud, que la pensée, la littérature et l’art du XXe siècle européen évoluent. Cependant, le christianisme dont ce cri signe l’extrême décadence, n’est pas seul à imprégner les productions artistiques de ce siècle, même les plus prétendument athées, mais avant tout la figure du Christ - autour de laquelle sont structurés tant cette religion que son système de croyance – semble, littéralement et paradoxalement, infester l’imaginaire du XXe siècle, sous des formes plus ou moins fantasmatiques. Ce travail se propose ainsi précisément d’étudier, dans une optique interdisciplinaire entre littérature, art et cinéma, cette dynamique controversée, ses causes, les processus qui la sous-tendent ainsi que ses effets, à partir des œuvres de trois auteurs : Artaud, Beckett et Pasolini. L’objectif est de fournir une clé de lecture de cette problématique qui mette en exergue comment « la conversion de la croyance », comme la définit Deleuze, à laquelle ces auteurs participent, n’engendre pas un rejet purement profanatoire du christianisme mais, à l’inverse, la mise en œuvre d’un mouvement aussi violent que libératoire qualifié par Nancy de « déconstruction du christianisme ». Ce travail entend donc étudier tout d’abord à la lumière de l’expérience intérieure de Bataille, l’imaginaire christique qui sous-tend leurs productions ; puis, d’en analyser les mouvements et les effets en les questionnant sur la base de cette dynamique ambivalente que Grossman nomme la « défiguration de la forme christique ». Les excès délirants d’Artaud, l’ironie tranchante de Beckett et la passion ambiguë de Pasolini s’avèrent ainsi participer à un mouvement commun qui, oscillant entre reprise et rejet, débouche sur une attitude tout aussi destructive que revitalisante des fondements du christianisme. / "God is dead!" cries the Nietzschean madman. It is under the anxious auspices of this jarring expression, encapsulating what Freud called the “discontent of civilization”, that the philosophy, literature and art of the 20th century developed in Europe. However, just as Christianity, whose extreme decadence this cry testifies to, has remained persistently present in the artistic productions of this past century—even in those who have claimed to be the most atheist—the figure of Christ, the center around which this religion and its belief system are structured, seems to both literally and paradoxically haunt the the 20th century European imagination to more or less phantasmatic extents. This work therefore aims to examine this dynamic, its motives, underlying processes and related effects, from an interdisciplinary perspective (that of literature, art, and cinema) based upon the works of Antonin Artaud, Samuel Beckett and Pier Paolo Pasolini. The primary objective here is to propose a key for understanding this issue where the “conversion of faith”, in Deleuzean terms, in which these authors participate, does not imply a purely profanatory rejection of Christianity. Artaud, Beckett and Pasolini rather bring forward that equally violent and liberating movement which Jean-Luc Nancy defines as the "deconstruction of Christianity". Hence this study has two goals. Firstly, to investigate the Christ-based imaginary universes of Artaud, Beckett and Pasolini in light of Bataille’s inner experience. Secondly, to question its motives and its effects starting from the ambivalent dynamics which Évelyne Grossman defines as the “defiguration of the Christological form”. By doing so, Artaud’s delirious excesses, Beckett’s pungent irony and Pasolini’s ambiguous passion reveal themselves to be participating in a common movement, wavering between recovery and refusal, and resulting in a predisposition which is both destructive and revitalizing with respect to the foundations of Christianity. / “Dio è morto!” grida il folle nietzschano, ed è sotto l’egidia inquieta di questa celebre asserzione, espressione che traduce quel “disagio della civiltà” di cui parla Freud, che si sviluppano il pensiero, la letteratura e l’arte del XX secolo europeo, assumendone le conseguenze. Eppure, non solo il cristianesimo, di cui quest’urlo testimonia l’estrema decadenza, resta insistentemente presente in seno alle produzioni artistiche di questo secolo, anche le più dichiaratamente atee, ma la figura di Cristo, attorno alla quale questa religione e il suo sistema di credenza si strutturano, sembra tanto letteralmente quanto paradossalmente, infestare l’immaginario novecentesco europeo. Questo lavoro si propone quindi di indagare, in un’ottica interdisciplinare (letteratura, arte, cinema), proprio questa dinamica controversa, le sue ragioni, i processi che la sottendono e i suoi effetti, a partire dall’opera eclettica e esemplare di tre autori : Artaud, Beckett e Pasolini. Il fine è quello di offrire una chiave di lettura di questa problematica che metta in luce quanto la “conversione di credenza”, per dirlo in termini deleuziani, a cui questi autori partecipano, non implichi affatto un rigetto puramente profanatorio del cristianesimo, bensì la messa in opera di quel movimento, tanto violento quanto liberatorio, che Nancy definisce di “decostruzione del cristianesimo”. Questo lavoro si propone dunque, prima, di indagare, alla luce dell’esperienza interiore di Bataille, l’immaginario cristologico che è sotteso, più o meno visibilmente, alla loro produzione, e poi di analizzarne le movenze e gli effetti interrogandoli a partire da quella dinamica ambivalente che Grossman definisce di “defigurazione della forma cristologica”. Gli eccessi derliranti di Artaud, l’ironia talgiente di Beckett e la passionalità ambigua di Pasolini si rivelano così essere partecipi di un movimento comune che, oscillando tra ripresa e rifiuto, sfocia in un attitudine tanto distruttiva quanto rivitalizzante, nei confronti dei fondamenti del cristianesimo.

L'affermarsi della teoria della « imaginative geography » di Edward Saïd (Orientalism, 1978), nell'arco degli ultimi trent'anni, ha imposto un orientamento prettamente sociopolitico, gramsciano e foucaultiano alla critica del testo, proponendo un'unica soluzione interpretativa per un corpus eterogeneo di testi (scientifici e artistici, antichi e moderni) accomunati dal fatto di « rappresentare l'Oriente ». La costruzione europea dello spazio orientale, dice Saïd, non rappresenta solo un misconoscimento dell'Altro, ma una sua rappresentazione tendenziosa e finalizzata a sostenere la macchina dell'imperialismo occidentale. In particolare, la rappresentazione « femminilizzata » della geografia orientale (come luogo dell'exploit del maschio bianco) preparebbe e accompagnerebbe l'impresa di assoggettamento politico e di sfruttamento economico dei paesi ad Est dell'Europa. Se Orientalism ha conosciuto fortune alterne dall'anno della sua apparizione, negli ultimi anni una vera e propria corrente anti-saidiana ha preso forza, soprattutto in ambito francese. Attraverso l'analisi di circa trenta opere francesi, belga, inglesi e italiane del Novecento, questa tesi cerca di visualizzare i limiti teorici della prospettiva saidiana rivolgendosi a un esame della rappresentazione dello spazio urbano indiano nella letteratura europea contemporanea. Nello specifico, uno studio delle nuove strutture e dei nuovi modelli della femminilizzazione dello spazio orientale indiano cercherà di completare – superandolo in direzione di un « post-orientalismo » – il riduzionismo della prospettiva saidiana. / The emergence of the Edward Said’s theory of "imaginative geography" (“Orientalism”, 1978), over the last thirty years, has imposed to textual criticism a purely socio-political (Gramscian and Foucauldian) orientation, offering a single interpretation of a heterogeneous corpus of texts (scientific and artistic, ancient and modern) having in common the characteristics of "representing the East". It follows that the European construction of the Oriental space is not just a misunderstanding, but a tendentious representation aiming to support Western imperialism. In particular, the "feminized" representation of eastern geography (as the theatre of the exploit of the white male) is supposed to allow the political subjugation and the economic exploitation of the countries to the East of Europe. If “Orientalism” has experienced mixed fortunes since its publication in the 80ies, in recent years, a real anti-saidian current has gained strength. The thesis a aims to show the limits of the saïdien theoretical approach through the analysis of about thirty French, Belgian, English and Italian works of the 20th century, focusing on examination of the representation of Indian urban space in contemporary European literature. More specifically, a study of the new models and structures of the Indian space’s feminization will try to contribute in filling the gap in the studies of the saidian perspective towards the approach of “post-orientalism”. / L'affermarsi della teoria della « imaginative geography » di Edward Saïd (Orientalism, 1978), nell'arco degli ultimi trent'anni, ha imposto un orientamento prettamente sociopolitico, gramsciano e foucaultiano alla critica del testo, proponendo un'unica soluzione interpretativa per un corpus eterogeneo di testi (scientifici e artistici, antichi e moderni) accomunati dal fatto di « rappresentare l'Oriente ». La costruzione europea dello spazio orientale, dice Saïd, non rappresenta solo un misconoscimento dell'Altro, ma una sua rappresentazione tendenziosa e finalizzata a sostenere la macchina dell'imperialismo occidentale. In particolare, la rappresentazione « femminilizzata » della geografia orientale (come luogo dell'exploit del maschio bianco) preparebbe e accompagnerebbe l'impresa di assoggettamento politico e di sfruttamento economico dei paesi ad Est dell'Europa. Se Orientalism ha conosciuto fortune alterne dall'anno della sua apparizione, negli ultimi anni una vera e propria corrente anti-saidiana ha preso forza, soprattutto in ambito francese. Attraverso l'analisi di circa trenta opere francesi, belga, inglesi e italiane del Novecento, questa tesi cerca di visualizzare i limiti teorici della prospettiva saidiana rivolgendosi a un esame della rappresentazione dello spazio urbano indiano nella letteratura europea contemporanea. Nello specifico, uno studio delle nuove strutture e dei nuovi modelli della femminilizzazione dello spazio orientale indiano cercherà di completare – superandolo in direzione di un « post-orientalismo » – il riduzionismo della prospettiva saidiana.

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.

La fotografia viene utilizzata intermedialmente per la narrazione di contromemorie e memorie traumatiche ricorrendo a numerose modalità e strategie di inserzione e impiego diverse. Se l’intermedialità da un lato non è riconducibile ad una serie di pratiche convenzionali, ma dipende dal contesto narrativo, dall’altro essa detiene un’organicità che la allinea funzionalmente ai processi e alle indagini sulla rappresentabilità del trauma. Inoltre, per la versatilità della sua natura poliedrica, la pratica narrativa intermediale (nelle sue configurazioni più diverse) assume una valenza epistemologica e metodologica nei confronti degli studi sull’esternazione e rielaborazione del trauma. Questo studio si prefigge di mettere a confronto testi teorici e testi narrativi per metterne in rilievo il reciproco apporto. / Photography is used intermedially, recurring to different insertion modalities and strategies, to narrate countermemories and traumatic memories. Although intermediality is not ascribable to a series of convential practices, depending each of them on the narrative context, however it detains an organicity that guarantees the possibility to align it functionally to the processes and studies on the representability of trauma. Morever, because of the versatility of its poliedric nature, the narrative use of intermedial photographies (in their different declensions) retains an epistemological and methodological value for the studies on the externalization and processing of trauma. The aim of this study is to confront theoretical and narrative texts to analyze how they influence each other.

Le autobiografie di André Gide e di Julien Green nascono entrambe dalla tensione tra due istanze conflittuali: la necessità di offrire al lettore una piena confessione e le forti resistenze incontrate durante la stesura. Il pudore spinge infatti i due autori a cercare una forma di compromesso che consenta l’espressione letteraria di alcuni temi tabù. Nelle loro opere autobiografiche devono trattare un tema fondamentale, continuamente alluso, ma mai affrontato in maniera diretta: si tratta della questione ‘scabrosa’ della sessualità e, in particolare, dell’omosessualità. Lo scopo del mio lavoro è stato quello di comprendere la specificità della scrittura autobiografica di Gide e Green, con particolare attenzione alla strutturazione del discorso e all’impiego di una peculiare retorica della confessione. Anzitutto, ho studiato la genesi di queste opere per dimostrare come le difficoltà incontrate dagli autori li abbia condotti a creare dei testi complessi, enigmatici e talvolta contraddittori. In seguito, mi sono concentrato sull’analisi delle strategie discorsive da loro impiegate per affrontare alcune questioni ‘delicate’, quali la masturbazione, il desiderio erotico e gli incontri con alcuni partner del proprio sesso. Gide e Green impiegano entrambi un’ampia gamma di strategie discorsive che permette loro di trattare la questione sessuale; le ho analizzate nel dettaglio dal punto di vista delle scelte lessicali e delle figure retoriche, vagliando anche alcune immagini che è possibile ritrovare in entrambi i testi (per esempio l’ambigua presenza del demonio e la mitologia classica). Inoltre ho individuato alcune strutture narrative ricorrenti – anacronie, annunci e rinvii –, che concorrono anch’esse alla creazione di un discorso assolutamente originale. La confessione è continuamente differita e al contempo rilanciata: le autobiografie presentano una fitta rete di allusioni che produce un paradossale effetto di onnipresenza; sebbene in maniera obliqua, la questione sessuale attraversa in maniera pervasiva tutte e due le opere. / While writing their autobiographies, André Gide and Julien Green both faced a taboo: how to deal with sexuality and especially homosexuality. Both their works constantly hint at these topics. Nonetheless, the authors do not talk about them overtly. They ingeniously make use of a series of rhetorical strategies which allow them to bring these themes to light. As paradoxical as it might seem, sex is constantly disguised and, at the same time, put to the fore. Thus, the reader is asked to be very receptive. Both texts are disseminated with clues and cross-references which require his cooperation in tracing this “hidden path”. The authors resort to some peculiar lexical choices, figures of speech and recurring imagery (such as the ambiguous presence of the devil and classical mythology), as well as to the manipulation of the narrative structure through anachronies and delays, which aim at deferring the “ultimate” confession: their sexual orientation. In my dissertation, I investigated the reason why both authors decided to write their autobiographies and the challenges they had to face in order to speak without reserve about their innermost life and especially about their sexuality. As far as the texts are concerned, I focused on the analysis of rhetorical and narrative strategies which allowed the authors to deal both with censorship and self-censorship. As a result, the autobiographical discourse turns out to be a battleground in which the desire to speak out meets the “decency” of being reticent.

Est-ce qu’il existe une lignée de la science en dialogue? Est-ce que les dialogues célèbres en italien de Giordano Bruno et de Galileo Galilei s’insèrent dans un continuum qui part de Platon ? Dans l’Europe occidentale, quels sont les dialogues écrits et publiés au XVIe siècle, très moins connus de nos jours, et quel rôle ont-ils joué à l’aube de la science moderne ? L’énorme production de dialogues philosophico-scientifiques du XVIe siècle démontre la valeur significative de ces ouvrages dans l’histoire de la science moderne ainsi que l’importante contribution à l’affirmation de la pensée humaniste. Nous avons voulu montrer les conditions historico-épistémologiques qui favorisent la production des dialogues, leur héritage rhétorique, le débat théorique en cours, les caractéristiques de la science en dialogue. Nous nous sommes penchées plus attentivement sur les premiers dialogues européens du siècle, afin de découvrir le ferment intellectuel qui annonce l'avènement de la science moderne, plus communément associée seulement aux noms des scientifiques du XVIIe siècle. Après la mise au point sur la période 1500-1543, nous avons voulu ouvrir des pistes pour voir l’évolution diachronique du motif scientifique à l’intérieur du genre dialogique. D’un côté, le dialogue prend un chemin sérieux, il compare et divulgue les nouvelles positions, les doutes et les opinions sur les sciences ; de l’autre, il présente des motifs brodés, qui questionnent les savoirs et tournent en ridicule leurs (faux) détenteurs. / The enormous production of scientific-philosophical dialogues of the sixteenth century demonstrates the significant value of these works in the history of modern science and the important contribution to the affirmation of humanist thought. Our aim is to show the historical and epistemological conditions that promote the production of dialogues, their rhetorical heritage, the theoretical debate and the characteristics of the science in dialogue.