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The object of our diploma thesis was Jewish memory and identity in contemporary Italian literature. The work is divided into two parts. The first theoretical part in its historical introduction which deals with the Shoah in Europe. This will be a brief introduction to the european situation. The work continues by introducing more specific roots of anti-Semitism in Italy, its continuation until 1945 and describes the situation after 1945. In the next chapter, we will reflect about the relationship between memory and literature. What are the processes discussed and what is the relationship of memory and the Shoah. After that, we will also mention the complexity of Jewish identity and on her way how it is perceived. The next chapter will present medallions of individual authors whose works will be devoted to the practical part. The second practical part is divided into two main chapters. The first is devoted to the search for identity in three works by Alessandro Piperno- Con le peggiori Intenzion Elena Loewenthal- Lo strappo nell'anima and Silvia Ballestra- La seconda Dora. The second main chapter is devoted to tendencies that prevail in the individual authors - forgetting vs. remembering. The chapter is divided into two subsections that address specific perspective 2nd and 3rd generation. Separately...

Ce mémoire a pour ambition de comprendre comment et en quel sens l’idée de « classique » est repensée au XIXe siècle. Alors que l’Ancien Régime intégrait le classique dans un système de représentation relativement cohérent, au sein duquel sa fonction, son rôle et sa pertinence étaient clairement établis, la notion devient brusquement problématique aux lendemains de la Révolution. La France révolutionnée est marquée par une expérience du temps inédite et une nouvelle relation à sa mémoire culturelle qui font éprouver aux lettrés la nécessité de redéfinir leurs rapports au classique. Après avoir clarifié le sens général de la notion avant la Révolution, l’étude se penche sur trois grands « moments » de la dynamique de redéfinition du classique au XIXe siècle. Il s’agit d’abord de voir dans quelle mesure l’historicisation du passé dans les premières années du siècle conduit les lettrés à refuser la fonction de modèle à imiter traditionnellement associée au classique, et à l’envisager désormais en vertu d’une rupture entre le présent et l’« avant-soi ». La partie suivante s’attache aux reconfigurations du canon littéraire par la lancée romantique, et montre comment ces métamorphoses de l’horizon culturel amènent les lettrés à déterminer de nouvelles modalités d’appropriation du classique. Une dernière partie tente de voir de quelle manière la pertinence et la portée de la notion sont révisées une fois de plus dans le contexte de l’« institutionnalisation » de la distance critique entraînée par la scientifisation des études littéraires dans le dernier tiers du XIXe siècle. Inspiré à la fois par l’histoire des idées et l’histoire culturelle, ce mémoire se propose de saisir son objet dans une perspective de longue durée. Outre un large corpus secondaire délibérément éclectique, cinq auteurs sont interrogés plus spécifiquement : Ballanche, Stendhal, Sainte-Beuve, Renan, Lanson. / This master’s thesis aims to understand how and in what sense the idea of "classic" was rethought throughout the 19th century. During the historical period of Old Regime in France, the classic was incorporated into a relatively coherent system of representation, within which its function, role and relevance were clearly established. However, the notion suddenly became problematic in the aftermath of the French Revolution. Revolutionized France was marked by an unprecedented experience of time and a new relation to its cultural memory which made literati feel the need to redefine their relation to the classic. After clarifying the general meaning of the concept before the Revolution, the study examines three major "moments" in the dynamics of redefining the classic in the 19th century. First, the analysis intends to determine the extent to which the historicization of the past, in the first years of the century, led the literati to refuse the classic its traditional function of a model to imitate and instead, to consider it in the perspective of a rupture between the present and the past. The following part explores the reconfigurations of the literary canon by the romantic movement and shows how these metamorphoses of the cultural horizon led the literati to determine new modalities of appropriation of the classic. The final part attempts to see how the relevance and scope of the notion are revised in the context of the "institutionalization" of critical distance brought about by the scientification of literary studies in the last third of the 19th century. Inspired by both intellectual history and cultural history, this dissertation sets out to grasp its subject matter from a long-term perspective. In addition to a large, deliberately eclectic secondary corpus, five authors are questioned more specifically: Ballanche, Stendhal, Sainte-Beuve, Renan, Lanson.