Thesis (doctoral)--Universität Hamburg, 1992. / Includes bibliographical references (p. 323-334).

Dissertation (Ph.D.) Florida State University, 2007. / Advisor: Douglass Seaton, Florida State University, College of Music. Title and description from dissertation home page (viewed 10-04-2007). Document formatted into pages; contains 236 pages. Includes biographical sketch. Includes bibliographical references.

Th. 3e cycle--Italien--Paris 4, 1995. / contient : Les femmes écrivains en Italie : 1870-1920 ordres et libertés : Colloque international, 26-27 mai 1994 / organisé par le Centre de recherche sur L'Italie moderne et contemporaine. Bibliogr. p. 328-341.

Thèse--Musicologie--Paris--CNSMDP, 1997. / Le vol. 4 contient des textes en italien, espagnol, allemand et anglais avec la trad. française en regard. Bibliogr. f.552-565. Index.

Diss.--Bochum, 1996. / Bibliogr. p. 302-305.

The early baroque songs, or cantatas, of Luigi Rossi (1597-1653) are largely absent from the canon of standard Italian vocal repertory utilized by young singers and voice teachers today. In this document Rossi’s composition style is considered, along with modern edition trends, within the emerging genre of Italian early baroque song. Several of Luigi Rossi’s vocal works — chosen for their simplicity, brevity, dramatic content, and suitability for a young singer — are presented in modern transcriptions for voice and piano. The following document lays the groundwork for the inclusion of Luigi Rossi’s songs in the modern canon of Italian vocal music. Part I provides an introduction to Luigi Rossi and the considerations involved in creating modern editions of early baroque solo vocal music. In Chapter 1, Rossi’s patronage and compositional output are considered along with the reception and dissemination of his works in Italy and France. Chapter 2 of this study explores the historical context and lasting influence of Parisotti’s Arie Antiche, the larger collection from which the ubiquitous Schirmer edition, Twenty-four Italian Songs and Arias of the Seventeenth and Eighteenth Centuries, is drawn. One well-known song that appears in the Schirmer edition is Giulio Caccini’s Amarilli, mia bella. In an effort to illustrate trends in modern editions and performance practice, this song is traced from its first appearance in 1602 through representations in modern anthologies. Chapter 3 considers the practical concerns of modern editors of baroque vocal music – such as performance practice applications, ornamentation, and pedagogical considerations – with respect to the cantatas of Luigi Rossi. Chapter 4 discusses the three cantatas by Luigi Rossi that are presented in Part II as performance editions.

Le XIXème siècle est caractérisé par le progrès de la science et de la médecine: dans une société positiviste qui accorde toute sa confiance à la raison scientifique, la figure du médecin se professionnalise et l'approche thérapeutique change. Cela se reflète dans la littérature qui subit une sorte de «médicalisation».Cette recherche s'attache justement à la volonté de définir le médecin idéal au XIXème siècle à travers la morale médicale, qui plus tard deviendra déontologie, dans une période où les événements historiques, culturels et scientifiques changent profondément l'idée de «bon» et de «méchant».La thèse dresse un catalogue des personnages de médecins dans la production narrative de Capuana dans une taxonomie morale, distinguant les «bons», caractérisés par empathie et professionnalité ; les «méchants», caractérisés par égoïsme et ignorance ; les médecins aux marges, anonymes ou in absentia (à la fonction instrumentale) ; les «savants fous» qui se consacrent à des expériences complètement immorales ; les médecins confesseurs qui utilisent le pouvoir du logos comme une nouvelle approche thérapeutique.Le corpus examiné comprend une partie de la production narrative et romanesque de Capuana entre 1867, date de la publication de sa première nouvelle, Il dottor Cymbalus et 1911, date de la publication du recueil La voluttà di creare.Une partie de la thèse analyse le rôle instrumental du personnage du médecin, en particulier le personnage du Dottor Maggioli, qui apparaît dans plusieurs nouvelles. Il agit dans les textes en tant que médecin narrateur, moteur narratif et plot generator, représentant de la science et de la rationalité, témoin et garant de la vérité, mais surtout alter ego de l'auteur. À travers le Dottor Maggioli, Capuana montre son ouverture par rapport à l'idée de morale: d'un côté il condamne l'immoralité des médecins méchants, de l'autre côté il est attiré, en quelque sorte, par les médecins les plus perfides et les plus diaboliques, qui osent violer les lois de la Nature à travers la science. L'idiosyncrasie entre morale et expérimentalisme se révèle surtout dans les personnages des «savants fous», protagonistes des nouvelles typiquement fantastiques. L'élément fantastique chez Capuana est très particulier par rapport aux romans d'horreur et à la littérature gothique européenne. Le but de Capuana dans ses récits fantastiques n'est pas d'épouvanter le lecteur, mais de lui montrer un autre paradigme de réalité, dans lequel les règles de l'ordo naturalis du monde sont bouleversées, et la rationalité de la science positiviste cède la place aux phénomènes inexplicables, absurdes, et fantastiques. Dans ce monde, la morale change aussi et Capuana trouve un moyen pour justifier les méchancetés de ses personnages. Les expériences sur des cobayes humains (notamment des femmes) n'apparaissent pas aussi diaboliques aux yeux des lecteurs, parce qu'elles sont conçues comme possibles uniquement dans une réalité autre, fantastique.En conclusion dans la production de Capuana les personnages de médecins «bons» sont très rares, alors que les «méchants» sont nombreux, et même les perfides «savants fous» sont en quelque sorte justifiés. En effet la position de Capuana sur la question de la morale dans les sciences n'est pas du tout nette ni constante. Si dans les premières nouvelles, il admet l'expérimentation scientifique au nom du progrès, dans les recueils les plus récents, il aspire à une médecine renouvelée, sur l'exemple de son maître Angelo Camillo De Meis. Cette médecine voit dans la relation médecin-patient une nouvelle approche thérapeutique fondée sur la confiance réciproque et sur l'empathie, mais aussi sur le respect des droits humains et des lois de la Nature. / The 19th century is characterized by the progress of science and medicine: in a positivist society which awards all its trust to scientific reason, the doctor becomes a professional and the therapeutical approach changes. This is also reflected in literature, which undergoes a sort of “medicalization”. Plenty has been written on the relationship between science and literature, the role of literary malaises - most notably neuroses - and on physician-authors; however, one aspect has been neglected by critics: the morality of physician characters in literature. This research focuses on the desire to define the 19th century’s ideal doctor through medical ethics, one which later will become deontology, in a period where historical, cultural and scientific events are profoundly changing the idea of “good” and “evil”.The thesis draws up a catalog of physician characters in Capuana’s narrative work, setting up a moral taxonomy, distinguishing between the “good”, characterized by empathy and professionalism; the “evil”, characterized by selfishness and ignorance; the doctors at margins, anonymous or in absentia (instrumentally); the “mad geniuses” who devote themselves to completely immoral experiments; and the confessor-doctors, who use the power of logos as a new therapeutic approach.The corpus examined here includes part of Capuana’s literary work, between 1867, when his first novel Il dottor Cymbalus was published, and 1911, when the anthology La voluttà di creare was published.Part of this thesis analyses the instrumental role of physician characters, particularly Doctor Maggioli, who appears in many of Capuana’s novels. He acts in the texts as narrator, narrative engine, and plot generator, representing science and rationality, witness and warrantor of truth, but above all, the author’s alter ego. Through Doctor Maggioli, Capuana shows his proclivity towards the idea of morality: on the one hand he condemns the immorality of evil physicians, and on the other he is attracted, in a sense, to the most wicked and diabolical doctors, who dare violate the laws of Nature through science.The idiosyncrasy between morality and experimentation is revealed especially in the “mad genius” characters, protagonists of typically fantastic novels. Fantastic elements in Capuana’s work are very particular when compared to horror novels or Gothic European literature. Capuana’s goal with fantasy is not to frighten his readers, but rather show them another paradigm of reality, one in which the rules of the world’s natural order are upset, and the rationalism of positivist science gives way to unexplainable, absurd, and fantastic phenomena. In this world, ethics have also been upset, and Capuana finds a way to justify the wickedness of his characters. Experiments on human guinea pigs (noticeably women) no longer appear diabolical in the eyes of readers, because they are conceived as possible only in an other, fantastic reality.In conclusion, in Capuana’s work “good” physician characters are quite rare, while “evil” ones are numerous, and even wicked “mad geniuses” are justified in a sense. In fact, Capuana’s position on the subject of morality in sciences is not at all neat nor constant. If in his first novels he allows scientific experimentation in the name of progress, in his more recent anthologies, he aspires for a renewed medicine, following the example of his master, Angelo Camillo De Meis. This medicine sees in the relationship between doctor and patient a new therapeutic approach based on mutual trust and empathy, but also on the respect of human rights and the laws of Nature.

Lobiettivo di questo lavoro è ricostruire le fasi più importanti della ricezione delle opere di Pirandello attraverso i giornali, le riviste letterarie, e le tesi di master e di dottorato e analizzare gli studi realizzati da alcuni intellettuali brasiliani, per creare un apparato critico, iniziando dallarticolo di Oswald De Andrade e giungendo fino allepoca contemporanea. È stato possibile realizzare questo lavoro consultando gli archivi bibliografici digitalizzati italiani e brasiliani. Nel contesto latino-americano e italiano lo studio della ricezione critica delle opere Pirandelliane si intreccia con la storia degli eventi socio-culturali dei due Paesi: Italia e Brasile. Nella prima parte cè la rassegna bibliografica degli articoli, pubblicati nelle testate giornalistiche e nei periodici. Le analisi sviluppate nella seconda parte sono maturate invece nel grande e immenso contesto bibliografico di recensioni e saggi dedicati al nostro drammaturgo, scegliendo i più interessanti. / O objetivo deste estudo é reconstruir as fases mais importantes da recepção das obras do dramaturgo italiano através dos jornais, das revistas literárias, e das dissertações de mestrado e doutorado; pode-se encontrar uma coletânea de ensaios dos intelectuais brasileiros, com um aparato crítico-literário, iniciando pelo artigo de Oswald De Andrade até a época contemporânea. Foi possível realizar este trabalho consultando os arquivos bibliográficos digitalizados italianos e brasileiros. No contexto latino-americano e italiano, o estudo da recepção crítica das obras pirandellianas se conectam com a história dos eventos sociais e culturais de dois Países: Itália e Brasil. Na primeira parte pode-se ler a revisão bibliográfica dos artigos, publicados nos jornais e periódicos que contam as fases diferentes das primeiras reações no ambiente intelectual brasileiro. O estudo desenvolvido na segunda parte amadureceu no imenso contexto bibliográfico de resenhas e ensaios, dedicados ao nosso dramaturgo, permitindo de realizar uma seleção de ensaios mais interessantes.

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This dissertation focuses on the clarinet music of Luigi Bassi (1833-1871), an Italian clarinetist and composer. Biographical information and performance history for Luigi Bassi are included. Bassi wrote 27 works for clarinet, including 15 opera fantasies or transcriptions. Most of his works are housed in the Milan Conservatory library. This document provides analysis of all but two of Bassi's 27 works. For Bassi's pieces with ties to opera, I identified his source material and discussed the ways in which he manipulated the material. A brief synopsis of each opera is included. This study serves as a performance guide for those seeking to perform Bassi's clarinet works.