La présente thèse a pour ambition de présenter une nouvelle interprétation de la poésie du principal représentant de la première Renaissance en Espagne, Garcilaso de la Vega (ca. 1499-1536). Bien que partiellement influencée par le Canzoniere de Pétrarque, la cohérence de la poésie de Garcilaso n’émane pas de l’imitation de celui-ci. L’unité de son projet est rendue possible par l’invention d’une nouvelle esthétique, en parfait accord avec l’idéal éthique du courtisan alors formulé par Castiglione (Partie I). De cette poésie, l’Épître à Boscán peut se lire comme le programme. Les parties II et III de la thèse analysent, à partir de la théorie rhétorique et psychologique, l’importance de l’image conçue non comme figure de style, mais comme objet textuel (imago, ou phantasma), respectivement dans les textes d’inspiration pétrarquiste et dans ceux à la forme héritée des modèles antiques. Dans l’esthétique des premiers, cette image est l’image mentale de l’aimée et la poésie décrit ses ravages dans l’esprit de l’amant. Les compositions s’inspirant des Anciens, notamment des élégiaques et de Virgile, privilégient une image de nature artistique, dont la poésie s’évertue à célébrer la splendeur. De l’image de l’aimée à celle du prince, en passant par l’œuvre d’art qui donne de ces images une vision médiatisée, la description devient le lieu principal de la célébration poétique et, conformément à l’idéal de Castiglione, remplit pleinement son rôle épidictique. / This dissertation aims to present a new interpretation of the work of the main poet of the first Spanish Renaissance, Garcilaso de la Vega (ca. 1499-1536). Although it is partially influenced by Petrarch’s Canzoniere, the coherence of Garcilaso’s poetry does not only emanate from its imitation. Its unity is made possible by the poet’s invention of a new aesthetic, plainly in harmony with the ethic ideal designed at that time by Castiglione (1st part). Garcilaso’s Epistle to Boscán may be read as the poetical program of this project. The second and the third parts of the dissertation analyse, within a rhetorical and psychological frame, the importance of the image, conceived not as a stylistic device but as a textual object (imago, or phantasma), either in the texts inspired by the Petrarchists and in those who imitate antique forms. For the aesthetics of the first group, this image is the mental image of the beloved and the poetry pictures the disorder it causes in the lover’s mind. The texts which imitate the Ancients, especially the Elegiacs and Virgil, do prefer an artistic image and try to celebrate its splendour. The image of the beloved and the one of the prince, including those cases in which they are mediated by the charm of the art, determine the poetry as the most important place of the poetic celebration: as defined by Castiglione’s ideal, the poetry fulfils thus its epidictic function.

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The thesis project wants to research the concept of Mongrel Geometries, the development of a spatial system that considering the processes of Form Finding as a design tool and their tight relationship with the model of efficiency and structural optimization, start questioning their problem/solving based procedure with the purpose of understanding which are the potentials of these methods to introduce within the built environment new atmospheric and programmatic qualities. / The intervention consists in the re-design of the Train Station and of the incorporated Bus Terminal, resolving the general connective tissue, and stimulating the public activity towards the sea side. The Terminal wants to be intended not only as a place of departure but also as an attractive place itself.

Elena Bertoncini Zúbková, internationally renowned scholar and esteemed teacher of Swahili language and literature, passed away on 19th September 2018 in Pisa, Italy. In this obituary, her disciple Flavia Aiello pays tribute to her life and her major achievements. She highlights that Elena Bertoncini Zúbková educated generations of scholars in Italy and across Europe who specialised in Swahili studies, and had a remarkable impact on the advancement of Swahili literary studies. May she rest in peace.

This thesis deals with the history and evolution of the phenomenon of the Camorra in one of the southern Italian regions - Campania. Camorra originated as a result of appalling social conditions in the south of Italy before its unification. The former ruling system in Naples neighborhood was inefficient and distant for the general population. In contrast, the Camorra everyday system responded immediately and was efficient, fast and productive. Before the constitution of the modern Italian state in 1861, Camorra had already more than half a century of history and activities, and was firmly established itself in the society of Campania. From 1819, when the first written note about Camorra appeared till the first decade of the 21st century it has undergone a complicated and interesting development and changes. During this period, there were several transformations in the functioning of its system. From the initial racketeering and small crime the Camorra's system was transformed into the highly organized companies, whose representatives can be well established members of the highest levels of the Italian society. The thesis also describes how the Camorra's social security ensures its members. From the point of view of Camorra's members their system never fails on the contrary to the official state...

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At the beginning of the viceregal era, the Certosa di San Martino, a Carthusian monastery of medieval foundation, experienced a resurgence that culminated in the rebuilding of its church starting in the late 1580s. The new church of the Neapolitan Certosa featured an innovative design and an extensive and complex decorative program that distinguished it from all other churches of the order. This dissertation examines the rebuilding of the church of the Certosa di San Martino as a process deeply rooted in the changing religious culture of the time and one that also reveals the tensions inherent to the redefinition of monastic identity in Post-Tridentine Spanish Naples. The development of the Carthusian project paralleled the institutional re-organization of the order, but it also assumed a unique trajectory aimed at highlighting the role of the white monks and contemplative spirituality in the production of sanctity in Naples. By tracing the evolution of the rebuilding initiative within its proper cultural, religious and social context, I clarify the goals of the patrons and the expectations placed on the artists, and I define the scope of the project according to new parameters of spiritual authority. The reconstruction of the rebuilding process relies on primary sources from the Neapolitan State Archives and on recent historical and archaeological research, in addition to comparative studies. This dissertation challenges the view of Post-Tridentine monastic architecture as a mere response to the new liturgical requirements and sides with more recent interpretations by seeing monastic sacred spaces as dynamic places of exchange, and their designs and decorations as expressions of the spiritual authority of the monastic body they house. The rebuilding of the church of the Certosa di San Martino stands as an important example of the process by which spiritual authority was produced and redirected in Spanish Naples. Since 1973, when the first and only monograph on the art of the Certosa di San Martino was published, studies have been sporadic and limited to the analysis of particular works contained in the church. I analyze the new architectural plan and decoration of the church as fundamentally bound to the transformation of Spanish Naples into a holy city. / Art History

This study demonstrates how royal portraiture functioned during the Revolutionary and Napoleonic wars as a vehicle for visualizing and processing the contemporary political upheavals. It does so by considering a notion of the 'sovereignty of the portrait', that is, the semiotic integrity (or precisely the lack thereof) and the material territory of royal portraiture at this historical juncture. Working from an assumption that the precariousness of sovereignty which delineated the Revolutionary and Napoleonic wars goes hand in hand with the precariousness of representation during the same period, it reframes prevailing readings of royal portraiture in the aftermath of the French Revolution by approaching the genre less as one defined by the oneway propagation of a message, and more as a highly unstable intermedial network of representation. This theoretical undertaking is refracted through the figure of Maria Carolina, Queen of Naples (1752-1814), close sister and foil to Queen Marie- Antoinette of France, and who, as de facto ruler of the Kingdom of Naples, physically survived revolution but was twice dethroned and thrice exiled. A diverse ecology of royal portraiture revolving around Maria Carolina is presented across five case studies. Close attention to the materiality of a hyperrealistic wax bust of Maria Carolina reveals how portraiture absorbed the trauma of the French Revolution; Maria Carolina’s correspondence in invisible ink is used as a tool to read a highly distinctive visual language of 'hidden' silhouettes of sovereigns and to explore the in/visibility of exile; a novel reading of Antonio Canova's work for the Neapolitan Bourbons through the lens of contemporary caricature problematizes the binary between ancien régime and parvenue monarchy; and a unique miniature of Maria Carolina offers itself as a material metaphor for post-revolutionary sovereignty. Finally, Maria Carolina’s death mask testifies to how Maria Carolina herself became a relic of the ancien régime.

La céramique du « Lucanien récent » - désignant la céramique à figures rouges produite en Lucanie à partir des années 360-340 av. J.-C jusqu'à ce qu' A.D. Trendall appelle la «barbarisation» du style, vraisemblablement dans les dernières décennies du IVe siècle av. J .-C. -, n'a fait l'objet d'aucune étude approfondie depuis la classification stylistique proposée par le savant néo-zélandais en 1967. Les zones d'ombres persistantes quant à la localisation et l'articulation de ces ateliers de production, que la seule orientation stylistique ne permet pas d'éclairer, et le grand nombre de vases exhumés récemment en Basilicate et dans la région des Pouilles, nécessitaient la mise en œuvre d'une nouvelle étude. Ce travail de recherche, mené à partir du corpus stylistique initial attribué au Peintre du Primato, dresse un état des lieux et en propose une nouvelle lecture basée sur la pluridisciplinarité des approches, de l'archéologie contextuelle à l'archéologie de la production. Le matériel est envisagé dans ses aspects formel, iconographique, stylistique et technologique, et interprété à la lumière de nouveaux contextes comme réponse à la demande d'une clientèle indigène : de Basilicate. La prise en considération de réalités productives contemporaines, celle du Peintre de Naples 1959 et de ses collaborateurs autour desquels semble s'articuler la fin de la production lucanienne, et celle du Peintre de Lycurgue, peintre apulien avec lequel il a entretenu des liens privilégiés, contribuent à mettre en évidence la spécificité de son langage autant que les réseaux de contacts et d'influences accompagnant la création d'une culture d'atelier. / Since 1967 and New Zealander's A.D. Trendall 's stylistic classification of Late Lucanian vases -designating South-italian red-figure vases produced in Lucania around the second half of the 4th century B.C. until its so-called «barbarization» presumably occuring in the last decades of that same century -this field of research has not expanded. To overcome persistent shadows regarding the location and articulation of these workshops' production and in the face of numerous recent archeological finds in Basilicata and Puglia, this research offers a new awaited methodological study. Multidisciplinary, it encompasses the initial stylistic corpus, an updated inventory, and new approaches informed by contextual archeology and archeology of production. Focusing on late Lucanian vases attributed to the Primato Painter and his colleagues, considered in their formal, iconographic, stylistic, and technological aspects, the scope interprets the established new contexts while responding to a local demand, from italic people of ancient Lucania. The analysis of contemporary productions both Lucanian, with the Painter of Naples 1959 and his followers in an era of decline of Lucanian wares, and Apulian, with the Lycurgus painter from whom the Primato sourced his main inspiration, contributes to highlight the specificities of his “language”, as well as his networks of contacts and influences that accompanied the emerging of a workshop culture.

En se proposant d’étudier les relations des Français avec le Royaume de Naples dans la mise en place d’une politique archéologique parmi les plus modernes d’Europe sous les règnes de Joseph Bonaparte et Joachim Murat, cette thèse s’inscrit dans plusieurs domaines de la recherche en Histoire (politique et culturelle), Histoire de l’Art et Archéologie. Il s’agit ainsi de nous pencher surl’Antiquité à travers le prisme du XIXe siècle, tout en tentant de répondre aux questions actuelles de l’Histoire de l’art sur les provenances archéologiques et le destin des oeuvres découvertes dans ces années. Devant l’ampleur des découvertes archéologiques faites pendant le decennio francese, nous choisissons de limiter la recherche au matériel céramique. Ce corpus homogène permet de revenir sur les découvertes et l’histoire des sites archéologiques de l’Italie méridionale dans les années 1806-1815, en explorant des archives inédites. Leur dépouillement systématique apporte de nouvelles connaissances sur l’histoire des sites fouillés et permet de retrouver la provenance perdue d’objets aujourd’hui conservés dans les musées européens. Par ce croisement inédit de sources, nous espérons donner une vision plus complète de la Naples du decennio francese, tout en élargissant les connaissances sur l’Histoire de l’Archéologie en Italieméridionale. C’est là tout l’enjeu d’un sujet aux confluences des différents courants de l’Histoire,contemplant l’Antiquité dans le miroir des premières années du XIXe siècle. / Dealing with the relationships between the French connoisseurship and the Kingdom of Naples in building of one of the most modern archeological policies in Europe under Joseph Bonaparte and Joachim Murat's reigns, this doctorate takes a part in several fields of research in History (political and cultural), Art History and Archeology. It makes us look at the Antiquity through the prism of the XIX Century, trying at the same time to answer today’s questions of Art History about the archeological proveniences and the faith of the vases discovered in those years. In front of the large number of archeological discoveries made during the French Decade, we choose to focus our research on ancient painted vases. This homogeneous corpus leads us back to the discoveries and the history of archeological sites in the south of Italy during the years 1806-1815 by exploring ancient and unpublished archives. Their systematic sorting gives new information on the History of excavations, allowing us to find out the lost provenance of ancient vases, today conserved in several museums in Europe.With this original sources crossing, we aimed at offering a more complete vision of Naples during the French Decade by broadening the knowledge on the Southern Italian archeological History.Here stands the stake of a study at the confluences of different streams of History, looking at the Antiquity in the mirror of the first years of the XIX Century.