This thesis explores the creation of the church of S. Maria del Pianto and its altarpieces commissioned in the wake of the Neapolitan plague of 1656. The church and its sacred images are representative of the devotional shift that occurred in Naples after such catastrophic loss of life – in particular devotion to the souls in Purgatory. An exploration of the church’s commission, the people involved as benefactors, and the significance of the site upon which it was built proved central to the identification of the possible meanings of the altarpieces for their seventeenth-century audience and are examined in detail in this study. / Thesis (Master, Art History) -- Queen's University, 2007-10-27 14:20:05.416

Acknowledging the provenance of the mask of Scaramouche in carnival, this thesis employs a critical framework drawn from the work of one of that phenomenon's major theorists, the Russian philologist, Mikhail Bakhtin. It specifically tests the hypothesis that the mask embodies Bakhtin' s criteria of carnival- laughter, both mocking and regenerative. First by charting its evolution as a parasite or servant role in the professional theatre of the socalled commedia dell 'arte in early seventeenth-century Italy. A comparison between the myth of its most famous exponent, Tiberio Fiorilli, and his material history exemplifies the hypothesis by establishing his social position as a type of court jester. The satirical functions of the mask in French society are then examined, focussing particularly on its influence upon the theatre of Moliere in its fluctuation betwen the roles of servant and master. It is argued that the carnivalesque qualities of the mask represented the continuation of a heterodox opposition to absolutist containment, and these dialogic properties are emphasised in its history throughout the eighteenth, nineteenth and twentieth centuries, which is marked by a hybridisation into different artistic genres. It is demonstrated how the mask became inextricably associated with revolution through the popular fiction of Rafael Sabatini and cinematic adaptations thereof. Finally its attraction to the Italian avant-garde is seen in the closing decades of this century, returning through the mask to a cultural politics echoing the utopian project of carnival.

No description available.

Les dialectes, comme on a déjà vu, sont des entités destinées à évoluer sans cesse. Beaucoup plus que les langues traditionnelles, les plus diffusées. Faire des prévisions en linguistique est un exercice impossible, d'un côté et inutile de l'autre. Cela ne sert à rien en effet. Le phénomène néo-mélodique avec lequel, on l’a plusieurs fois déclaré dans cette recherche, le dialecte s'identifie complètement, est destiné à évoluer continuellement. On arrivera à un niveau de saturation auquel suivra un déclin inévitable. Est-ce que le dialecte napolitain suivra cette parabole ? Ou est-ce qu'il se distinguera, en récupérant une propre autonomie d'existence en re parcourant des dynamiques différentes ? Quel sera le destin du dialecte en général ? Si nous lisons les données de l’ISTAT de moins en moins de personnes seront intentionnées et motivées à s'exprimer en dialecte. Les média aujourd'hui ont une capacité de conditionnement impressionnante. Leurs services sont homologuants et à la longue ils finiront par délimiter toujours plus le domaine de l’utilisation du parler dialectal. C’est ce que nous pouvons prévoir en analysant la situation aujourd'hui. Est-ce que ce sera ainsi ? Est-ce que ce sera vrai ? Personne ne peut le dire. En linguistique les marges de l’impondérabilité et de l’imprévisibilité sont toujours plutôt consistantes. / This text is an analysis of the progessive disappear terms of French origin in Neapolitan dialect . It is a linguistic phenomenon that in recent times there has been more intensively. The research is divided into five chapters in which they are analyzed the texts of traditional and neomelodic Neapolitan music.The basic thesis is that the Neapolitan dialect, over time, has seen an increasing reduction of terms of French origin: the music of the neomelodic singers of latest generation has little in common with the nineteenth century Neapolitan dialect. It is characterized by an essential language, where the phonetic element prevails over the graphic form. The sound is more important than the written word. The Neapolitan dialect, used in music, has been increasingly influenced by the Anglo-Saxon spoken.

O foco da dissertação é a análise da reescrita em dialeto napolitano do século XVII da obra A tempestade de William Shakespeare realizada por Eduardo De Filippo. O que levou o dramaturgo napolitano a escolher esta e não outra peça do autor inglês foram essencialmente suas afinidades no tratamento de temas como a magia, o sonho, o amor, a família, o poder, o perdão. Eduardo não realizou uma tradução literal da peça inglesa, mas, utilizando uma língua que é uma mistura de dialeto napolitano do século XVII com dialeto napolitano contemporâneo e italiano criou uma Tempestade toda original e pessoal, aparentemente distante do texto shakespeariano / The thesis consists in analyzing the rewriting in XVII century Neapolitan language of William Shakespearian play, The tempest, by Eduardo De Filippo. What made the Neapolitan playwright choose this play, was essentially his affinities in dealing with certain themes, such us: magic, dream, love, family, power, forgiveness. Eduardo did not translate word by word of the English play, but, using a language which is a mixture of XVII century Neapolitan dialect, contemporary and Italian, has created an original and personal Tempest, apparently quite far from the Shakespearian one

O foco da dissertação é a análise da reescrita em dialeto napolitano do século XVII da obra A tempestade de William Shakespeare realizada por Eduardo De Filippo. O que levou o dramaturgo napolitano a escolher esta e não outra peça do autor inglês foram essencialmente suas afinidades no tratamento de temas como a magia, o sonho, o amor, a família, o poder, o perdão. Eduardo não realizou uma tradução literal da peça inglesa, mas, utilizando uma língua que é uma mistura de dialeto napolitano do século XVII com dialeto napolitano contemporâneo e italiano criou uma Tempestade toda original e pessoal, aparentemente distante do texto shakespeariano / The thesis consists in analyzing the rewriting in XVII century Neapolitan language of William Shakespearian play, The tempest, by Eduardo De Filippo. What made the Neapolitan playwright choose this play, was essentially his affinities in dealing with certain themes, such us: magic, dream, love, family, power, forgiveness. Eduardo did not translate word by word of the English play, but, using a language which is a mixture of XVII century Neapolitan dialect, contemporary and Italian, has created an original and personal Tempest, apparently quite far from the Shakespearian one

This thesis deals with the 20th century Neapolitan dramatics; it is divided into two thematic subjects. Firstly, the text tries to describe the life and work of three important Neapolitan playwrights, Eduardo De Filippo, Annibale Ruccello and Enzo Moscato. Apart from highlighting the most significant biographical events and sociohistorical circumstances that influenced not only the work of the individual playwrights but also the artistic creation of the movement called the New Neapolitan dramatics, to which both younger playwrights belong, the text thematises the question if the younger generation continued the rich work of Eduardo De Filippo and the traditional Neapolitan dramatics and if so, how. The second part makes use of the findings gained from the literary-historical research done in the first part to reflect upon the optimal translation of the analysed plays into Czech. Initially, the text briefly ponders upon the agelong theoretical translation issues and then introduces the two main translational strategies, namely the conformist (konformní) and the adaptation one (adaptační). Having marked out the problematic features of the analysed plays from the translation theory point of view, the text subsequently discusses the question of how to translate them into Czech as faithfully as possible...

De récentes découvertes sur le rôle du détail phonétique ont inspiré des modèles prosodiques basés sur une approche exemplariste. Au travers de quatre expériences portant sur la production et la perception du détail mélodique et temporel dans la variété napolitaine de l'italien, nous montrons que la notion de détail prosodique n'est pas non plus incompatible avec une approche abstractionniste. Plus particulièrement, nous suggérons que l'exploration du détail prosodique permettrait de mieux encadrer les rapports entre substance phonétique et formes phonologiques, en éclairant ainsi comment les fonctions pragmatiques sont véhiculée par la prosodie. / Recent findings on phonetic detail have been taken as supporting exemplar-based approaches to prosody. Through four experiments on both production and perception of both melodic and temporal detail in Neapolitan Italian, we show that prosodic detail is not incompatible with abstractionist approaches either. Specifically, we suggest that the exploration of prosodic detail leads to a refined understanding of the relationships between the richly specified and continuous varying phonetic information on one side, and coarse phonologically structured contrasts on the other, thus offering in-sights on how pragmatic information is conveyed by prosody.

No description available.

L’école romaine et l’école napolitaine de nature morte comptent au XVIIe siècle parmi les plus importantes dans la peinture européenne. Pendant tout le Seicento, elles sont restées étroitement liées, en multipliant les tableaux de fleurs, fruits, légumes, poissons, gibiers, sous-bois.... La thèse étudie l’évolution de ce genre à Rome et à Naples et les resitue dans le vaste tissu des échanges culturels et stylistiques entre ces deux capitales. Elle analyse la place de la nature morte dans le marché de l’art (circulation, marchands, prix, estimations) et dans les collections. Le goût de mécènes variés pour ces tableaux est étudié. Des comparaisons formelles entre les œuvres de différents peintres, comme Mario dei Fiori et Paolo Porpora, Michelangelo Cerquozzi et Giovanni Battista Ruoppolo ou Giovanni Battista Recco et Gian Domenico Valentino sont effectuées. On explique également le rôle d’Abraham Brueghel, Andrea Bonanni, Alessandro dei Pesci, et Andrea Belvedere. / The Roman and the Neapolitan school of still-life painting are in 17th Century among the most important in Europe. During the whole Seicento, these two schools are closely tied and produced a large amount of paintings of flowers, fruits, vegetables, fishes, game, woodland Scenes (sottoboschi)… This PhD analyses the evolution of still-life painting in Rome and in Naples and places it in the numerous stylistic and cultural exchanges between these two capitals. The place of still-life painting in the art market (circulation of works, merchants, prices, appraisals) and in the collections is studied. The Patrons’ taste for these pictures is examined. We carry out stylistics comparisons between works by Mario dei Fiori and Paolo Porpora, Michelangelo Cerquozzi and Giovanni Battista Ruoppolo or Giovanni Battista Recco and Gian Domenico Valentino. We also investigate the role of Abraham Brueghel, Andrea Bonanni, Alessandro dei Pesci and Andrea Belvedere.