Texte remanié de: Thèse de doctorat--Lettres--Université d'Uppsala, 2005. / Bibliogr. p. 301-321. Webliogr. p. 322-323. Index.

Univ., Diss.--Bamberg, 1999.

Esta Tese tem como objetivo discutir uma declarada descontinuidade na modernidade pontiana e a consequente ausência de uma metodologia de projeto identificável em seu trabalho no campo do design de interiores, ainda que intuitiva. Através da sistematização de sua obra no âmbito dos interiores residenciais, a autora se dispõe colocar à prova a própria declaração de Ponti (a qual Branzi reitera) que sugere a não ocorrência de dita metodologia. / This Thesis aims to discuss a declared discontuinity on the pontian modernity and the consequent abscence of an identifiable design methodology, even if intuitive, in his work in the field of interior and furniture design. Thru systematization of his work on the realm of interior design, the author proposes to put into proof Ponti´s own statement (which Branzi reiterates) that suggests the non-occurrence of such a methodology.

Esta Tese tem como objetivo discutir uma declarada descontinuidade na modernidade pontiana e a consequente ausência de uma metodologia de projeto identificável em seu trabalho no campo do design de interiores, ainda que intuitiva. Através da sistematização de sua obra no âmbito dos interiores residenciais, a autora se dispõe colocar à prova a própria declaração de Ponti (a qual Branzi reitera) que sugere a não ocorrência de dita metodologia. / This Thesis aims to discuss a declared discontuinity on the pontian modernity and the consequent abscence of an identifiable design methodology, even if intuitive, in his work in the field of interior and furniture design. Thru systematization of his work on the realm of interior design, the author proposes to put into proof Ponti´s own statement (which Branzi reiterates) that suggests the non-occurrence of such a methodology.

Esta Tese tem como objetivo discutir uma declarada descontinuidade na modernidade pontiana e a consequente ausência de uma metodologia de projeto identificável em seu trabalho no campo do design de interiores, ainda que intuitiva. Através da sistematização de sua obra no âmbito dos interiores residenciais, a autora se dispõe colocar à prova a própria declaração de Ponti (a qual Branzi reitera) que sugere a não ocorrência de dita metodologia. / This Thesis aims to discuss a declared discontuinity on the pontian modernity and the consequent abscence of an identifiable design methodology, even if intuitive, in his work in the field of interior and furniture design. Thru systematization of his work on the realm of interior design, the author proposes to put into proof Ponti´s own statement (which Branzi reiterates) that suggests the non-occurrence of such a methodology.

Le territoire de l’album de jeunesse contemporain, multiforme, inventif paraît fluctuant. Partagé entre l’image et le texte, il se présente comme une forme hybride aux frontières mouvantes entre livre illustré, album de bande dessinée, roman graphique. Notre corpus volontairement restreint concerne, parmi l’album de langue française tel qu’il se développe de 1945 à nos jours, une sélection significative d’œuvres d’auteurs illustrateurs. Il nous permet d’interroger les influences qui ont façonné son visage d’aujourd’hui : statut de l’enfant dans la société, impact de la technologie, des impératifs commerciaux, des grands courants artistiques. A partir de l’analyse des rapports entre l’image et le texte, il nous conduit à questionner la place de l’album dans l’environnement iconotextuel. Est-il possible de dégager sa singularité et de nous poser la question du genre ? Après avoir repéré aux sources de l’album la rencontre mouvementée de l’image et des mots de la Renaissance au XIXe siècle, nous analysons l’émergence de l’album contemporain, sa séparation avec l’album de bande dessinée entre 1900 et 1939. Nous voyons dans le rapport très particulier qui s’installe entre le support du livre et le fonctionnement de l’iconotexte, la constitution d’un genre de l’entre-deux. / The domain of contemporary picture books for children, in their multiple forms, is inventive and without formalized borders. It is shared between image and text, and presented as a hybrid form at with movable frontiers between illustrated books, picture books, comic books, and graphic novels. Our references are deliberately restrained to concern French language picture books and their development from 1945 to today, with a significant selection of works from author-illustrators. This makes visible the influences that have shaped today’s position: the status of the child in society, impact of technology, commercial needs, and major artistic trends. The analysis of the relationship between image and text takes us to question the place of the album in the iconotextuel environment. Is it possible to separate its singularity and for us to ask questions of the genre? After tracing the sources of picture books with the meeting dynamic of images and words from the Renaissance to the XXIst century, we analyze the emergence of the contemporary picture book, and its separation from comic books between 1900 and 1939. We can see that the very particular relationship that has developed between the physical book and the functioning of the iconotext, has led to the creation of a type between the two.

L'île tibérine est l'île fluviale se trouvant sur le Tibre, à hauteur de Rome. sa première occupation connue remonte au iiie siècle av. j.-c., lors de l'installation d'un culte en l'honneur d'Esculape. Ll'île est également au centre d'un noeud de communication entre les deux rives du fleuve. L'objectif du travail sera d'étudier la place de l'île dans la ville de Rome, de retracer son évolution, déterminer ses fonctions ainsi que ses liens et interractions avec les quartiers mitoyens : le trastevere ou le forum boarium, par exemple. L'étude s'ouvrira donc aux ponts de Rome et à certaines zones riveraines de l'île.l'étude sera réalisée en reprennant les textes des historiens et géographes antiques, les inscriptions, les vestiges archéologiques et les récits des voyageurs modernes. Cette disposition topographique de Rome, au bord d'un fleuve, à proximité d'un îlot central, se retrouve dans d'autres villes antiques. Il sera intéressant, après avoir développé l'étude de l'île, de comparer la situation avec celle d'autres villes qui présentent les mêmes caractéristiques, comme Paris ou Antioche par exemple / Tiber Island, between Vrbs and Trastevere, is one of the topographical characteristic of the site ofRome. Its history and fame begun with the arrival of Asclepius, the Greek god of medicine brought fromEpidauros. No study went thoroughly back over the history and topography of this significant component ofroman scenery since the monograph written by M. Besnier in the early years of the 20th century. Nowadayscurrent developments in archeological research and new perspectives in roman topography throw new light onmany issues. This thesis aims to go back over the development, the town-planning but also the place the Tiberislet occupied in town. In this perspective, this is not just about grasping the island as a place but also as acomponent of roman landscape and urban development. Indeed Tiber island can only be apprehended at firstwithin its natural surroundings then its urban one. The island shows a high concentration of cults, which begunwith the advent of Aesculapius, who made it the “sacred island” thus permanently marking its topography.However, studying its planning and administration reveals it was real district too, with all the features as regardsarrangements and activities. At first on the fringe of the city, its integration to the city begun in the 2nd centuryBC until it was established as uicus Censori by the augustean reform. During the Imperial period, the island isalready seen as an old-settled part of the city, which will only know new changes with the banning ofpolytheistic cult. / L’isola Tiberina, tra l’Vrbs e il Trastevere, costitui una delle particolarità topograficedel sito di Roma. La sua storia, ma supratutto la sua notorietà, comincia quando arriveEsculapio, il dio greco della medicina, importato da Epidauro. Dalla monografia di M.Besnier, pubblicata all’inizio del XX secolo, nessuna studia è tronata su questo soggetto inmodo approfondito. Ora, l’attualità della ricerca archeologica e le nuovi approci in topografiaromana getteno nuova luce su molte problematice. Duncque, questo lavoro propone diriesaminare l’evoluzione, gli insediamenti ma anche il ruolo dell’isola nella città. Inquest’ottica, non si considera solo l’isola in quanto luogo ma come elemento del paesaggio etdel urbanismo romani. Perché si posse capire l’isola Tiberina unicamente nel suo ambiante,innazi tutto naturale, poi urbano. L’isola si define soprattuto per la concentrazione di culti sulsuo territorio, iniziata dall’arrivo di Esculapio che l’insedia nel suo ruolo d’ « isola sacra » emarca definitavamente la sua topografia. Tuttavia, la studia del suo spazio et della suaamministrazione mostra che era anche un vero quartiere, di cui aveva tutti gli attributi inmateria di strutture ed attività. Inizialmente fuori dalla città, la sua intergrazione nelfunzionamento della città comincia dal II secolo a.C. fino alla riforma di Auguto che laistituisce uicus Censori. All’epoca imperiale, l’isola ostituisce già parte integrante della cittàda molto tempo, che conoscerà nuove trasformazioni col divieto del culto politeisti.Parole chiavi