Ce travail vise à proposer une définition opératoire de la déclamation du XVIème siècle, à étudier son évolution durant la période et à examiner ses manifestations dans certains textes littéraires. La première partie est constituée d'une sorte de recherche archéologique : qu'est-ce exactement que les Romains appelaient une "declamatio" ? Comment cet exercice a-t-il évolué durant la deuxième sophistique ? Qu'est-ce que les humanistes de la Renaissance appellent ainsi, apprécient et essayent d'imiter ? La seconde partie propose plusieurs analyses de déclamations humanistes, en vue d'en formuler une définition précise et pratique. Une conclusion synthétique rassemble ses principaux caractères, et propose un aperçu de ses enjeux. La troisième et dernière partie cherche des traces de déclamation, ou de bribes de déclamations, dans les textes qui ne sont pas spécifiquement oratoires. La diffusion de la déclamation dans la sphère littéraire est peut-être un indice de son importance dans la pensée et dans les pratiques d'écriture des Humanistes. / This work aims at giving a definition of 'declamation' in the 16th century and at studying its evolution and its manifestations in a few literary texts. The first part is a kind of archeological research: what did exactly the Romans call 'declamatio'? How did this exercise evolve during the second sophistic period? What did the humanists of the Renaissance call so, appreciate and try to imitate? The second part will examine a variety of analyses on humanists' 'declamation' so as to propose an accurate and practical definition of the humanist 'declamation'. A synthetic conclusion will gather its main characteristics and will present a view of the issues. The third and last part will search for the presence of 'declamation', or part of it, in non-rethoric texts. The spreading of 'declamation' in the literary sphere may give an indication of its importance in the mind and in the writing practices of the Humanists.

Orientador: Luiz Cesar Marques Filho / Acompanha volume das figuras / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-05T18:23:39Z (GMT). No. of bitstreams: 1 Gomes_Waldemar_M.pdf: 99392439 bytes, checksum: bbd9e4a60a5bca216b0c5680fecf9ea2 (MD5) Previous issue date: 2006 / Resumo: A construção do Sepulcro do Papa Júlio II ocupou 40 anos da vida produtiva madura de Michelangelo, entre 1505 e 1545. Idealizada como um grande mausoléo composto de cerca de 40 esculturas e ornamentos em bronze para ser construída na Basílica de São Pedro, o monumento passou a sofrer reduções gradativas a cada novo projeto que foi assinado entre Michelangelo e os herdeiros e executores da vontade do papa. O monumento edificado não mais na Basílica de São Pedro, mas na Igreja de San Pietro in Vincoli, conta com apenas 7 esculturas, algumas delas de discípulos do mestre florentino. Ao afirmar que o resultado final foi o resultado possível a que o artista conseguiu chegar para ver-se finalmente livre daquela encomenda, a crítica tem considerado que essa obra ficou muito aquém dos sonhos grandiosos tanto do papa quanto do próprio artista. A partir dos recentes trabalhos de restauro, Antonio Forcellino, Adriano Prosperi e Christoph L. Frommel avançaram novas hipóteses sobre as condicionantes sociais, políticas e religiosas que nortearam a conclusão do monumento e que teriam motivado Michelangelo a fazer a escolha de certas esculturas em detrimento de outras influenciado que teria sido pelo conteúdo do opúsculo Il Beneficio di Cristo. Com isto, eles criaram uma das mais novas e revolucionárias teorias sobre o programa iconográfico do resultado final dessa obra e avançaram novas luzes para sua compreensão, contribuindo para que possamos entendê-lo melhor / Abstract: Michelangelo spent 40 years both in his mature and productive life to build The Tomb of Pope Julius II between 1505 and 1545. Planned at the very beginning as a big mausoleum adorned with around 40 sculptures and pieces of bronze to be construct at Saint Peter Church, the sepulchral monument was reduced at each new project that was signed between Michelangelo and the executors and heirs of Pope Julius' wiIl. The monument was finally constructed not more in Saint Peter Church, but in Saint Peter in Chains, with only 7 sculptures, some of them by the hand of Michelangelo's disciples. Saying that the final result was a possible arrangement that the artist could arrive for to be free forever the scholars have appointed that this work became much distant from the dreams of the pope and the proper artist. Based on the recent works on restoration conducted by Antonio ForceIlino and supported by the studies made by Adriano Prosperi on religious field side by side the inquiries made by Christoph L. Frommel on the sculpture of Moses they advanced new hipothesis on the social, political and religious context that marked the conclusion of the monument and that motivated Michelangelo to choose some sculptures and not others under the influence of the little book II Beneficio di Cristo. FoIlowing this way they created one of the newest and the most revolutionary theories on the iconographic program of the last project of this work putting new lights on its comprehension and help us understand it better / Mestrado / Historia da Arte / Mestre em História

La thèse s’intéresse aux usages de l'épopée chez Rabelais et les histoires comiques du XVIIe siècle (Sorel, Furetière, Scarron, Tristan L’Hermite, d’Aubigné). Elle cherche à dépasser l’interprétation parodique, souvent mobilisée par la critique moderne, et à montrer comment ces auteurs semblent rivaliser avec les poètes héroïques de la même époque (Ronsard, Chapelain, etc.) en tentant de refonder le récit comique long. Tout d’abord, on tente d’évaluer la présence de l’épopée dans ces œuvres comiques par un relevé des références et des citations, et une redéfinition de l’héroïsme tel qu’il apparaît dans les récits. Dans un deuxième temps, on cherche à expliquer l’usage de ces références par les auteurs comiques, autrement que par le concept moderne et trop souvent plaqué de « parodie » : on s’intéresse donc aux usages sociologiques de l’épopée, qui sert à la satire politique, religieuse, mais aussi savante. Les historiens sont, par exemple, des cibles privilégiées, car ils se servent de l’épopée pour cautionner leurs projets d’historiographie nationaliste et mythologique. Ce travail doit enfin permettre de mesurer le rôle du genre épique dans le renouvellement de l’écriture comique, tel que l’a instauré Rabelais, et tel qu’il fut poursuivi par ses successeurs. Cette analyse permet de revenir sur la réception de Rabelais au XVIIe siècle, encore peu étudiée, autant que d’appréhender l’influence de ces longues histoires comiques en prose, dans les siècles suivants : romans d’aventures, romans de cape et d’épée – autant de genres qui ont bénéficié des innovations héroïques et vraisemblables de ces longs récits comiques d’une époque disparue. / This dissertation focuses on the various uses of epic in Rabelais’ Books and in the comic novels of the XVIIth century (d’Aubigné, Sorel, Tristan L’Hermite, Scarron, Furetière). It attempts to go beyond the parodic interpretation commonly adopted by modern criticism towards this corpus, and to underline how these authors compete with the epic poets of that time (Ronsard, Chapelain etc.), as they try to renew the comic narrative. The first part of the study assesses the presence of epic features in the works: using a list of references and quotes, it strives towards a redefinition of heroism, as the paradigm appears in the texts. It then delves into the reasons why the authors so often refer to epic: as an efficient tool for their satiric discourses. The dissertation focuses on the sociological uses of epic that target political, religious and intellectual groups that appropriate epic models for their own purposes. Historians appear as privileged targets because they use epic to validate their historiographic projects, often imbued with nationalist and mythological tendencies. Finally, the work gauges the role of epic in the renewal of comic writing, as established by Rabelais, and continued by his epigones. This analysis sheds light on Rabelais’ reception in the XVIIth century, a topic that has scarcely been studied yet, and offers explanations for the lasting influence of these long comic and prosaic stories in the following centuries: adventure novels, swashbucklers and historical novels are some of the genres that may have taken advantage of the realistic and heroic innovations brought forth by these comic stories of a bygone age.

Au seuil de l’ère moderne sous le règne de François Ier et d’Henri II, la société et le régime connaissent des changements fondamentaux : la déchéance de la classe noble féodale et la montée de la classe bourgeoise modifient la dynamique de la société. Par conséquent, l’identité de l’homme, fondée jusque-là sur le statut social féodal nécessite un autre modèle de fondement. La quête d’une nouvelle forme d’identité s’effectue tout le long du siècle, préparant en conséquence l’individu moderne de la fin du siècle, représenté par l’idée de « moi » chez Montaigne. Cette évolution de la société affecte le monde des récits de la première moitié du siècle qui prennent alors leur essor. Succédant à la tradition française des conteurs, et sous l’influence de romans et de récits de tradition italienne et espagnole, les récits manifestent dans la représentation du corps le germe de l’individu moderne bien que dans la plupart des cas les personnages soient encore fondés sur des types cofidiés par la la littérature médiévale. La première partie montre dans les jeux de regard des récits l’émergence d’une individualisation de la représentation du corps, notamment dans les Angoysses douleureuses et dans l’Heptaméron. En même temps, elle se sert de l’image du corps percevant comme point de repère pour aborder les récits dont le genre reste encore problématique. La seconde partie analyse, sous le thème du corps perçu, l’évolution de la société et de la morale en ce qui concerne le corps qui se reflètent dans la description physique des récits. L’évolution militaire est étudiée avec l’œuvre de Rabelais. La troisième partie, dérivée de la deuxième partie se concentre sur le geste. Le dialogue gestuel dans Pantagruel est traité avec l’objectif de déchiffrer la signification de chaque geste et enfin d’interpréter le sens des dialogues. En établissant l’inventaire de gestes de l’époque, nous lançons une hypothèse sur la parodie et la critique de la réforme monastique qui précéde la Réforme comme arrière-plan de l’épisode. / Under the reigns of François I and Henri II, at the threshold of the modern era, both society and government were undergoing fundamental changes : the fall of the feudal nobility and the ascent of the middle-class were changing the dynamics of the society. As a result, man’s identity, which until then had been based upon the feudal system, necessitated a new social interpretation. The quest for a new form of identity took place throughout the century, eventually resulting in the concept of the modern individual by the end of the century, which Montaigne’s idea of the self represents. This societal evolution inspired the prolific writing of stories in the first half of the sixteenth century. Based on the tradition of the French storyteller and under the influence of Spanish and Italian stories, the stories show in the representation of the body the germ of the modern individual, though in most of the cases the characters are still based upon certain human types codified by medieval literature.The first part discusses the human game of observing the body and the individualization of the body, mainly in The Angoysses douleureuse and The Heptaméron. At the same time, it uses the image of the perceived body as a reference point for addressing gender narratives which still remain problematic. The second part, entitled the perceived body studies the evolution of society and the morality of the body through the described physical images in the stories. The military revolution is treated with Rabelais’ works. The third part, derived from the second part, focuses on gesture. The dialogs involving gesture in Pantagruel are analyzed, aiming at the deciphering of each gesture and finally interpreting the dialogs’ meaning. Through an inventory of the gestures of the period, a hypothesis for a parody and a critique is suggested for the monastic reformation which precedes the Reformation as a background of the episode.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

This thesis maps out the roles of cosmetic use in Renaissance Italy from the period c.1450-1540, using books containing cosmetic recipes as the primary source material. Their content, dissemination, and use is explored as a means of creating a new understanding of a practice central to daily life and integral to ongoing arguments about the body. Recent scholarship has seen a rise in interest in books of recipes and secrets in the Renaissance and Early Modern periods, but there has yet to be a full-length study exploring cosmetic recipes as a significant source of information, leaving a considerable gap in the understanding of how ‘high’ cultural discussions of beauty ideals related to popular culture and everyday practice. This thesis aims to fill that gap. Focusing on the formative period of 1450-1540, when both the written and artistic interests in cosmetics were developing, this thesis draws together a large body of previously unpublished primary source material from printed and manuscript recipe books relating to the making and use of cosmetics, and is the first in-depth analysis of the material and visual culture of Italian cosmetic practice during this period. A major component of this project was to establish what practices, materials and products constituted Renaissance cosmetic practice. The way in which recipes for beautification are identified within recipe books is carefully considered, and recipe ingredients and methods are examined, with comparisons made to the representation of cosmetics in non-recipe sources (written and visual). The goal was to describe cosmetics as they were defined in Renaissance terms, so recipe ingredients have been considered largely in context of Renaissance medicine rather than modern pharmacy, in contrast to most extant studies on the topic. A further major aim of this study was to create a detailed reconstruction of the social values attached to cosmetic use during the Renaissance period. This has been investigated both through an examination of how cosmetics are represented in written and visual sources, and also through a critical investigation of the people involved in the making and use of cosmetics and cosmetic recipe collections. Throughout, a range of material sources have been examined in consideration with each other—recipe books, behavioural advice, moral arguments, printed and painted image, inventories, and household objects such as mirrors and combs—demonstrating that cosmetics had a wide ranging and significant presence in daily Renaissance life. The first chapter examines the moral discourses directed at cosmetic use, establishing the place of these discourses within broader concerns about the control of women’s behaviour. Chapter 2 begins to place the ideals of beauty in a social context, examining how cosmetics are represented in recipe books, and discussing what activities and practices Renaissance ‘cosmetics’ consisted of, with particular attention given to their relationship with medicinal recipes. Chapters 3 and 4 investigate the people who made and used cosmetic recipes, broadly addressing themes of accessibility, and the connections between a beautified appearance and social status. The authors of recipe books, the books’ cost, audience literacy, markets for medicine, and cost and effectiveness of cosmetic recipes are all taken into account to illustrate a lively economy surrounding the use of makeup. Finally, Chapters 5 and 6 address cultural representations of cosmetic use in art and literature, re-examining key examples within the context of the material culture of cosmetics to demonstrate the significance of makeup use in formulations of Renaissance femininity.

La bibliographie sur la polyphonie profane italienne des XVIe et XVIIe siècles, qui décrit aussi le répertoire des éditions de plusieurs auteurs (par rapport à des livres d'un seul compositeur) est restée jusqu'à aujourd'hui la moins connue, la moins cataloguée et la moins mise à jour malgré les efforts des nombreux chercheurs talentueux. Reléguée à une section secondaire du «Vecchio Vogel» (1892) et révisé avec autorité par Alfred Einstein (1962), sa complexité variée a été éludée par la musicologie systématique, avec quelques exceptions rares, mais partielles (Lincoln, Lewis Bernstein.) Le Nuovo Vogel (1977), qui avait prudemment évité ce vaste répertoire 'collectif', non sans certaines inclusions incorrectes (Balbi, Barré, Doni etc.), n’a toujours pas été mis à jour, plus de 35 ans après sa sortie. Même le grand effort de catalogage RISM (B/I) ne donne aucune garantie d'exhaustivité ni d’utilité suffisante, car il n’affronte pas de manière systématique, par exemple, les problèmes de l'anonymat de plus de mille pièces, ou ce ‘Di incerto autore’ dispersé dans l'histoire de la musique vocale imprimée au Renaissance. Cela signifie qu'à ce jour, le savant qui veut examiner consciemment la genèse, le mouvement et la documentation historique de première main sur une pièce donnée, ou sur les madrigaux d'un livre collectif (que par souci de concision, nous avons défini UBI) doit feuilleter un répertoire de plus de huit mille textes de madrigaux. (UBI et uesi sont des néologismes pour décrire le répertoire que nous étudions). De nombreuses études, bien que limitées à certains livres, ont documenté la richesse musicale, littéraire, linguistique, géographique et professionnelle de ce grand répertoire de pièces de musique, ressentant le besoin d'un ordre plus important, sans que rien de tel n'ait été fait. À ce besoin urgent a répondu un travail du présent auteur consacré à l'indexation complète des livres, des textes, des dédicaces, des notes internes et des documents originaux que ce répertoire présente: ce nouvel outil bibliographique est appelé RIM (musique de la Renaissance italienne). La transcription intégrale de plus de 98% des textes mis en musique dans ce répertoire avec le nécessaire soutien informatisé et numérisé permet à tous ceux qui s'occupent de l'historiographie musicale italienne de la Renaissance non seulement d’identifier d'un grand nombre de pièces jusqu'aujourd'hui anonymes, mais constitue aussi un progrès dans de nombreux domaines du madrigal italien. Ce n’est qu’une fois que le RIM a été disponible qu’il a été possible de mener une enquête systématique sur l'organisation interne des UBI. Cette thèse est donc une recherche systématique sur l'organisation interne des anthologies (que l’on définit ici comme un choix de chansons déjà connues) et des edizioni collettive (à la différence des anthologies, les éditions collectives contiennent un choix de chansons originales), disposées de manière appropriée afin d'identifier et d'offrir des programmes structurés selon les intentions des coordinateurs-compilateurs, ou de celui qui signe la dédicace, ou encore des artistes qui les ont compilées dans le but d'honorer et d'illustrer leur propre communauté. Environ 150 livres étudiés nous permettent d'identifier une richesse jusque-là inconnue de propositions collectives et d'ingénieuses organisations texte-musique, qui conduisent à la fin de la période à la création du livret d'opéra ante litteram avant l'avènement même du mélodrame. / The bibliography on the Italian secular polyphony of the sixteenth and seventeenth centuries, which describes the repertoire in the editions of various authors (compared to that of the books of a single composer) has remained until today the least known, the least up-to-date, despite the efforts of several talented scholars. Relegated to a secondary section from the first Vogel (1892) and authoritatively revised by Alfred Einstein (1962), it was systematically 'baffled' by the musicology due to its varied complexity, with only some rare but partial exception (Lincoln, Lewis, Bernstein). Neither the New Vogel (1977), which had prudently evaded this gigantic repertoire – apart from some strange inclusions (Balbi, Barré, Doni etc.) –, has been updated in the last 35 years. Also the huge effort of the RISM (B/I) catalogue gives no assurance of completeness or noteworthy usefulness until, for example, the problem of the over one thousand anonymous or 'Of uncertain author' songs that disseminate the history of printed vocal music of the '500 /' 600 is fully addressed. This means that to date the scholar who wants to consciously examine the genesis, the movement and the historical first-hand records on a given song, or on the songs of a collective book (which we have defined UBI for brevity) has to go through the not-indexed list of more than eight thousand songs-texts. Many studies, although limited to individual books, have documented the wealth of musical, literary, linguistic, geographical, professional proposals of this section, feeling the need of a larger organization without doing nothing to overcome this situation. The study and research of a single Italian scholar has finally remedied this binding necessity with a complete indexing of books, texts, dedications, internal notes in the books and the original documents provided by that repertory: this new bibliographical tool is called RIM (Italian Renaissance music). The full transcript of more than the 98% of the texts set to music in this repertoire, with the necessary computerized and digitized supports, allows the entire historiography on the Renaissance to progress its studies and research, not only in the identification of several hundreds of songs so far anonymous, but in many fields of the entire historiography of music in the age of the Italian madrigal. Carrying out a systematic investigation on the compilatory organization of the UBI has been possible only thanks to the availability of the RIM. This thesis therefore represents the systematic investigation on anthologies (choices of already known songs) and on edizioni collettive (collective editions are books of original songs) appropriately arranged in order to form programs and courses coherent in sense with the intentions of the coordinators, compilers-dedicators, artists who have compiled them to honour and illustrate their own community with music and poetry. About 150 books examined allow us to identify a previously unknown wealth of collective proposals and ingenious text-music organization to be seen as 'Libretto' ante litteram before the advent of melodrama. / La bibliografia relativa alla polifonia profana italiana cinque/secentesca che descrive anche il repertorio contenuto nelle edizioni di vari autori (rispetto a quello dei libri di un solo compositore) è rimasta fino ad oggi la meno nota, la meno aggiornata e la meno catalogata nonostante gli sforzi di valenti studiosi. Relegata in una sezione secondaria fin dal primo Vogel (1892) e rivista autorevolmente da Alfred Einstein(1962), nella sua complessità variegata è stata ‘elusa’ sistematicamente dalla musicologia, con qualche rara ma, in ogni caso, parziale eccezione (Lincoln, Lewis, Bernstein.) Nemmeno il Nuovo Vogel (NV,1977), il quale aveva prudenzialmente eluso deliberatamente questo vasto repertorio, non senza qualche strana inclusione (Balbi, Barré, Doni ecc.), alla distanza d'un tempo pari ad un ‘mezzo cammin di nostra vita’, non è stato più aggiornato. Per analoghe ragioni l'ingente sforzo catalografico del RISM B/I non si rivela di soverchia utilità, né dà certezza di completezza, finché, per esempio, non si affronti in modo sistematico il problema degli oltre mille brani adespoti o ‘Di incerto autore’ che disseminano la storia della musica vocale profana stampata fino al 1700. Ciò significa che a tutt’oggi lo studioso che voglia esaminare coscientemente la genesi, la circolazione e la documentazione storica di prima mano su un determinato brano, (o sui brani di un libro collettivo, che per brevità abbiamo definito UBI) deve passare in rassegna l'intero repertorio non indicizzato di oltre ottomila brani/testi. (UBI e uesi sono neologismi da noi ideati, che sono discussi nel primo capitolo della tesi, funzionali a descrivere il repertorio indagato). Molti studi, ancorché limitati a singoli libri collettivi, hanno documentato la ricchezza di proposte musicali, letterarie, linguistiche, geografiche e professionali di questa sezione di repertorio vocale, segnalando la necessità di un più ampio ordinamento, senza che nulla di tutto ciò sia stato fatto. Lo studio e la ricerca di uno singolo studioso italiano ha finalmente dato una risposta - creando una base di dati, cioè uno strumento informatico - che ha, almeno in parte, sanato questa esigenza davvero inderogabile, con un’indicizzazione completa dei frontespizi, dei testi poetici, delle dediche, delle documentazioni originali e delle note interne dei libri collettivi che tale repertorio presenta: questo nuovo strumento bibliografico si chiama RIM (Rinascimento Musicale Italiano). La trascrizione integrale, con i necessari supporti informatici digitalizzati, di oltre il 98% dei testi messi in musica di questo repertorio consente all’intera storiografia musicale un sicuro progresso non solo nella migliore identificazione dei brani già noti (e soprattutto di un buon numero di anonimi), ma anche di cogliere e fornire una visione complessiva del fenomeno in numerosi campi della storiografia musicale del ’5/'600. Con il RIM è stato possibile procedere all'indagine sistematica sull'organizzazione compilativa delle singole UBI. Questa tesi è quindi l'indagine sistematica sulle anthologie (scelte di brani già noti) e sulle edizioni collettive cioè libri di brani originali, disposti in modo idoneo a costituire programmi e percorsi di senso strutturati secondo le intenzioni dei coordinatori-dedicatori, artisti che le hanno compilate con lo scopo precipuo di onorare ed illustrare la propria comunità tramite la musica e la poesia. I circa 150 libri esaminati in maniera completa ci permettono di segnalare un'ideale ricchezza di proposte collettive e di geniale organizzazione testo-musica finora sconosciuta. È un'organizzazone che si configura come 'Libretto' ante litteram di opere musicali ben prima dell'avvento stesso del melodramma.

Notre thèse intitulée L'altérité et la vulnérabilité dans les romans de Nella Larsen est consacrée aux concepts d'altérité, de vulnérabilité et d'appartenance dans Quicksand and Passing. Ce travail s'articule autour de la question de l'identité des femmes noires et métisses. Puisque nous nous sommes proposé de considérer la place de Nella Larsen en tant que femme et auteur dans le contexte de l’émancipation des femmes Afro-Américaines en partant de sa place dans la Harlem Renaissance, une partie de notre étude examinera les tenants et les aboutissants de ce mouvement identitaire et culturel. Nous tenterons de cerner la spécificité de la voix de Larsen dans ce mouvement ainsi que son apport à la fois au niveau de l’imaginaire littéraire et des stratégies narratives que l’auteure utilise dans ces œuvres pour définir ce qui les caractérise. Nous nous sommes par ailleurs proposé de dégager ce qui fait la voix distinctive des réalisations de Nella Larsen en examinant son traitement du concept de passing, à la fois « passer » et « passer pour ». Cela a permis de situer les romans de Nella Larsen dans leur contexte et de montrer l'altérité et la marginalisation que les Afro-Américains ont traversées pendant la Renaissance de Harlem. En effet, Larsen démontre que même si les années 1920 étaient censées être une ère d'émancipation pour les personnes de couleur, elles souffraient encore de nombreuses discriminations. Analyser les concepts de race, de dépassement et de vulnérabilité dans les fictions de Nella Larsen a permis de prouver que même si l'altérité des protagonistes est confrontée à de nombreuses difficultés qui semblent l’éradiquer ; elle ne disparaît jamais et reste présente dans chaque personnage. Aussi, La soumission des romans à une approche pluridisciplinaire a permis d'examiner les causes et les conséquences de l'altérité dans les œuvres de fiction et d'analyser le concept sous toutes ses formes, qu'il soit racial ou sexuel. Cette thèse a également montré que les romans de Larsen vont à l'encontre du système totalitaire qui a de très mauvais effets sur « l’autre ». En effet, au lieu d'éliminer l'altérité, ce système l'accentue encore plus et « l’autre » se sent plus rejeté et marginalisé que jamais. / Otherness and Vulnerability in Nella Larsen’s Novels is devoted to the study of the concepts of alterity, vulnerability and belonging in Quicksand and Passing. Revolving around the questions of identity for black and mixed-race women, the study starts with a historical perspective of "otherness" in Nella Larsen’s novels while considering the marginalization that African-Americans went through during the Harlem Renaissance. Indeed, Larsen demonstrates that even if the 1920s were supposed to be an era of emancipation for colored people, they still suffered from many discriminations. Analyzing the concepts of race, passing, and vulnerability in Nella Larsen’s fictions leads us to prove that even if the protagonists’ otherness is confronted to many hardships that seem to eradicate it, it never fades away and remains present in each character. Submitting the novels to a multi-disciplinary approach has enabled us to examine the causes and consequences of otherness in the works of fiction and to analyze the concept under several forms. This thesis eventually shows that Larsen’s novels go counter the principle of totalitarianism as a system, be it social, political or linguistic in which "otherness" stands as the only possible way to establish one's identity.

This dissertation offers a new interpretation of Andrea del Sarto’s art and career and is rooted in the premise that collaboration played a central role in Andrea’s artistic practice. Serving as an interpretative rebalancing act, it focuses not on Andrea’s personality, individual artistic practice, or influence on later painters, but on his collaborative undertakings in the first half of his career. Each of the four chapters centers on a large, complex, and ambitious cycle of paintings. These projects, frequently exceeding the physical and technical capabilities of a single individual, were virtually impossible for an artist to produce in isolation, thus readily lending themselves to a collaborative approach. Chapter One examines Andrea’s early years working at Santissima Annunziata and focuses on the fresco cycle depicting the life of the Blessed Phillip Benizzi that Andrea carried out in tandem with Franciabigio. The two young painters, who met while studying the battle scene cartoons of Michelangelo and Leonardo da Vinci, shared a workshop in their earliest years as independent artists and worked together on their first commissions. The Philip Benizzi fresco cycle, which fills one side of the Chiostro dei Voti, the Annunziata’s forecourt, illustrates what I call “manual collaboration,” in which the two painters co-executed several of the paintings, even as each maintained his own cartoon transfer methods and stylistic tendencies. Chapter Two also concentrates on the Annunziata, but shifts its attention to the other side of the Chiostro dei Voti. It begins by looking at The Journey of the Magi, a fresco in which Andrea includes a self-portrait alongside depictions of his friends the sculptor Jacopo Sansovino and the musician and composer Francesco d’Aiolle and considers the implications of Andrea’s move to the Sapienza complex, adjacent to the Servite church. The chapter then examines the rich musical environment in which Andrea was embedded at the Annunziata. It considers how contemporary ideas of musical harmony and figural polyphony, in what I call “conceptual collaboration,” may have influenced the Marian fresco cycle, which Andrea carried out alongside Franciabigio, Jacopo Pontormo, and Rosso Fiorentino. Chapter Three turns to the Borgherini bedchamber, a private commission for an elaborate room in the palace of Pierfrancesco Borgherini decorated with painted panels illustrating the life of the Old Testament figure of Joseph, whose production was overseen by the architect Baccio d’Agnolo. In light of unpublished archival material, the chapter considers both the overall ensemble and the individual paintings executed by Andrea, Jacopo Pontormo, Francesco Granacci, and Bacchiacca in relation to Pope Leo X’s triumphal entry into Florence, on which almost all of the artists had worked in the year prior to undertaking the bedchamber. This chapter considers both how Baccio d’Agnolo, in a form of “programmatic collaboration,” oversaw the project and how the painters worked with one another as they developed and then executed their own panel paintings. Chapter Four examines the Chiostro dello Scalzo, a space to which Andrea returned throughout his career that exemplifies several of the modes of collaboration discussed in earlier chapters. Considering a form of “intermedial collaboration,” the chapter looks at the transfer and translation of designs across surfaces and media, with special attention to Andrea’s work with the sculptor Jacopo Sansovino. The chapter concludes with a consideration of the Scalzo’s afterlife and how it served as a site that invited collaborative tendencies in subsequent generations of artists. The dissertation concludes with an Epilogue that addresses Andrea’s little-studied time in France from 1518 to 1519, a period of his career that cries out for further evaluation. This trip marks the moment when Andrea shifted from collaborating with his peers to directing his own large workshop, one that thrived during the 1520s and became the training ground for a future generation of painters. Taken together, these chapters illuminate several manifestations of collaboration in Andrea’s career, helping to reframe our understanding of artistic authorship in the sixteenth century.

Der Beitrag beschreibt kurz die Baugeschichte der Kathedrale mit besonderer Betonung der Hängekuppel der Kirchenschiffe. Ihr Bau hat eine große Verbindung mit einigen geometrischen Aufgaben für den Steinschnitt, welche Alonso de Vandelvira, der Sohn des Dommeisters Andrés de Vandelvira, in seinem Traktat „Libro de traças de cortes de piedras“ erklärt.