Con l’edizione commentata di un’opera giovanile di Sforza Pallavicino, il poema inedito e incompleto 'I fasti sacri', si cerca di fornire una ulteriore tessera utile a comprendere e definire le caratteristiche della poetica del circolo barberiniano nella Roma di inizio Seicento. In apertura dell’opera il 'Discorso intorno al seguente poema' raccoglie le dichiarazioni esplicite della poetica del Pallavicino, a partire dalla riflessione di Tasso sul poema; seguono poi sette canti, ognuno dei quali è anticipato e riassunto da un 'Soggetto' in prosa. In essi l’autore, sul modello dei 'Fasti' di Ovidio, rilegge il calendario in chiave cristiana, raccontando le vicende dei principali santi e martiri di ogni mese. La stesura del testo, sotto la supervisione di Papa Urbano VIII, sembra avvicinarsi alle operazioni di revisione del 'Martyrologium Romanum', in particolare all’edizione voluta dallo stesso Urbano nel 1630. L’opera, in stretta sintonia con la 'Poetica sacra' di Giovanni Ciampoli ma che dialoga anche con altri testi del classicismo barberiniano, si propone come alternativa alla poesia avvertita come lasciva e mendace della scuola marinista, in un’opposizione spesso polemica, ma che mostra a volte alcune interessanti consonanze con le opere di Marino stesso e di alcuni esponenti del marinismo moderato. / The commented edition of the unpublished and unfinished poem ‘I fasti sacri’, written by Sforza Pallavicino in the first years of his poetic activity, proposes new interesting information about Barberini’s circle in Rome, at the beginning of XVII century. Explicit definitions on poetic matter are in the ‘Discorso intorno al seguente poema’, with argumentations taken from the theoretical consideration on the epic poem by Tasso. On the model of Ovid’s ‘Fasti’, throughout seven cantos, each one anticipated by a subject in prose, the author covers the Christian calendar narrating the stories of some important saints and martyrs, in the same years of the revision of ‘Martyrologium Romanum’ promoted by the Pope Urban VIII. The poem, extremely close to ‘Poetica sacra’ by Giovanni Ciampoli but also in dialogue with other works of the classicism of Barberini’s circle, proposes itself as an alternative to Marino’s poetry, perceived like lascivious and mendacious. Notwithstanding an often polemic opposition to Secentismo, the text reveals some interesting consonances with Marino’s works, as well as with other authors of the moderate Marinism.

ARTS GRÀFIQUES I COSMOVISIÓ La primera conclusió que es desprèn d’aquest estudi és també la central: explica com les arts gràfiques generen les formes i els continguts d’una nova cosmovisió, tant en l’imaginari col•lectiu com en les arts. Aquesta cosmovisió es va modificant durant tot el segle XIX per l’accentuació de diversos factors tècnics, com ara el registre de la imatge, el procediment de copiat i els canals de difusió; també es va modificant pel seu caràcter generalista, divulgatiu, laic i global; i, per últim, es transforma per la internacionalització i la distribució indiscriminada que donen pas a un fenomen sense precedents: l’accessibilitat. Durant el transcurs del segle XIX, la segona revolució gràfica fa d’aglutinador, al voltant de la tipografia, de les incorporacions tècniques al món de la imatge. Primer, amb la xilografia, la litografia i els processos fotogràfics. Després, les connexions entre les tècniques, amb els nous procediments producte dels descobriments tècnics i científics, faran créixer la identitat gràfica fins a la tercera revolució, la de la dècada de 1880 a 1890, amb la presència de la fotografia impresa. La transferència icònica a la identitat cultural occidental serà conseqüència de la internacionalització d’aquesta imatge tecnològica. Els resultats gràfics són productes diversos, objectivables i quantificables, però sobretot formen un conjunt de solucions que ha penetrat en tots els nuclis de la societat en un procés imparable durant tot el segle XIX. Per la disparitat de formes –cartells, embolcalls, diaris, paper moneda, publicitat, llibres, naips...– i de continguts –icònics, textuals, lúdics...–, per la quantitat d’elements humans que hi participen –tècnics, artistes, escriptors i una pluralitat de personatges d’àmbits culturals i productius diversos, des dels fonedors fins als periodistes, des dels enquadernadors al dibuixants–, són els productes gràfics, des del segle XIX, un referent comú en un temps i espai determinats. Són el paradigma d’allò comú que és dóna en tot el món occidental. Per dir-ho d’alguna manera, no trobarem una forma més internacional i més comuna que la tipogràfica –n’és un exemple una Times–, ni tampoc un llenguatge més comú –pensem en les narracions gràfiques d’un Willem Bush– o una tècnica més comuna –la xilografia, posem per cas. Aquest canvi de paràmetres, de concepció de l’individu i del seu entorn, tant en la imatge com en l’imaginari, es dóna en el procés de canvi entre l’artesania gràfica i la indústria, en el període que anomenarem de la manufactura, i resta com a document en les revistes d’aquesta època anomenades genèricament il•lustracions. La cosmovisió, la nova concepció del món que deixa enrera l’antic règim visual i que va gestant-se en l’època de la Il•lustració francesa i del seu referent icònic, l’Enciclopèdia, obre el camí a nous espectacles i espectadors, a noves lectures i lectors, a una nova ciutadania; és en definitiva, la gran convulsió de les arts i la proclamació de la mort de l’antic sistema, el de les arts acadèmiques. Així, en l’imaginari col•lectiu tindrem la presència de l’espectador, activa, però indirecta, com a consumidor. El pensament liberal havia dut l’art, en totes les seves expressions, a ser un producte de mercat, subjecte al gust de l’usuari, a l’èxit o al fracàs. El ciutadà serà, doncs, jutge de la bondat del producte, fent-lo rendible econòmicament, per exemple. Aquest individu amb capacitat de decisió però amb forma de consumidor fa la seva entrada triomfal en el món de l’art, en el món que serà moda, gust o tendència. Aquesta entrada i l’entrada d’altres actors, com el galerista, el col•leccionista, el crític, el pensador de la bellesa, l’esteta, el productor, l’inversor, etc., aniran conformant el nou sistema de les arts, en què, òbviament, l’art haurà mort com a producte del sistema de l’antic règim. De tal manera aquesta transformació de l’art –no la seva pràctica o el seus ideals intrínsecs– serà pública, que tothom podrà gaudir, gratuïtament, de l’espectacle convuls de la seva presència. Tothom podrà ser espectador i usuari de la revolució perpètua que anomenem avantguardes, que anomenem moda, que anomenem gust. / Knowledge of the relationships established in the decade from 1880 to 1890 between the art, photography and printing is in the background of the study. For this reason there was a need for defining parameters of the evolution over more than five centuries of printing. The establishment of five periods, l'artesanal, manufacturing and industrial-, the advent of graphic design, with the breakdown of the family plot and the finding of the current collapse, will represent a conceptually ordering a disorder of persistent name historical treatment of the graphic arts. At the same time had to sequence alignment between printing and photography in the period since the advent of lithography to the emergence of photogravure. The parameters of art were treated promptly, since the establishment of a chronology and history were known and with literature data. This evolution had graphics give it the relevant technological, machinery, printing, paper industry, etc.. Once the timing was necessary in order periods, and the territories defined by the cultural, technical and social that allowed me to recover the initial study. This object of study was a weekly magazine published in Barcelona between 1880 and 1890, Illustration of Luis Tasso and Serra. It was necessary to distinguish a woodcut of a lithograph, a photo-mechanically engineered a de facto organic, such as those published Joarizti and Mariezcurrena in the weekly study, had to find out the differences between a gillotage and a woodcut, which meant when had a blueprint or a silk-screen, as were the parents, the types of graphical output, the features of the technique, a metallic timber, to be called "TROPHIES" or stereotypies. The decade of the publication had a clear disadvantage in the field of historiography: it belonged to the Modernist full time, very elaborate, cultivated and preserved compared with other times. The time chosen, the decade of the publication of the magazine publishing Tasso, was labeled then-twenty-five years into the various approaches and research-of eclectic historicism of territory, without too much to say. He drew a poor country without good artists, subject to European rhythms, and that these were late and wrong. The claim of aestheticism, or the English "Aesthetic Movement" - in Catalonia as a precursor of Modernism, initiated by Alexandre Cirici Pellicer, allowed a review of the subject of that despised eclecticism. The recovery of the centenary of the Universal Exhibition of 1888 and some more art historians engaged in the study of the fragments bypassed or forgotten by the major historiographical trends favored a thickening of the literature on time.

This dissertation questions the dominant role that analogies to painting have played in the critical reception of the Italian madrigal—especially its flagship technique, the madrigalism—and argues for a more historically sensitive approach to sixteenth-century discussions of music–text relations in that genre. This approach centers rhetoric, understood broadly to encompass theories of style and subject matter, emotional response, and fictional representation, as the primary field of study to which musicians turned in their efforts to theorize musical expression. In its final chapter, the dissertation suggests that this rhetorical saturation of discourse around madrigals also to some degree influenced the composing of madrigals. Chapter 1 traces the outlines of what I call the “Galileian critical tradition” between the publication of Vincenzo Galilei’s 1581 "Dialogo della musica antica, et ella moderna" and the present. This tradition is characterized by a tendency among writers to dismiss the madrigalism on expressive grounds and, as time passes, increasingly in visual terms. Returning to the sixteenth century, chapter 2 argues that the phrase “imitating the words” (imitare le parole), which was adopted by Galilei, Gioseffo Zarlino, and others in the mid- to late Cinquecento to describe those novel techniques for the musical representation of text commonly seen in madrigals, acquires an affective connotation, in addition to its descriptive meaning, when placed in the context of contemporaneous literary studies of imitation (mimesis), especially those stemming from the recovery of Aristotle’s "Poetics." This affective dimension of the imitation principle, first theorized by Aristotle but creatively elaborated by his Renaissance commentators, highlights the cognitive pleasure that humans, because of a natural affinity for imitation, take from fiction—a species of pleasure, I suggest, relevant to the musical practice that “imitating the words” names. Turning from pleasure to passion, chapter 3 makes a case for the presence of a “two-stage model for emotional arousal” (as I call it) in sixteenth-century Italian music theory. Surveying this model’s foundation in physiological, rhetorical, and natural-philosophical texts, I show how Zarlino adapted its principles to musical purposes in his 1558 "Istitutioni harmoniche" and then trace the afterlife of Zarlino’s theory across a number of texts, including both music theory treatises and an epic poem. Chapter 4, finally, analyzes a late Cinquecento madrigal cycle—the three settings in Giaches de Wert’s "Ottavo libro de madrigali a cinque voci" (1586) from the “Armida” episode of Torquato Tasso’s "Gerusalemme liberata" (1581)—as a series of musical “stimuli” for listener responses patterned on the theoretical discussions studied in chapters 2 and 3. In its attention to the close-knit relationship between the expressive qualities of Wert’s music and the emotions they invite, this chapter follows the example of the ancient rhetorical tradition and its sixteenth-century inheritance, which emphasize the role of human psychology in determining the orator’s art.

If we consider the representation of the body in the epic-romances of Torquato Tasso, Philip Sidney, and Edmund Spenser, certain instances of wounding and laceration emerge as crucial turning points in the development of their respective narratives: Clorinda’s redemptive mutilation, Parthenia’s blood-drenched pallor, Amavia’s disquieting suicide, Venus’s insatiable orifice, Amoret’s “perfect hole.” This thesis affords a detailed comparative study of such passages, contending that the wound assumed a critical metaphoric dimension in sixteenth-century epic-romance literature, particularly in relation to the perceived association between body condition and erotic desire. Along with its function as a marker of martial valor and somatic sacredness, the wound, I argue, increasingly is designated in these epic-romances as an interiorizing apparatus, one liable to accrue at any instance into a surplus of unanticipated meaning. As such, the wound becomes an emblem in these texts of what I call the phenomenology of desire—the equation of consummation and loss—as well as the aesthetic and metaphoric mechanism by which these writers seek to overcome it. The four chapters of this thesis constitute individual but cumulative points of response to the problem of thinking about desire as a type of wound. For Tasso, a wound poses a challenge to physical, psychological, and spiritual integrity, but its remarkable capacity for aestheticization also allows Tasso to envision it as a synthesizer of sacred and erotic affects. For Sidney, the prospect that a wound could define a body as courageous or pathetic, as sacred or corrupt, became both politically and socially troubling, and the New Arcadia, I argue, proleptically attempts to defend Sidney against interpretations of wounds that register them as manifestations of corrupt desire. For Spenser, body fracture and erotic wounding are analogic (indeed, almost indistinguishable), and The Faerie Queene investigates the prospect that confusing these analogies can become an empowering, even revelatory experience. In each of these epic-romances, a wound serves both a literal and a figurative function and, in this way, is established as the foremost image by which these writers imagine strength and mutilation, affect and heroism, epic and romance as being inextricably bound.

La tesi propone uno studio monografico sul fiorentino Giovan Battista Strozzi il Giovane detto il Cieco (1551-1634), letterato e animatore di circoli culturali dalla Firenze medicea alla Roma barberiniana, attraverso la Milano borromaica e i cenacoli capitolini degli Aldobrandini e degli Umoristi. Nel primo dei tre capitoli che scandiscono la ricerca si è appuntata l’attenzione sulla partecipazione del Giovane alle attività di due vivaci consessi della sua città natale: l’Accademia Fiorentina e l’Accademia degli Alterati. Nel secondo è stata condotta una disamina dell’opera in versi – per la maggior parte ancora inedita – che comprende decine di epistole metriche in endecasillabi sciolti, un incompiuto poema in onore di Amerigo Vespucci, nonché un ricco corpus di madrigali, la cui stesura, nell’esperienza del Cieco, procedette di conserva con la speculazione teorica intorno alla nuova fisionomia cinquecentesca di questo antico genere lirico. La terza sezione si concentra invece sul contributo dello Strozzi alle discussioni di poetica (la ‘Commedia’ dantesca, il poema eroico, le unità aristoteliche) che accesero gli ambienti letterari italiani nella seconda metà del secolo XVI. Affiancando l’esegesi dei testi alla ricostruzione biografica – condotta su un ampio numero di documenti epistolari editi e inediti –, si è cercato di restituire il giusto spessore storico a ciascuno degli scritti presi in esame, ricostruendo i differenti contesti culturali in cui furono composti e scandagliando la fitta trama di relazioni – umane e letterarie – che si profila sullo sfondo di essi. Completano il lavoro una bibliografia delle opere antiche e moderne, un indice dei manoscritti e un indice dei nomi di persona. / The thesis proposes a monographic study on the Florentine Giovan Battista Strozzi the Younger also known as the Blind (1551-1634). He was a writer with connections in cultural circles across Renaissance Italy, including Medici’s Florence, Barberini’s Rome, Borromean Milan and the Roman cenacles of the Aldobrandini and the Humorists. The thesis consists of three chapters. The first chapter focuses on the participation of Strozzi the Younger in the activities of two lively groups in his hometown: the Florentine Academy and the Alterati Academy. The second chapter discusses his poetical works – for the most part still unpublished –, including dozens of versified epistles in loose hendecasyllables, an unfinished poem in honor of Amerigo Vespucci, as well as a rich corpus of madrigals. The drafting of this last corpus proceeded together with Strozzi the Younger’s theoretical speculation around the new sixteenth-century appearance of this ancient lyrical genre. The third section considers the contribution of Strozzi the Younger to the discussions on poetics (Dante’s ‘Comedy’, the heroic poem, the Aristotelian units) that went on in Italian literary circles in the second half of the sixteenth century. In this work, we aimed to restore the appropriate historical depth to each of the writings examined, through the exegesis of texts combined with the biographical reconstruction conducted on a large number of published and unpublished epistolary documents. We also tried to reconstruct the different cultural contexts in which these writings were composed and attempted to analyze the dense network of relationships, both human and literary, that loomed in the background. The thesis is completed by a bibliography of ancient and modern works, an index of manuscripts and an index of names.

nÃo hà / O objetivo desta dissertaÃÃo foi analisar como a polÃtica de descentralizaÃÃo industrial reconfigurada na dÃcada de 1990, a partir do governo Tasso Jereissati, no CearÃ, modificou o cotidiano da cidade de Russas, com a chegada da fÃbrica de calÃados Dakota Nordeste S/A, em 1998. De modo especÃfico, como que as experiÃncias no mundo do trabalho implicaram direta e indiretamente no cotidiano das vidas das mulheres trabalhadoras da fÃbrica, quando estas adentram territÃrios distantes da regiÃo metropolitana de Fortaleza, os quais sÃo marcados por um tripà de forÃa de trabalho abundante, ausÃncia de experiÃncia industrial e quase nenhuma base sindical desenvolvida. A âera Jereissatiâ à o divisor de Ãguas dessa polÃtica industrial cearense, que, por sua vez, à responsÃvel pela intensificaÃÃo do processo de urbanizaÃÃo em cidades interioranas, que recebem indÃstrias com intuito de deslocarem-se em busca de maiores lucros. De fato, este deslocamento industrial para os municÃpios cearenses fez emergir uma nova categoria operÃria. Dessa forma, sÃo decorrentes dessas transformaÃÃes econÃmicas, as novas formas de sociabilidades, de um modo rural dentro do urbano, que se recortam à luz das categorias de gÃnero, implicando mudanÃas sociais, econÃmicas, espaciais e culturais. A pesquisa baseou-se em um trabalho de campo com entrevistas as mulheres trabalhadoras da fÃbrica; funcionÃrios que assumiam funÃÃes de chefia, supervisÃo, programaÃÃo e controle pessoal e administrativo da empresa. Assim como, tambÃm, em bases secundÃrias de dados, via IBGE e informaÃÃes estudadas, anteriormente, por outros pesquisadores. Este estudo verificou a partir das condiÃÃes postas, um perfil de pessoas que entram na fÃbrica, muitas delas oriundas de experiÃncias e costumes rurais; carregam em si, a marca da ausÃncia e exceÃÃo do mundo da produÃÃo; possuem baixa escolarizaÃÃo e, por conseguinte, baixa qualificaÃÃo. Desse modo, o capital, ao âdeixar de joelhosâ este trabalhador, disputa sua subjetividade se fazendo como opÃÃo de uma vida melhor que antes. Sem fugir à regra, Russas, visualizada pela lupa do capital, enquadra-se nesta linha de âregiÃes novasâ, com uma categoria de trabalhadores, predominantemente mulheres, com direitos trabalhistas flexibilizados na precariedade do mundo do trabalho, de forma mais acelerada, do que a prÃpria legislaÃÃo brasileira conseguiu retroceder.

La tesi di dottorato, composta da tre capitoli, si concentra sulla valutazione delle dinamiche di inflazione in Georgia e sulla previsione dei tassi di cambio nominali per i Paesi della European Eastern Partnership attraverso l’utilizzo di moderne tecniche econometriche. Nel primo capitolo, abbiamo svolto un’indagine sui modelli di previsione dei tassi di cambio e dell’inflazione. Questa indagine rivela che i modelli “factor-based and time-varying parameter” generano migliori previsioni rispetto ad altri modelli. Nel secondo capitolo, abbiamo approfondito le dinamiche di inflazione in Georgia utilizzando la New Keynesian Phillips Curve ibrida, inserita all’interno di un quadro di un modello “time-varying parameter (TVP)”. Una stima del modello TVP con volatilità stocastica mostra la persistenza di un’inflazione bassa durante il periodo 1996-2012. Un’analisi più approfondita dal 2003 mostra una volatilità crescente dell’inflazione. Inoltre, le stime del parametro evidenziano che la componente forward-looking del modello è importante a seguito dell’adozione di inflation targeting da parte della NBG a partire dal 2009. Nel terzo capitolo, abbiamo costruito dei modelli fattoriali, “Factor Vector Autoregressive” per prevedere i tassi di cambio nominali per i Paesi dell’European Eastern Partnership. Questi modelli prevedono meglio i tassi di cambio nominali rispetto ad un processo naïve come il random walk. / The Ph.D. thesis consist of three chapters on evaluating inflation dynamics in Georgia and modeling and forecasting nominal exchange rates for the European Eastern Partnership (EaP) countries using modern applied econometric techniques. In the first chapter, we survey of models those produce high predictive powers for forecasting exchange rates and inflation. This survey reveals that the factor-based and time-varying parameter (TVP) models generate superior forecasts relative to all other models. In the second chapter, we study inflation dynamics in Georgia using a hybrid New Keynesian Phillips Curve (NKPC) nested within a time-varying parameter (TVP) framework. Estimation of a TVP model with stochastic volatility shows low inflation persistence over the entire time span (1996-2012), while revealing increasing volatility of inflation shocks since 2003. Moreover, parameter estimates point to the forward-looking component of the model gaining importance following the National Bank of Georgia (NBG) adoption of inflation targeting in 2009. In the third chapter, we construct Factor Vector Autoregressive (FVAR) models to forecast nominal exchange rates for the EaP countries. This study provides better forecasts of nominal exchange rates than those produced by the random walk process.

In 'Political Atheism vs. The Divine Right of Kings,' I build on Thompson and Scrivener’s work analysing John Thelwall’s play 'The Fairy of the Lake' as a political allegory, arguing all religious symbolism in 'FL' to advance the traditionally Revolutionary thesis that “the King is not a God.” My first chapter contextualises Thelwall’s revival of 17th century radicalism during the French Revolution and its failure. My second chapter examines how Thelwall’s use of fire as a symbol discrediting the Saxons’ pagan notion of divine monarchy, also emphasises the idolatrous apotheosis of King Arthur. My third chapter deconstructs the Fairy of the Lake’s water and characterisation, and concludes her sole purpose to be to justify a Revolution beyond moral reproach. My fourth chapter traces how beer satirises Communion wine, among both pagans and Christians, in order to undermine any religion that could reinforce either divinity or the Divine Right of Kings. / A close reading of an all-but-forgotten Arthurian play as an allegory against the Divine Right of Kings.

214 Abstract Conceptualization of Mores in Seventeenth-Century French Tragedy This thesis is devoted to the study of interpretations of how tragic characters should be portrayed ("mores", "ethos", "mœurs") in French seventeenth-century theories on Tragedy. The theoretical writings of Jean Chapelain, La Mesnardière, Pierre Corneille, d'Aubignac, René Le Bossu, Rapin, Saint-Évremond, Jean Racine and André Dacier are examined in detail. Their findings are compared with the Latin and Italian commentaries on how the Aristotelian notion "character" ("éthé", "éthos") ought to be perceived and understood and what its impact is on dramatic action. The main focus is paid to the detailed analysis of very divergent and often incompatible interpretations of the four Aristotelian conditions outlined briefly in Chapter XV of Poetics and on how the French theorists and dramatists responded to Aristotle's requirements. The first condition requires dramatic character to be "good of its kind" ("chrestos", "ethos" "chreston", "ethe chresta"). The detailed study of contemporary criticism draws us to a conclusion that there are schematically two approaches on how the French theorists conceptualized this very elusive criterion. Whereas Chapelain in his Préface à l'Adone explicitely rejects the moral meaning of "chrestos" and thus...