Zugl.: Aachen, Techn. Hochsch., Diss., 2008

Zugl.: Lecce, Univ., Diss., 2008

Texte remanié de: Diss.--Katholische Theologie--Mainz--Johannes-Gutenberg-Universität, 1996. / Bibliogr. p. 288-327. Index.

Texte remanié de: Diss.--Mainz, 1992. / Bibliogr. p. 496-507. Table des illustrations.

Diss.--Theologische Fakultät--Rom--Römische Hochschule vom Heiligen Kreuz, 1994. / Bibliogr. p. 173-180.

Cette Thèse de doctorat a pour objectif la définition et le catalogage des éléments provenant du temple de Karnak qui sont conservés dans la collection du Musée Égyptien de Turin. Parmi ces pièces, quelques-unes, depuis longtemps identifiées par les savants comme provenant probablement de Karnak, sont flanquées d’autres pièces dont la provenance, jusqu’à présent, n’a pas encore été l’objet d’étude. De la même façon, le groupe d’œuvres dont la provenance est plus sûre n’a jamais été inséré dans un contexte d’étude apte à en définir leur origine. Bien que beaucoup de choses aient été publiées au sujet du Musée Égyptien de Turin, ce travail de recherche se propose de réunir des sources de différentes provenance, des cahiers de voyage, des documents d’archive et des actes notariés, des publications, des études et des documents inédits. La recherche a permis de mettre au jour et d’étudier plus précisément les activités des fouilles des agents du consul français, Bernardino Drovetti : Joseph Rossignana, Antonio Lebolo et surtout Jean-Jacques Rifaud. Pour ce dernier il a été nécessaire de consacrer beaucoup de temps afin de recréer l’historique de ses fouilles en Égypte. La recherche a requis la vérification d’un grand nombre de documents d’archives et de nombreux contacts avec différentes institutions, bibliothèques et musées, en particulier, la Bibliothèque Publique de Genève. La recherche a prévu enfin la création d'un programme informatique qui permet, par exemple avec un « touch screen », de créer un dialogue interactif entre la recherche et les systèmes : un plan interactif du temple de Karnak permettra d’afficher les informations relatives aux objets et à l’histoire de leur découverte. / The starting point of this PhD research has been the desire to make a new approach to the study of the Egyptian collection in Turin and the debated contexts of archaeological contextualisation. Although much has been published about the Egyptian Museum of Turin, this research aims to gather data from different sources, travel notebooks, archives and unpublished documents. The research has study more precisely the activities of the agents of the French consul Bernardino Drovetti: Joseph Rossignana Antonio Lebolo and especially Jean-Jacques Rifaud. For Rifaud it was necessary to devote time to recreate his excavations in Egypt. The research required the verification of a large number of archive documents and contacts with various institutions, libraries and museums, in particular the Geneva Public Library. Research has finally provided the creation of a computer program in html that allows, for example with a touch screen, to create an interactive dialogue between research and tecnology: an interactive map of Karnak Temple will display information about objects and the history of their discovery.

Turin has long been a town in which almost all economic activities were finalized to the mass production of cars, while the choices of its economic developments depended on those of the car firm, Fiat. In the 1950s and 1960s, both Turinese industry and labour market were tightly organised by Fiat in a pyramid-like structure, at the top of which were the car company and its workers respectively. Fiat's efforts to 'rationalize' and control the local labour and components market were not accompanied by a similar strategy towards social structure. Fiat limited itself to supporting the conservative political parties in office in Turin, which were able to gain a stable consensus by Tuninese petty bourgeoisis, but were not far-sighted enough to try to integrate the immigrant workers through a policy of reforms and services. This turned out in a very conflictual pattern of industrial relations in the late 1960s. Thus, the economic crisis which hit the mass-production firms worldwide in the mid-1970s had particularly negative effects on Fiat, due to bitter industrial relations within the plants. Elsewhere, as the large mass-production firms did not recover from the crisis, the segmentation of product markets and the availability of the new electronically-based technologies, which allow a greater flexibility together with high levels of productivity, fostered the emergence of a new competitive model of industrial organization: flexible specialization. These very market and technological conditions, interacting with the local social dynamics, also helped a wide reorganization of Turinese industry which ceased to depend strictly on Fiat's choices and orders. At the same time, the social structure of Turin became much more differentiated and the strategies of social actors proved to be no longer as linked to Fiat's decisions as in the past. Instead, throughout the 1970s Fiat was unable to respond to the new conditions of competition and to undertake a deep process of restructuring, due to the unpreparedness of its own management and to the strict unions' control over its moves. Only once the unions had been defeated in 1980, Fiat was able to take the lead among European car makers in a few years in terms of sales, technology and market strategy. My dissertation tries, therefore, to answer to the following questions: how did it happen? And how did the mentioned endogenous and exogenous factors influence Fiat's strategy? How is the Turinese model of industrial organization at the present, and what is Fiat's role in it?

Texte remanié de: Diss.--Zürich, 1998. / Bibliogr. p. 312-322. Notes bilbiogr. Index.

Thesis--Friedrich-Wilhelms-Universität zu Berlin. / Vita. Includes bibliographical references (p. [49]-50).

Sigismondo D’India (1582 ?-1629 ?), contemporain de Claudio Monteverdi, est un compositeur parmi les plus importants du début du XVIIe siècle : l’un des pères fondateurs de la musique moderne. La présente thèse entend le situer dans un contexte qui nécessite d’être rappelé et mis à jour, celui de la cour de Turin où le musicien s’est établi de 1611 à 1623, période la plus fructueuse de sa carrière musicale dont l’étude s’organise autour de trois problématiques : la musique, le mécénat et l’identité nobiliaire.Il s’agit, dans un premier temps, d’étudier la circulation des musiciens, artistes, imprimeurs et sources musicales mais également d’analyser certaines œuvres du compositeur. Ainsi, D’India, chanteur, guitariste, compositeur et poète, apparaît comme l’un des musiciens les plus audacieux et les plus singuliers de son temps.Le mécénat artistique accompagne sa carrière musicale : il favorise ses déplacements, relie les différentes villes où se trouvent le musicien et ses dédicataires et facilite l’émulation créatrice. L’étude du mécénat à travers sa production musicale dévoile notamment la multiplicité des rapports entre D’India et ses dédicataires. Enfin, par identité nobiliaire, nous entendons étudier la manière dont le compositeur contribue à la construction de l’identité culturelle d’une cour en même temps qu’il construit son propre statut de noble. L’identité nobiliaire peut être ainsi considérée comme un préalable à l’identité nationale. Nous voulons par ailleurs montrer que D’India remplit parfaitement le rôle de musicien-Gentilhomme et que sa musique participe à la construction d’un modèle d’urbanité. / Sigismondo D’India, (1582? -1629?) a contemporary of Claudio Monteverdi, was one of the major composers of the early XVIIth century and one of the founding fathers of modern music. This thesis aims at setting him against a background which requires some reminiscing and updating, that of the court of Turin, where the musician settled between 1611 and 1623. It was the most fruitful period of his musical career, the study of which addresses three issues: music, patronage and nobiliary identity.I shall first study the movements of musicians, artists, printers and musical sources, and shall analyse besides some works by the composer. It appears that Sigismondo D’India, together a singer, a guitar-Player, a composer and a poet, stands out as one of the boldest and the most idiosyncratic musicians of his days.His musical career goes hand in hand with artistic patronage, which made his travelling easier, connected the various cities accommodating the musician and his dedicatees and facilitated creative emulation. The study of patronage through D’India’s creativity in music points out, among other things, the numerous relationships between him and his dedicatees.Finally, through the notion of nobiliary identity, I shall focus on the way in which the composer contributed to building up the cultural identity of a court while building up his own status as a nobleman. The nobiliary identity can thus be considered a first step toward national identity. I also aim at showing that D’India was perfectly up to the role of gentleman-Musician, and that his music contributed to building a model of urbanity.