La ricerca ha inteso ripercorrere la storia di “Pro Infantia” nel suo primo ventennio di vita (1913-1933). Il lavoro ha preso avvio dall’analisi dei dibattiti politico-scolastici e dall’approfondimento del contesto pedagogico e culturale in cui si collocava la decisione dei vertici dell’editrice La Scuola di avviare una rivista per educatrici d’asilo. Il lavoro è entrato nel vivo con la messa a fuoco delle prese di posizione del periodico in merito alle novità introdotte dai provvedimenti legislativi coevi, quali, ad esempio, i Programmi per le istituzioni infantili emanati da Credaro nel 1914, la Riforma Gentile e i Programmi elaborati da Giuseppe Lombardo Radice nel 1923. Sono state altresì analizzate le valutazioni espresse circa le prassi didattiche e i metodi pedagogici adottati nelle istituzioni infantili del tempo, l’associazionismo di categoria, i percorsi formativi per le educatrici. Lo spoglio della rivista ha consentito inoltre di fare ulteriore luce sulle scelte dell’editrice La Scuola e sull’atteggiamento assunto dal periodico di fronte ad alcuni momenti chiave non solo della storia dell’educazione infantile in Italia, ma anche di quella politica e sociale, come ad esempio il primo conflitto mondiale, il dopoguerra, l’ascesa del fascismo e la successiva affermazione della dittatura. / The aim of this research was to reconstruct the history of "Pro Infantia" over its initial twenty years of publication (1913-1933). The first step in the study was to analyse the political debate on education and the cultural and educational backdrop against which the publishing house, La Scuola, decided to set up a journal for infant school teachers. The core of the research work involved examining the journal’s positions on the legislation of the period – such as the programs for infant schools issued by Credaro in 1914, the Gentile reform and the programs drawn up by Giuseppe Lombardo Radice in 1923 – and its assessments of the teaching practices and educational methods adopted in contemporary infant schools, as well as of teachers’ associations, and infant teacher training courses. Finally, scrutiny of the journal’s content also shed light on the policies adopted by La Scuola and "Pro Infantia"’s stance concerning both key historical developments in Italian early childhood education and broader political and social events, such as World War One, the post-war period, the rise of fascism and the advent of the fascist dictatorship.

Lo scrittore ed illustratore Antonio Rubino (1880-1964) fu artista di rilievo nel panorama letterario infantile del Novecento, prolifico nell’ideare opere connotate da forte ironia e da soluzioni espressive multimediali. La ricerca dà risalto a quanto pubblicato dall’artista sanremasco sulle pagine dei periodici per ragazzi nella prima metà del XX secolo, settore ad oggi privo di uno studio sistematico. Si tratta di un punto di vista favorevole a far emergere i contenuti trasmessi dall’autore al destinatario infantile, nonché a fare luce sul controverso rapporto con il fascismo e a tratteggiare l’evoluzione multimediale della sua produzione per l’infanzia. La definizione di una poetica rubiniana, che colga le matrici artistiche e le peculiarità ironiche della sua arte, conduce ad una riflessione educativa che interroghi la responsabilità assunta da Rubino nei confronti dell’infanzia lettrice. / The writer and illustrator Antonio Rubino (1880-1964) was a significant artist in the children’s literary panorama of the twentieth century. His works are connoted by strong irony and multimedia expressive solutions. This research is focused on Rubino’s works edited on children’s periodicals in the first half of the 20th century, a field that hasn’t been systematically studied yet by critics. This ideal point of view highlights the contents transmitted by the author to the young reader, underlines the relationship between the artist and the fascism and delineates the multimedia evolution of his children’s production. The analysis of the Rubino’s artistic thought, influenced by the contemporary trends, shows the peculiarities of his ironic style. It also guides to an educative consideration that examines the responsibilities of the author for young readers.

Ce travail aborde les développements de la psychiatrie dans les colonies italiennes de la Corne de l’Afrique et de la Libye. La psychiatrie coloniale – que l’on appelle aussi ‘ethnographique’, ‘comparée’, ‘raciale’ – se nourrit de théories anthropologiques consolidées, de mensurations anthropométriques, d’observations cliniques ; c’est dans ce cadre complexe qu’elle émerge comme discipline autonome, en partie au moins, par rapport à la psychiatrie de le mère-patrie et qu’elle contribue au bon fonctionnement du régime colonial. Les protagonistes sont en premier lieu les médecins et les patients ; à l’arrière plan on trouve aussi les administrateurs et les hommes politiques, ou encore les familles et les communautés d’origine des patients. À travers des documents précieux comme les dossiers médicaux, il est possible de reconstituer les parcours des patients, de raconter des histoires de vie et d’identifier des éléments récurrents dans les différentes expériences. De plus, grâce à la documentation privée de certains médecins coloniaux, il est possible de saisir les motivations qui poussaient certains spécialistes à venir exercer dans les colonies. L’étude de la littérature psychiatrique de l’époque, associée à l’analyse des parcours des médecins, fait apparaître les échanges et les influences qui marquaient l’activité des psychiatres coloniaux. En ce sens il m’a semblé important d’analyser les modèles anglais et français dont les médecins italiens déclarent s’inspirer dans leur réflexion théorique et donc dans la construction de la discipline ainsi que dans les solutions pratiques mises en œuvre pour faire face à la question psychiatrique dès le début des différentes expériences coloniales. Le nœud de l’assistance aux colons et aux militaires qui présentaient des troubles psychiques, ainsi qu’aux indigènes considérés fous, a plus retenu l’attention dans la colonie libyenne (déjà en 1911-1912, avec des réalisations institutionnelles dans les années trente) tandis que dans les colonies de l’Afrique orientale italienne, la question de l’assistance psychiatrique a été moins débattue, débouchant par conséquent sur très peu de réalisations pratiques. / The dissertation reviews the ways in which psychiatry developed in the Italian colonies in the Horn of Africa and in Libya. Colonial psychiatry – variously called “ethnographic”, “comparative”, or “racial” psychiatry – drew on established anthropological theories, anthropometric measurements and clinical observations, the consistently-organized framework within which it emerged as an discipline supporting colonial government and at least partially independent of psychiatry in the home country. The primary interaction within this colonial psychiatry was that between doctors and patients; in the background were the colonial administrators, the political decision-makers, and the patients’ families and home communities. Precious documentary resources such as medical records let us trace patients’ careers, tell their life stories, reconstruct typical cases and confirm recurrent features in their various experiences; from the private papers of some colonial doctors we can gather the specialists’ motivations to move to the colonies; and an examination of the psychiatric literature of the day enables us to reconstruct the discussions and inspirations which fostered the work of the colonial psychiatrists. I have recognized the importance of analysing the British and (still more) the French models from which the Italian clinicians claimed to draw their inspiration, both in terms of theory (and the construction of the resulting discipline), and in the practical solutions implemented to tackle psychiatric issues from the earliest days of the various colonial experiments. This issue – of supporting psychiatrically-afflicted colonists and soldiers and natives regarded as “mad” – was paid most attention in the Libyan colony, starting in the very first months of the occupation (in 1911 and 1912) and then taking institutional form in the 1930s; in the colonies of what was known as “Italian East Africa”, on the other hand, there was less discussion of psychiatric support and correspondingly limited practical achievements. / La tesi percorre gli sviluppi della psichiatria nelle colonia libica e nelle colonie del Corno d’Africa. La psichiatria coloniale – che assume denominazioni diverse: ‘etnografica’, ‘comparata’, ‘razziale’ – si nutre di teorie antropologiche consolidate, di misurazioni antropometriche, di osservazioni cliniche ed è in questo quadro articolato che emerge come disciplina autonoma, almeno in parte, rispetto alla psichiatria della madrepatria, e funzionale al buon ordine del regime coloniale. Nella cornice della psichiatria coloniale interagiscono in primo luogo medici e pazienti; sullo sfondo ci sono gli amministratori e i decisori politici, le famiglie e le comunità di provenienza dei pazienti. Attraverso documenti preziosi come le cartelle cliniche è possibile tracciare le traiettorie dei pazienti, raccontare storie di vita, ricostruire casi esemplari e fissare dei punti ricorrenti nelle diverse esperienze. Grazie alla documentazione privata di alcuni medici coloniali è possibile cogliere le ragioni che spingevano gli specialisti in colonia. Infine la letteratura psichiatrica del periodo preso in esame permette di ricostruire gli scambi e le ispirazioni che alimentavano l’attività degli psichiatri coloniali. In tal senso si è ritenuto importante analizzare i modelli inglese e soprattutto francese a cui i medici italiani dichiarano di ispirarsi, sia nella riflessione teorica e quindi nella costruzione della disciplina, sia nelle soluzioni pratiche attuate per far fronte alla questione psichiatrica sin dai primi tempi delle diverse esperienze coloniali. Tale questione, ovvero il problema dell'assistenza ai coloni e ai militari che presentavano disturbi psichiatrici nonché agli indigeni ritenuti folli, ha ricevuto maggiore attenzione nella colonia libica, e questo sin dai primi mesi della sua occupazione, tra 1911 e 1912, per poi manifestarsi in realizzazioni istituzionali negli anni Trenta; mentre nelle colonie della cosiddetta Africa Orientale Italiana il tema dell’assistenza psichiatrica è stato meno dibattuto, sfociando pertanto in scarse realizzazioni pratiche.

Cette thèse s'inscrit dans une dynamique de recherche qui seulement récemment a commencé à remettre en discussion une doxa de l'historiographie théâtrale un peu simpliste: dans le contexte italien, l'avènement de la mise en scène moderne serait un phénomène tardif, par rapport à d'autres Pays, comme par exemple l'Allemagne, la France, la Russie. Ce « retard » trouverait son origine dans la persistance d'une tradition autoréférentielle de l'acteur. Le système dans lequel il se produit - un système de troupes nomades, en l'absence d'un pôle théâtral hégémonique comme pouvait l'être Paris pour la France - serait inévitablement réfractaire à l'intrusion d'une figure artistique perçue comme étrangère: le metteur en scène. Il faudrait attendre l'après-guerre pour assister en Italie à l'affirmation de ce qu'on appelle la regìa. Ce lieu commun de l'historiographie a véhiculé une série d'équivoques et d'approximations qui aplatissent un phénomène comme l'affirmation de la mise en scène moderne, nourrissant ainsi un discours téléologique de progrès qualitatif.Une série de recherches menées à partir des années 2000 nous invite cependant à considérer la mise en scène comme un aspect de l'art théâtral dans toute sa complexité. Des concepts comme ceux de proto-regia (proto-mise en scène, Perrelli, 2005), de continuité/discontinuité (Sarrazac-Consolini, 2010), montrent les limites d'une définition univoque de cet art. Sous cette lumière, le contexte italien apparaît alors comme un terrain en friche. Une étude récente a justement montré la sensibilité du système italien envers l'œuvre des maîtres européens de la scène, en tournée dans la Péninsule entre 1911 et 1940 (Schino, 2008).Nous nous proposons alors de revenir d'une part sur la construction de l'idée du « retard », et sur les raisons qui ont fait de la mise en scène un véritable graal, d'une autre part nous souhaitons souligner de quelle façon cet art émerge en Italie justement à partir de la présupposée cause du retard: l'acteur. L'avènement de la mise en scène ne serait donc pas une épiphanie brusque, mais un art qui s'exprime de manière différente, selon le modus operandi des artistes et en fonction des caractéristiques du système théâtral. / This doctoral thesis challenges the simplistic doxa in theatre historiography that views genesis of theatre direction in Italy as a late phenomenon in comparison to other countries such as Germany, France, and Russia. This “delay” is thought to be due to the actor’s persistent self-referential tradition. According to the doxa, the Italian theatre system would have been resistant to the introduction of the new role of director, which was perceived as extraneous. This situation would have been caused in Italy by the popularity of wandering companies and the absence of a dominant theatrical focal point such as Paris was in France. The phenomenon of a strictly speaking regìa would have only emerged after the Second World War. This view has led to a series of misinterpretations and misunderstandings that oversimplify the phenomenon of the development of modern direction, favouring a teleological argument of qualitative progress. However, a number of studies carried out from the 2000’s encourage us to consider the direction as a complex aspect of the theatrical art. Concepts such as ‘proto-direction’ (Perrelli, 2005) and continuity/discontinuity (Sarrazac-Consolini, 2010), show the limits of an univocal definition of this art. In light of these studies, the Italian panorama appears as an uncharted territory. A recent study of the European directors’ tours in Italy for the years from the 1911 to 1940, has actually demonstrated the Italian system’s responsiveness (Schino, 2008).My research investigates the origin of the concept of “delay”, and the reasons by which theatre direction in Italy came to be considered by scholars as some sort of grail. I also highlight how direction in Italy emerges from the main source of the supposed delay itself: the actor. Indeed, the appearance of theatre direction is not abrupt; but rather a multifaceted art, which changes according to artists’ modus operandi and is dependent on the characteristics of the theatrical system.

Abstract This thesis illustrates the social engagement in the literary writings of Pier Vittorio Tondelli, an Italian gay author whose works have been described by many Catholic, Materialists, and gay critics as frivolous and disengaged. The dissertation summarizes the mutation of the Italian literary concept of impegno from Neorealism to Postmodernism, through a selection of the texts of Elio Vittorini, Italo Calvino, Franco Fortini, Pier Paolo Pasolini, Leonardo Sciascia, and Umberto Eco. It shows how Tondelli’s interpretation of the role of the writer falls within the definitions given by Calvino and Eco. Moreover, the thesis demonstrates that Altri libertini and Pao Pao satisfy the characteristics of littérature mineure established by Gilles Deleuze and Felix Guattari, though Tondelli’s oeuvre is socially engaged instead of being politically engaged because of his lack of a political ideology. The dissertation highlights the core of Tondelli’s social commitment in his passionate defense of the outcasts in: Altri libertini where drug addicts, homosexuals, transsexuals, and bums are the protagonists; Pao Pao where a group of gay soldiers is described in its grotesque and camp attempt to “homosexualize” their barrack; Rimini where the Riviera Adriatica is portrayed as a place where everyone passes by and no one belongs; Camere separate through the love story of a gay couple in which one partner has to survive his lover’s death, due to an illness that is demonstrated in this thesis to be AIDS, while fighting against the homophobia of their families, institutions, society, and religion. Most of Tondelli’s socially excluded characters are introduced to the reader through an internal homodiegetic point of view. Another important component of Tondelli’s impegno is his open defense of both pop-culture and counter-cultures: gay, hippies, rockers, experimental theatre, street artists and alternative radio, which are central in all his writings.

Abstract This thesis illustrates the social engagement in the literary writings of Pier Vittorio Tondelli, an Italian gay author whose works have been described by many Catholic, Materialists, and gay critics as frivolous and disengaged. The dissertation summarizes the mutation of the Italian literary concept of impegno from Neorealism to Postmodernism, through a selection of the texts of Elio Vittorini, Italo Calvino, Franco Fortini, Pier Paolo Pasolini, Leonardo Sciascia, and Umberto Eco. It shows how Tondelli’s interpretation of the role of the writer falls within the definitions given by Calvino and Eco. Moreover, the thesis demonstrates that Altri libertini and Pao Pao satisfy the characteristics of littérature mineure established by Gilles Deleuze and Felix Guattari, though Tondelli’s oeuvre is socially engaged instead of being politically engaged because of his lack of a political ideology. The dissertation highlights the core of Tondelli’s social commitment in his passionate defense of the outcasts in: Altri libertini where drug addicts, homosexuals, transsexuals, and bums are the protagonists; Pao Pao where a group of gay soldiers is described in its grotesque and camp attempt to “homosexualize” their barrack; Rimini where the Riviera Adriatica is portrayed as a place where everyone passes by and no one belongs; Camere separate through the love story of a gay couple in which one partner has to survive his lover’s death, due to an illness that is demonstrated in this thesis to be AIDS, while fighting against the homophobia of their families, institutions, society, and religion. Most of Tondelli’s socially excluded characters are introduced to the reader through an internal homodiegetic point of view. Another important component of Tondelli’s impegno is his open defense of both pop-culture and counter-cultures: gay, hippies, rockers, experimental theatre, street artists and alternative radio, which are central in all his writings.