A presente pesquisa tem por objetivo principal organizar a recepção do romance I Promessi Sposi (Os Noivos), de autoria de Alessandro Manzoni (1785-1873), no Brasil. A narrativa tem como protagonistas os jovens Renzo e Lucia que enfrentam as maiores dificuldades de seu tempo (a carestia, a fome, o domínio estrangeiro, as guerras e a peste no norte da Itália durante o século XVII) para realizar seu matrimonio e é uma das obras-primas da literatura italiana e mundial. Este trabalho estuda as maneiras pelas quais o romance manzoniano aporta em terras brasileiras, é acolhido e permanece como argumento de debates críticos, desde o primeiro registro encontrado por esta investigação até o ano de 2012, data da publicação da última tradução brasileira. Neste sentido, estudaram-se as diversas traduções, edições e adaptações publicadas deste romance no Brasil, atentando seja para a forma como se dá o transporte do texto original italiano para a língua portuguesa, seja para as questões relacionadas ao paratexto, isto é, o cuidado editorial empregado nesses textos. Organizou-se a também a recepção da crítica brasileira a I Promessi Sposi que se deu em forma de livros, capítulos, artigos em jornais, revistas e periódicos científicos, verbetes de enciclopédias e nos Boletins do Instituto Brasileiro Estudos Manzonianos. Da coleta e análise desse material buscou-se traçar o perfil que a recepção a I Promessi Sposi conferiu a Manzoni e sua obra-prima no Brasil. / The present research has as the main objective of organizing the reception of the novel The Betrothed, from Alessandro Manzonis authorship (1785-1873), in Brazil. The narrative presents as protagonists the young Renzo and Lucia who encounter the greatest difficulties of their time (inflation, hunger, the foreigner domination, the wars and the plague in the north of Italy during the XVII century) to make their wedding happen and it is one of the masterpieces of the world and Italian Literature. This thesis studies the manners by which the Manzonian novel arrives in Brazilian lands, is accepted and remains as argument of critic debates, since the first record found by this investigation until the year 2012, the publishing date of the last Brazilian translation. In this sense, diverse translations, editions and adaptations published of this novel in Brazil were studied, noticing the way the original Italian text was transferred into the Portuguese language, and the issue related to the paratext, namely, the editorial care used in these texts. The Brazilian critic reception of the Betrothed that happened in book form, chapters, newspaper articles, magazines and scientific journals, encyclopedia entries and the newsletters of the Manzonian Studies Brazilian Institute were also organized. From the gathering and analysis of these materials we searched to outline the profile that the reception of The Betrothed granted Manzoni and his masterpiece in Brazil.

Esta tese busca fazer um levantamento das principais linhas de força na constituição das Poéticas que norteiam a trajetória do escritor italiano contemporâneo Alessandro Baricco, não só como ficcionista, mas também como ensaísta e intelectual, atilado com seu tempo. Constatamos que, a partir do corpus dos romances e ensaios que aqui escolhemos analisar, o autor privilegia a instabilidade do narrar e do ver, refletida, nitidamente, nos diversos diálogos intertextuais que leva a efeito. Daí por que a intertextualidade, enquanto um de seus procedimentos ficcionais tal como concebida e transfigurada pelo autor esteja intimamente relacionada a uma concepção de mundo que elege o afastamento das certezas, o elogio da oralidade e da narrativa (fontes inesgotáveis de vida), a multiplicidade de pontos de vista, a exaltação de tipos à margem dos sistemas, o heroísmo da derrota, a apologia da queda e da renúncia. No intuito de demonstrar como isso se opera, nosso estudo se orienta, basicamente, a partir dos seguintes tópicos: a) a gênese da intertextualidade em Baricco; b) as relações intertextuais propriamente ditas e eventuais aproximações de leitura entre algumas de suas obras e as de outros autores com os quais dialoga (tais como Herman Melville, Joseph Conrad, Rainer Maria Rilke, José Saramago e Paul Auster); c) as tendências pósmodernas sobre as quais ele se debruça, sobretudo, em sua atuação ensaística. / This thesis proposes a survey of the main forces determining the constitution of the Poetics that guide the trajectory of the contemporary Italian writer Alessandro Baricco, as a novelist, an essayist and a sagacious intellectual in our century. We note that, from the corpus of novels and essays chosen to analyze here, the author emphasizes the instability of narrating and perceiving, reflected clearly in the various intertextual dialogues that he creates. Therefore the intertextuality, as one of his fictional procedures conceived and transfigured by the author, is closely linked to a conception of the world that promotes the removal of certainties, the praise of orality and narrative (inexhaustible sources of life) the multiplicity of points of view, the exaltation of the marginalized characters, the heroism of defeat, the emphasis of the fall and the resignation. In order to demonstrate how it works, our study guides are basically from the following topics: a) the genesis of intertextuality in Baricco b) the intertextual relations and possible approaches between some of his works as well as dialogues with other authors (such as Herman Melville, Joseph Conrad, Rainer Maria Rilke, José Saramago and Paul Auster), c) the post-modern tendency, emphasized mainly on his essays.

Esta tese busca fazer um levantamento das principais linhas de força na constituição das Poéticas que norteiam a trajetória do escritor italiano contemporâneo Alessandro Baricco, não só como ficcionista, mas também como ensaísta e intelectual, atilado com seu tempo. Constatamos que, a partir do corpus dos romances e ensaios que aqui escolhemos analisar, o autor privilegia a instabilidade do narrar e do ver, refletida, nitidamente, nos diversos diálogos intertextuais que leva a efeito. Daí por que a intertextualidade, enquanto um de seus procedimentos ficcionais tal como concebida e transfigurada pelo autor esteja intimamente relacionada a uma concepção de mundo que elege o afastamento das certezas, o elogio da oralidade e da narrativa (fontes inesgotáveis de vida), a multiplicidade de pontos de vista, a exaltação de tipos à margem dos sistemas, o heroísmo da derrota, a apologia da queda e da renúncia. No intuito de demonstrar como isso se opera, nosso estudo se orienta, basicamente, a partir dos seguintes tópicos: a) a gênese da intertextualidade em Baricco; b) as relações intertextuais propriamente ditas e eventuais aproximações de leitura entre algumas de suas obras e as de outros autores com os quais dialoga (tais como Herman Melville, Joseph Conrad, Rainer Maria Rilke, José Saramago e Paul Auster); c) as tendências pósmodernas sobre as quais ele se debruça, sobretudo, em sua atuação ensaística. / This thesis proposes a survey of the main forces determining the constitution of the Poetics that guide the trajectory of the contemporary Italian writer Alessandro Baricco, as a novelist, an essayist and a sagacious intellectual in our century. We note that, from the corpus of novels and essays chosen to analyze here, the author emphasizes the instability of narrating and perceiving, reflected clearly in the various intertextual dialogues that he creates. Therefore the intertextuality, as one of his fictional procedures conceived and transfigured by the author, is closely linked to a conception of the world that promotes the removal of certainties, the praise of orality and narrative (inexhaustible sources of life) the multiplicity of points of view, the exaltation of the marginalized characters, the heroism of defeat, the emphasis of the fall and the resignation. In order to demonstrate how it works, our study guides are basically from the following topics: a) the genesis of intertextuality in Baricco b) the intertextual relations and possible approaches between some of his works as well as dialogues with other authors (such as Herman Melville, Joseph Conrad, Rainer Maria Rilke, José Saramago and Paul Auster), c) the post-modern tendency, emphasized mainly on his essays.

Notre thèse se propose d’analyser l’évolution des relations entre les milieux de l’architecture et du design français, de 1969 à 1989. Inspirée par la Hochschule für Gestaltung d’Ulm, permise par la venue en France de l’architecte suisse Claude Schnaidt (1931-2007), dernier vice-recteur de cette prestigieuse école allemande, la première vie de l’Institut de l’Environnement (1969-1971) s’affirme comme la principale rotule de cette étude. Si elle a fragilisé cet établissement situé rue Érasme à Paris, la ligne de tension entre architecture et design, considérés comme des disciplines autonomes, non assujetties l’une à l’autre, traversa de nombreuses autres institutions françaises dans les deux décennies suivantes, du CCI à l’ENSCI. Notre thèse s’attache à mettre au jour ces dynamiques antagonistes, contribuant tantôt à la consolidation des barrières disciplinaires en place, à la complexification du cadastre des pratiques et donc à l’intensification des rivalités entre spécialistes, tantôt à l’instauration de processus de fertilisation croisée, de différents degrés d’interdisciplinarité ou de transversalité (métissages des langages, créolisation des processus de conception, partage d’instruments de travail entre corporations). / This doctoral research studies the evolving relationships between the fields of architecture and industrial design in France, from 1969 to 1989. The early years of the Institut de l’Environnement (1969-1971) stand out as the main articulation of this study. The creation of this institution was inspired by the Hochschule für Gestaltung Ulm and made possible by the arrival in France of Claude Schnaidt (1931-2007) – a Swiss architect who was the last vice-rector of the prestigious German school. The tension between architecture and design, thought of as self-sufficient disciplines, not subject to each other, has weakened this institute located in Paris, rue Érasme. This tension traversed many other French institutions through the next two decades, from the CCI to the ENSCI. This doctoral thesis attempts to uncover these conflicting dynamics. On the one hand, they contributed to the consolidation of existing disciplinary boundaries, to the complexification of the practices' landscape and thus to the intensification of rivalries between specialists. On the other hand, they led to the creation of cross-fertilization process, of different degrees of inter- or transdisciplinarity (interbreeding languages or design process, sharing working tools between corporations).

The thesis is focused on the Italian period of Bartholomeus Spranger's life, on his artistic development during that time and on the artworks that he created there. Italy of the second half of the 16th century became Spranger's home for ten years. As well as many other artists Spranger set out for a journey to get to know the greatest Italian masterpieces and primarily to gain new and valuable experience. The first opportunity to work waited for him in Parma, but without any doubt, the most important sojourn for him was Rome. Not only did he have the possibility to be inspired by all the masterpieces and masters themselves, but he also had the opportunity to work for the patrons such as cardinal Alessandro Farnese and the pope Pius V. To the imperial court in Vienna, and then Prague, he came as an experienced artist and the Italian sojourn certainly played major role in it. This topic has not been comprehensively complied in the Czech language so far.

"En s’intéressant à la représentation du XIXe siècle véhiculée à travers Châteaux de la colère d’Alessandro Baricco, cette étude vise à mettre en lumière le rapport de la société du texte à l’innovation pour montrer comment l'activité de la révolution industrielle engendre des tiraillements sociaux. Plus particulièrement, il sera question d’analyser la quête de M. Reihl, de Pekisch et d’Hector Horeau, trois protagonistes de l’oeuvre qui désirent innover. À nos yeux, ce sont leurs quêtes, auxquelles nous attribuons une portée symbolique et signifiante, qui révèlent de manière plus distincte les bouleversements de la société romanesque. L’étude de ces personnages et de certaines scènes du roman nous permettra ensuite de poser des constats plus larges grâce auxquels nous pourrons saisir dans quelle mesure cette représentation sociale propose une lecture critique du XIXe siècle en Occident."

This thesis aims to document and discuss the role and legacy of the Italian antiquario Alessandro Contini Bonacossi (1878-1955) in the international secondary art market for Old Master paintings during the first half of the twentieth century. Grounded in the discovery of primary archival evidence and set against the major historical events that unfolded during his lifetime, this work presents its findings by following a research process adopted to answer the following research questions: who was Contini Bonacossi, what was his business network (where was he buying paintings, at what prices, and who were his clients), what was his modus operandi for selling and marketing his work, and what is his legacy. To answer these questions, I made extensive use of primary sources, the vast majority of which are unpublished or have never been used before in this context, framed by a contextualized analysis of their historical background. The archival investigation has brought to light, for the first time, documentary evidence of Contini Bonacossi's transactions and business ties with other European dealers such as Duveen Brothers, Heinemann Galleries, Colin Agnew, Colnaghi, Böhler, Steinmeyer, and Kleinberger Galleries; with scholars such as Wilhelm von Bode, Roberto Longhi, and Bernard Berenson; as well as previously unknown connections Contini Bonacossi had with members of the Harvard museum community and the Boston cultural elite such as Paul Sachs (1878-1965), Edward W. Forbes (1873-1969) Denmann Ross (1853-1935); and offers new details regarding his relationship with the Kress Brothers, their gifts of artworks to the new National Gallery of Art in Washington DC, and the Kress Foundation's Regional Program that endowed museums across the US. Ultimately, this work adds to our knowledge important sources for the study of the history of private and public collecting during its crucial years in the formation of American museums. More broadly, in documenting Contini Bonacossi's case, this study strives to rethink the role of art dealers, to look at them not solely as market professionals engaged in the dynamics of supply, demand and profit, but first and foremost as bearers and sellers of culture, whose activities were fully embedded in the socio-political environment of their time and so to acknowledge and extend knowledge about their active role in the international dissemination and interpretation of cultural heritage.

Made available in DSpace on 2016-04-28T14:16:30Z (GMT). No. of bitstreams: 1 Renata Saponara Boni.pdf: 2505611 bytes, checksum: 1729acc9ae6cb425b9d61fa4682fae02 (MD5) Previous issue date: 2007-11-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The purpose of this dissertation is to analyze some aspects of the contact theory of Alessandro Volta (1745-1827) pointing out his observations related to the construction of the battery. We have focused our attention on Volta s works which were organized in Le Opere di Alessandro Volta, published between 1918-1929, in which we may find memoirs, letters, texts, articles and manuscripts. We have showed indications that the battery was presented in 1800 to make public the contact theory in opposition to the animal electricity theory proposed for some of Volta s contemporaries. Regarding this, we sought to analyze some reasons that could have stimulated Volta to propose his theory as well as to present some Volta s theoretical assumptions which led him to formulate it. Furthermore, to conclude this work, we have tried to analyze the spread of Volta s theory departing from some opinions of his contemporaries and of other historians of science / O propósito desta dissertação é analisar determinados aspectos da teoria de contato de Alessandro Volta (1745-1827), focalizando, especialmente, as observações voltianas relativa à construção da pilha. Para tanto, partimos de algumas considerações acerca da obra Le Opere di Alessandro Volta, que foi publicada entre 1918-1927, reunindo memórias, cartas, textos, artigos publicados e manuscritos. Procuramos apontar para o fato de que a pilha foi apresentada em 1800 com o intuito de divulgar a teoria de contato e contrapor-se à teoria da eletricidade animal proposta por alguns contemporâneos de Volta. Desse modo, procuramos analisar as possíveis razões que motivaram Volta a propor a teoria de contato, bem como apresentar alguns pressupostos teóricos, que permearam a sua elaboração. Quanto à divulgação da teoria, procuramos abordá-la a partir de algumas opiniões tecidas pelos contemporâneos de Volta e de historiadores da ciência para, enfim, concluirmos esta pesquisa.

Ce mémoire a pour sujet la démarche artistique de François Girard, plus précisément son plus récent long-métrage, Silk, sorti en 2007. Cette coproduction internationale a été le lieu de multiples et fructueuses rencontres interculturelles et le film traduit une importante réflexion sur l'altérité, l'interculturalité et, ultimement, l'intermédialité. Nous nous intéressons donc à la manière dont le réalisateur intègre dans son art et dans son film l'apport culturel de l'Autre afin de réfléchir sur les rapports entre Orient et Occident. Pour réaliser ce film, il s'est notamment inspiré de la peinture sinojaponaise et de la poétique du haïku: la forme même du film fait écho à l'histoire transculturelle d'Hervé Joncour. En plus d'être caractérisé par la mise en contact de plusieurs cultures, le projet de Girard, en tant qu'adaptation cinématographique, s'appuie sur un autre rapport d'altérité, c'est-à-dire la différence entre deux démarches artistiques et deux médias distincts. En effet, le réalisateur s'est réapproprié le roman d'Alessandro Barrico intitulé Seta, en tâchant de réconcilier sa liberté créatrice et sa volonté d'être « fidèle» au texte écrit. Dans le but de montrer combien il est réducteur de juger de la qualité d'une telle adaptation uniquement en fonction d'un critère de fidélité, nous nous attardons au travail de (ré)écriture de Girard. Il est un artiste qui prône, à travers son oeuvre, non seulement la fusion entre les arts, mais aussi le dialogue entre les cultures. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : François Girard, Silk, altérité, adaptation cinématographique, réécriture, transferts culturels, (néo) japonisme

Oggetto della ricerca sono i capitoli di S. Vincenzo e S. Alessandro di Bergamo, quelle istituzioni, cioè, che proprio nel corso del periodo preso in esame (1146-1216) ottennero di essere entrambe riconosciute capitoli della cattedrale. Dopo una panoramica sullo status quaestionis e sulle fonti disponibili, l’indagine si muove su due piani distinti ma tra loro connessi: innanzitutto, esaminando la struttura e l’organizzazione dei due collegi, si procede a un’analisi di tipo “istituzionale” degli stessi. Da questo punto di vista la ricerca mostra nel complesso come i due collegi abbiano condiviso la responsabilità di governo della diocesi non solo dopo, ma anche prima dell’accordo con cui, nel 1189, si riconobbero reciprocamente come parti dell’unica cattedrale bergamasca. Inoltre, attraverso uno studio prosopografico si ottengono informazioni su provenienza sociale, carriera e profilo culturale dei canonici. Elementi utili a ricostruire la posizione dei capitoli nella città vengono pure dall’analisi dei loro compiti in ambito di cura animarum, dalla valutazione del ruolo della basilica di S. Alessandro come custode delle reliquie del santo eponimo dell’episcopato, e infine da alcuni cenni sulla lotta per la ecclesiastica libertas che oppose Chiesa e comune ai primi del Duecento. / The research concerns the chapters of S. Vincenzo and S. Alessandro (Bergamo). During the period under study (1146-1216), both the institutions obtained the right to be considered cathedral in the city. After an overview of the status quaestionis and of the available sources, the study discusses first the institutional aspects, such as the structure and organization of the two chapters. From that point of view, it seems clear that the two institutions shared some important duties not only after but also before being both acknowledged as cathedral (1189). Then, a prosopographical investigation offers many information about the social origins, studies and careers of the canons. Some attention is focused also on the commitment of the chapters to the cura animarum and on the fact that the relics of the main patron saint of the city (s. Alexander) were buried in the church of S. Alessandro. All that, along with the consideration of the antagonism that, at the beginning of the twelfth century, took place between Church and city about the problem of ecclesiastica libertas, shows the actual position of the cathedral chapters in the city.