Texte remanié de: Tesis doctoral--Facultad de historia--Universidad de Santiago. / Notes bibliogr. Bibliogr. p. 445-454.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1973. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliography.

No description available.

L’objectif général de la thèse est de reconstruire et de périodiser les processus de représentation du brigandage italien à l’époque du Risorgimento, en croisant l’analyse avec le vaste panorama de l’imaginaire social relatif aux identités criminelles du XIXe siècle. La thèse possède une structure de type chronologique, bien que j’aie identifié trois noyaux thématiques fondamentaux, évoqués dans le sous-titre : crime, littérature et politique. Mon hypothèse est que la chronologie relative à l’histoire de l’imaginaire du brigandage italien (et en particulier méridional : Rome et Naples), est dictée par l’interaction entre la construction socio-culturelle de l’identité criminelle, le discours de nature littéraire et les dynamiques du conflit politique lié au processus de l’unification italienne. De telles interactions mettent continuellement en contact les représentations du brigand avec le débat public plus général sur les mécanismes de formation et d’enracinement du crime. L’étude du banditisme rural, en ce sens, ne peut pas être séparée des dynamiques de développement du concept de « classes dangereuses », du crime organisé et de la profession de criminel. Dans le même temps, le développement de modes littéraires détermine des étapes culturelles qui façonnent la sensibilité collective sur le brigandage en Europe et en Italie. Enfin, mettre en relation l’imaginaire du crime avec le thème du Risorgimento permet d’observer à quel point le discours sur le brigandage présente des pics d’intérêt politique, ou, à l’inverse, de relative folklorisation. Ceux-ci sont intimement liés aux luttes entre révolution et contre-révolution, et entre des projets nationaux opposés. Le titre de la thèse, en rappelant l’incipit de l’hymne national italien (« Frères d’Italie »), souhaite souligner l’ambiguïté et le chevauchement entre discours national et discours criminel qui, pour tout le XIXe siècle, accompagne l’imaginaire culturel, social et politique du brigandage. / The main aim of the thesis is to retrace and historicize the processes of representation of Italian brigands during the Risorgimento. The research situates the brigands within the general framework of construction of political and cultural models regarding criminal identities during the 19th century. My dissertation has a chronological structure, even though I identified three fundamental subjects, evoked in the subtitle: crime, literature and politics. The figure of the bandit has played a central role especially in the history and identity of Southern Italy (Rome and Naples). I assume that the chronology related to the imaginary of Italian brigands is the flourishing result of the interaction between the social and cultural construction of criminal identity, the literary discourse and the dynamics of political conflict related to the process of Italian unification. Such interactions constantly merge the representations of brigandage with the public debate about the mechanism at the origin and the embedding of crime. Therefore, the study of rural banditry cannot be separated from the concepts of “dangerous classes”, organized crime and criminal profession, and their dynamics and evolution. At the same time, the development of different literary genres determines the cultural phases shaping society’s sensitivity about brigands in Europe and Italy. Thus, putting into relation the social imaginary of crime with the theme of Risorgimento, the reader will notice to which point the representations of brigands offers insights of political interest, or, on the contrary, of folklorization. These dynamics are intimately linked at the struggle between revolution and counter-revolution, in a wider frame of opposite nation-building projects. The title of the thesis, recalling the beginning of Italian hymn (“Brothers of Italy”), highlights the ambiguity and the overlap of national and criminal discourses, which accompany the cultural, social and political imaginary of brigands and brigandage during the 19th century.

Thesis (M.A.)--University of Wisconsin, 1966. / Title from opening screen. Description based on display of Aug. 2, 2002. Includes bibliographical references. Mode of access: Internet.

Thesis (MPhil)--University of Stellenbosch, 2006. / On title page: MPhil (Ancient Cultures). Bibliography. Also available via the Internet.

Thesis (Ph. D.)--University of Washington, 2005. / Vita. Includes bibliographical references (leaves 235-246).

The purpose of this thesis is to make available to those interested in the Cornedia of the Spanish Golden Age an introduction to the Bandit plays. The list of plays makes no claim at being exhaustive. I have incorporated in the text well-known plays and some unknown plays. The method used in identifying bandit plays was to examine collections of the works of famous playwrights such as Calderon, Tirso and Lope. Those plays which, in the dramatis personnae, called for bandoleros, salteadores or facinerosos were read for the purpose of establishing whether they could be used for this study. Bandit plays, and banditry, have received minimal attention from scholars, studies of the theme limited to a few articles. This neglect is unfortunate because the bandit play forms an entire sub-genre of the Cornedia of the Golden Age and a study of this sub-genre will provide a further insight into the function of the many-faceted Cornedia. The plays discussed in this thesis follow a definite pattern. Within the limits of an M.A. thesis my intention is to illustrate and analyze on a basic level the salient literary conventions common to the bandit plays. This I attempt to do by giving a systematic, but brief, plot analysis of each play, drawing conclusions from the common elements which emerge. In order that this study be placed in a proper context, I have included a brief discussion of historical and possible literary sources for the figure of the bandolero and bandolera. It is my strong conviction that this modus operandi is of considerable value in enabling us to arrive at an interpretation of the figure of the bandit within the Cornedia. Once the bandit is seen within his historical context -- and it is evident that this topic requires more attention and research by historians -- any changes that the playwright makes to the figure of the historical bandit will be significant in reaching an interpretation of the Cornedia Bandolera. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Cette étude s’intéresse aux biographies de criminels, l’un des nombreux imprimés sur le crime qui se développent au cours de l’époque moderne en Angleterre et en France. Ces dernières sont travaillées par des tensions morale et politique. Elles revendiquent un dessein didactique tout en exploitant volontiers le sensationnel de leur sujet. De même, la représentation de criminels est équivoque politiquement. Plutôt que de faire des hors-la-loi des repoussoirs et de souligner la manière dont ils sont écrasés par le pouvoir qu’ils ont défié, les textes les glorifient souvent et construisent un panthéon du crime. Cette thèse propose de réévaluer les ambiguïtés idéologiques de ces textes au croisement des discours historique, journalistique et romanesque en prenant en considération certains traits de l’écriture moderne comme l’ambition morale généralisée ou le flottement de la distinction entre fait et fiction. Cette remise en perspective conduit à repenser les potentialités subversives de ces textes qui semblent en fait moins résider dans l’héroïsation des criminels que dans l’articulation entre leur parcours et des questions sociales et politiques spécifiques au temps. / This study focuses on criminal biographies, one of the much-printed forms of criminal literature which developed in the early modern England and France. These texts are marked by moral and political ambivalence. Despite their proclaimed prescriptive aims, they make the most of the very sensational topic of crime. Furthermore, the depiction of criminals is politically problematic. Instead of presenting them as bad examples, underlining the way they are defeated by the authority they defy, they are often romanticized and thus a crime pantheon is built. This study seeks to reassess the ideological ambiguities of criminal biographies, at the crossroads of historical, journalistic, and novelistic discourses, taking into account some features of early modern literature, notably the systematic moral purpose and the blurred distinction between fact and fiction. This change of perspective leads us to re-evaluate the biographies’ potential in transgressing. Rather than lying in the romanticization of the outlaws, these seem to lie in the way some texts link the outlaws’ lives with some social and political debates of the time.

Thesis (MPhil (Dept. of Ancient Studies) -- University of Stellenbosch, 2005. / This thesis sets out to examine, as far as possible within the constraints of a limited study such as this, the nature of the Jewish protest movement against the occupation of their homeland by the Roman Empire in the years after the territory had become a direct province of the Empire. These protests were mainly instigated by and initially led by Jewish peasants who experienced the worst aspects of becoming a part of the larger Roman world.