Th.--Lett.--Aix-Marseille 1, 1982. / Index.

Thesis--Faculté des Lettres de Paris. / "Catalogue général des oeuvres manuscrites de Cremonini": p. [367]-386. Includes bibliographical references.

En principio debo destacar que se trata de la primera Tesis Doctoral que se ha presentado y leído dentro del nuevo Programa de Doctorado: CIENCIA Y RESTAURACIÓN DEL PATRIMONIO HISTÓRICO-ARTÍSTICO (Mención de Calidad: MCD 2.006-00513), ya que la Dra. Bartoletti ha sido alumna del Máster Oficial en Conservación y Restauración de Bienes Culturales del Departamento del mismo nombre de la Universidad Politécnica de Valencia. El objetivo prioritario de la Tesis Doctoral es resaltar la extensa trayectoria profesional de una figura emblemática en el mundo de la restauración, el Doctor Gianluigi Colalucci, nombrado en 1.995 Doctor Honoris Causa por la Universidad Politécnica de Valencia. La Tesis adopta un modo directo para narrar todo lo sucedido en su prolongada experiencia laboral, de forma que nos lleva a penetrar en el complejo universo de la Historia de la Restauración en Italia y en el mundo, durante la segunda mitad del siglo XX. La humildad, la sagacidad, el saber escuchar y el saber aceptar las críticas, incluso las más mordaces, han sido los atributos que han caracterizado al Restaurador Jefe de los Museos Vaticanos. La metodología puesta a punto por la Doctora Bartoletti se ha basado en la trayectoria profesional y humana del Dr. Colalucci, llevando un seguimiento cronológico y objetivo. De esta forma, ha mostrado documentos originales e inéditos, realizando entrevistas muy elaboradas, y dejando que los hechos confirmaran sus argumentos. Es de enorme importancia incidir sobre el encuentro del Dr. Colalucci con la extraordinaria obra de Miguel Ángel durante los 14 años que duró la restauración que llevó a cabo en la Capilla Sixtina. El Doctor Colalucci representa la figura del restaurador que habían soñado Giulio Carlo Argan y Cesare Brandi. / Bartoletti, D. (2010). Gianluigi Colalucci y su trayectoria restauradora. Un viaje a través de las transformaciones en el mundo de la restauración desde Cesare Brandi a nuestros días [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/8956

A dissertação de mestrado aqui apresentada envolve o estudo do romance La ciociara de Alberto Moravia e sua adaptação fílmica homônima, realizada por Vittorio De Sica e seu colaborador Cesare Zavattini, através de uma abordagem semiótica. A escolha do romance La ciociara deve-se a suas características estruturais, uma vez que esta é uma narrativa que se difere das demais narrativas do autor pela questão do percurso espacial realizado pelos dois personagens principais. O presente trabalho insere-se, portanto, no âmbito da reflexão crítica da literatura italiana do século XX, ao observar a atitude dos intelectuais diante das massas populares. Acompanharemos o percurso intelectual do escritor, seguindo o itinerário proposto por sua obra literária, mostrando, assim, o pensamento da crítica sobre a mesma. A relação do cinema com a literatura suscita um número variado de críticas e estudos, todavia, a questão fundamental para esta pesquisa é o fascínio exercido pela obra literária do escritor Alberto Moravia no imaginário cinematográfico. Os elementos que contribuem para o ‘olhar’ do diretor de cinema e para o do roteirista do filme, formam um elo entre as características que se aproximam e se distanciam do original literário e possibilitam a identificação dos elementos de diluição da obra literária no corpo de uma adaptação fílmica. Na esfera do espaço, o filme de Vittorio De Sica será analisado sob os códigos de focalização. A visão das estruturas narrativas no universo fílmico, levarão em consideração a utilização de determinados pontos de vista que comandam a representação. A conclusão desta análise visa salientar a distanciação entre os personagens do texto e do filme como ligação entre as narrativas em questão / This paper, based on a semiotic approach and presented for the credits of na MA dissertation, is a study of Alberto Moravia’s novel La ciociara and its homonym filmic adaptation by Vittorio De Sica and Cesare Zavattini. The choice of La ciociara happens due to its structural characteristics, once it is different from the other narratives by the author in terms os space trodden by the two main characters. Therefore, this paper is inserted in the scope of the Italian literary critical thinking of the twentieth century, observing the intellectual behavior in face of the crowds. We will follow the writer’s intellectual path shown by his literary writings, thus showing the critics’ thought about his work. The relationship between cinema and literature rouses a varied amount of different studies and criticism; however, the fundamental issue in this research is the fascination Alberto Moravia’s literary work has on the cinematographic imagery. The elements that contribute to how the film director and the screenwriter ‘look’ make a connection among the characteristics that get either close or far from the original literary piece, and also make the identification of the diluting elements of the literary work in the body of the filmic adaptation possible. In the scope of space, Vittorio De Sica’s film will be analyzed within the focalization codes. The view of the narrative structures in the filmic universe will take into consideration the use of certain points of view that command representation. Our conclusion aims at emphasizing the distancing of the characters in the text and in the film as the link between the analyzed narratives.

The purpose of the thesis is twofold. The first objective is to illustrate the philosophy of Cesare Beccaria through the study of his articles on II caffe and his major work On crimes and punishments. The author presents a conceptual and practical solution to two problems: the administration of justice and the foundation of law. The second objective of the thesis is to retrace the steps of the international spread of his thought in France and the Anglo-Saxon world: France is only concerned with the administration of justice; England is responsive to both the concepts of the Italian scholar through William Blackstone (justice) and Jeremy Bentham (law). Bentham finds in the theory of the social contract of Beccaria the principle of Utilitarianism, a social philosophy that he will develop. The Founding Fathers of the United States will be sensitive to both aspects of the thought of the Milanese author, directly and through Blackstone's and Bentham's works.

In the first chapter we intend to present, although in a restricted sense, some of the positions of the most recent critics, which will allow us to determine the meaning of our Author. / The next chapter is mainly dedicated to giving information which establishes the relationships between the most important mythological traditions and classical works. Such information will serve to find and establish the components of the Pavesian culture. / Cesare Pavese was born in Piemonte, Italy, in 1908, he lived in the historical period during which fascism and nazism triumphed and through all the horrors of the immediate after-war. Pavese's incapacity to be concretely active in the political field brings him to relive, in his writings, the ancient Italian cult of the Evocativo. This technique of his is a hermetic method of going through with his ethical social mission. To evoke a god in a moment of national crisis is a traditionally Italian ritual; while the invocation to a God or a Muse is also part of the literary tradition. The classicism of Pavese is now recognized by different critics. Their basis for this decision is his work Dialoghi con Leuco. However, our attention is more focused on the romance Il diavolo sulle colline which occupies the central part of the trilogy La Bella Estate. / This text Il diavolo sulle colline contains many meanings which requires different approaches--such as the cultural precedents of other authors, and even those of Pavese himself--to decipher. The many messages in this work can all be traced back to the concept of death and rebirth. Pavese uses themes which are beloved to Dante and the humanists, who were themselves inspired by the great Greek and Latin authors. / And thus, we are left wondering whether Il diavolo sulle colline was conceived according to the norms of the classical tragedy, which was based on the celebrations in honor of the god Dionisus (the Hellenic demon venerated by the Latins under the name of Bacchus, and affiliated with an old Italian divinity whose symbolic name was Liber Pater). Poli, a dominating figure in Il diavolo sulle colline could be the double of this god. Our discussion will therefore be founded on the testimony of mythographers. / From a methodological point of view, our analysis will not take into account the chronological sequences, but rather the themes which imply the operation of segmenting the text.

A dissertação de mestrado aqui apresentada envolve o estudo do romance La ciociara de Alberto Moravia e sua adaptação fílmica homônima, realizada por Vittorio De Sica e seu colaborador Cesare Zavattini, através de uma abordagem semiótica. A escolha do romance La ciociara deve-se a suas características estruturais, uma vez que esta é uma narrativa que se difere das demais narrativas do autor pela questão do percurso espacial realizado pelos dois personagens principais. O presente trabalho insere-se, portanto, no âmbito da reflexão crítica da literatura italiana do século XX, ao observar a atitude dos intelectuais diante das massas populares. Acompanharemos o percurso intelectual do escritor, seguindo o itinerário proposto por sua obra literária, mostrando, assim, o pensamento da crítica sobre a mesma. A relação do cinema com a literatura suscita um número variado de críticas e estudos, todavia, a questão fundamental para esta pesquisa é o fascínio exercido pela obra literária do escritor Alberto Moravia no imaginário cinematográfico. Os elementos que contribuem para o ‘olhar’ do diretor de cinema e para o do roteirista do filme, formam um elo entre as características que se aproximam e se distanciam do original literário e possibilitam a identificação dos elementos de diluição da obra literária no corpo de uma adaptação fílmica. Na esfera do espaço, o filme de Vittorio De Sica será analisado sob os códigos de focalização. A visão das estruturas narrativas no universo fílmico, levarão em consideração a utilização de determinados pontos de vista que comandam a representação. A conclusão desta análise visa salientar a distanciação entre os personagens do texto e do filme como ligação entre as narrativas em questão / This paper, based on a semiotic approach and presented for the credits of na MA dissertation, is a study of Alberto Moravia’s novel La ciociara and its homonym filmic adaptation by Vittorio De Sica and Cesare Zavattini. The choice of La ciociara happens due to its structural characteristics, once it is different from the other narratives by the author in terms os space trodden by the two main characters. Therefore, this paper is inserted in the scope of the Italian literary critical thinking of the twentieth century, observing the intellectual behavior in face of the crowds. We will follow the writer’s intellectual path shown by his literary writings, thus showing the critics’ thought about his work. The relationship between cinema and literature rouses a varied amount of different studies and criticism; however, the fundamental issue in this research is the fascination Alberto Moravia’s literary work has on the cinematographic imagery. The elements that contribute to how the film director and the screenwriter ‘look’ make a connection among the characteristics that get either close or far from the original literary piece, and also make the identification of the diluting elements of the literary work in the body of the filmic adaptation possible. In the scope of space, Vittorio De Sica’s film will be analyzed within the focalization codes. The view of the narrative structures in the filmic universe will take into consideration the use of certain points of view that command representation. Our conclusion aims at emphasizing the distancing of the characters in the text and in the film as the link between the analyzed narratives.

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The great number of musical sources preserved in manuscript and printed form clearly reflects the prominent position held by the lute as a musical instrument during the sixteenth and early seventeenth centuries. Only a relatively small portion of this vast literature is presently available to scholars and interested laymen in the form of modern transcriptions. Referred to as "l'instrument noble par excellence," the lute's popular and fashionable appeal is evidenced by the large number of composers who dedicated themselves to this instrument. Among the number of outstanding lute composers living in Italy during the sixteenth and early seventeenth centuries was Giulio Cesare Barbetta (c. 1540-after 1603). During his lifetime Barbetta published a total of four books of lute pieces containing arrangements of polyphonic compositions of various Renaissance composers as well as a large number of original compositions including .preludes, airs, fantasias, and dance pieces. Although Barbetta achieved importance as a leading figure in the Italian school of lute composition, there is little readily available material, either biographical or musical; this study provides the scholar, the performer, and the listener with biographical data and a modern edition of the composer's complete works.