Thesis--Basel, 1952. / Vita. Bibliography: p. 221-231.

Thesis (M.A.)--Catholic Theological Union of Chicago, 1989. / Vita. Bibliography: leaves 123-126.

Les romans de Daniele Del Giudice et la seconde partie de la production romanesque de José Saramago se construisent autour d'un événement neutre, survenant par surprise et en excès des possibles diégétiques. Il peut être considéré comme « événemential » si l'on suit les analyses philosophiques de Claude Romano. Cette thèse met en lumière la place d'un tel événement dans les poétiques des deux auteurs, étudie ses spécificités diégétiques et narratives et les caractéristiques de son utilisation, et analyse ses implications par rapport au monde refiguré par le roman.L'utilisation d'un tel événement participe de la recherche d'une narration possible entreprise par les deux auteurs au début des années 80 ; elle permet de dérouter le schéma romanesque traditionnel en reportant l'attention sur un processus d'avoir-lieu indéterminé et sans cesse dévié qui préserve un élan dans le récit tout en perturbant son organisation logique. Les deux auteurs visent à mettre en relief un mouvement d'advenue, et ainsi, à créer un écho avec le réel extra-diégétique. Celui-ci apparaît tissé d'une multitude d'éléments instables qui forment un ensemble mouvant. Le récit donne à voir les relations qui le composent, la dynamique qui l'anime. Est créée une expérience à la fois sensible et observable, ancrée dans les propriétés du langage et de la narration, mettant en perspective une structuration du sensible.L'utilisation de l'événement rapproche ces deux auteurs et met en exergue une tendance contemporaine du récit : la tentative de mettre en évidence une dynamique d'advenue, indéterminée, incertaine et sans visée, mais imposant dans et par le récit la force d'une présence. / Daniele Del Giudice's novels, and the second part of Jose Saramago's novelistic work, are built around a neutral event, happening surprisingly and beyond the possibilities contained by the diegetic world. Such an event can be considered as « événemential » in the terms of Claude Romano's philosophical analysis. This thesis examines the place of such an event in the poetics of the two writers, studies its diegetic and narrative specificities as well as the characteristics of its use, and analyses its implications in giving shape to the world figured by the novels.The use of such an event is part of the search of a possible narration begun by the two writers in the early 1980's : this event disrupts the traditional novelistic pattern by drawing attention to a process of happening that is indeterminate and constantly disrupted, all the while providing a narrative dynamic that disturbs its own organisational logic. Both writers aim to expose the movement of the happening, echoing the extra-diegetic reality. The latter appears as woven from a multiplicity of unstable elements which combine to form a changing totality. The narrative shows its relational structure and its dynamic. An experience that is both tangible and visible is created, anchored in the specificities of language and narration, in a way that offers a perspective on the structuring of the sensory world.The use and role of the event in the two writer's novels reveals shared concerns and gestures towards a tendency of contemporary narrativisation : the desire to make palpable the dynamics of an indetermined, aimless and uncertain happening, while rendering in and through narrative the force of a presence.

Les romans de Daniele Del Giudice et la seconde partie de la production romanesque de José Saramago se construisent autour d'un événement neutre, survenant par surprise et en excès des possibles diégétiques. Il peut être considéré comme " événemential " si l'on suit les analyses philosophiques de Claude Romano. Cette thèse met en lumière la place d'un tel événement dans les poétiques des deux auteurs, étudie ses spécificités diégétiques et narratives et les caractéristiques de son utilisation, et analyse ses implications par rapport au monde refiguré par le roman.L'utilisation d'un tel événement participe de la recherche d'une narration possible entreprise par les deux auteurs au début des années 80 ; elle permet de dérouter le schéma romanesque traditionnel en reportant l'attention sur un processus d'avoir-lieu indéterminé et sans cesse dévié qui préserve un élan dans le récit tout en perturbant son organisation logique. Les deux auteurs visent à mettre en relief un mouvement d'advenue, et ainsi, à créer un écho avec le réel extra-diégétique. Celui-ci apparaît tissé d'une multitude d'éléments instables qui forment un ensemble mouvant. Le récit donne à voir les relations qui le composent, la dynamique qui l'anime. Est créée une expérience à la fois sensible et observable, ancrée dans les propriétés du langage et de la narration, mettant en perspective une structuration du sensible.L'utilisation de l'événement rapproche ces deux auteurs et met en exergue une tendance contemporaine du récit : la tentative de mettre en évidence une dynamique d'advenue, indéterminée, incertaine et sans visée, mais imposant dans et par le récit la force d'une présence.

Esta tese parte da problematização de generalizações historiográficas que apontam que a casa-pátio na arquitetura moderna brasileira é, predominantemente, de influência italiana. Diante disso, se propõe a fazer um re-exame de dezessete casas de Daniele Calabi e Rino Levi, produzidas entre as décadas de 1940 e 1960. Levi e Calabi tiveram formação italiana e atuaram juntos em São Paulo entre 1939 e 1949, sendo que a relação entre ambos é considerada na historiografia da arquitetura brasileira como fundamental para a consolidação do uso da casa-pátio no modernismo brasileiro. A tese sustenta a hipótese de que o que confere unidade às suas obras efetivamente não é o tipo-pátio, que assume diversas configurações no modernismo, mas a espacialidade depreendida dessas casas. Entende-se por espacialidade a experiência concreta que o espaço promove em seu interior e o significado que ele passa a ter para as pessoas, sendo o estudo dos diferentes tipos de espacialidade arquitetônica tratado pela tipologia espacial. Assim, o trabalho objetiva analisar comparativamente as casas de Calabi e Levi, buscando identificar aspectos da tipologia formal-funcional e da tipologia espacial que lhes confiram unidade. Conciliando a abordagem tipológica com uma abordagem historiográfica, a tese está dividida em três partes. A primeira tem enfoque historiográfico, com vida, obras e possíveis referências projetuais dos arquitetos. A segunda e a terceira partes se voltam à análise tipológica formal-funcional e espacial, respectivamente, e a reflexões relativas aos temas do tipo, do caráter e da espacialidade na arquitetura moderna. Observou-se que Calabi adota esquemas-pátios de matriz tradicional italiana e Levi recorre mais a esquemas miesianos e wrightianos, assim como outros tantos arquitetos paulistas e cariocas contemporâneos, dispersando a dominante referência italiana na casa-pátio moderna brasileira. Apesar disso, ambos buscam estabelecer em seus projetos uma dialética relação entre extroversão e introversão, que remete a uma espacialidade e a um caráter mediterrâneo comum. / This thesis starts questioning the historiographical generalizations which point out that the house-yard in Brazilian modern architecture has predominantly Italian influences. Given this, it claims to do a re-examination of seventeen Daniele Calabi and Rino Levi’s houses, produced between the 1940s and 1960s. Levi and Calabi had both Italian graduation background and had worked together in São Paulo between 1939 and 1949, and the relationship is considered in the historiography of Brazilian architecture as essential to consolidate the use of house-yard in Brazilian modernism. The thesis supports the hypothesis that what gives unity to their work is not really the type “yard”, which takes different configurations in modernism, but the spaciousness of these houses. Spatiality is understood as the concrete experience that promotes the space inside and the meaning that it will take for people, and the study of different types of architectural spatiality treated by spatial typology. Thus, this thesis aims to analyze comparatively the houses of Calabi and Levi, seeking to identify aspects of the formal typology and the typology and functional space that give them unity. Combining the typological approach with a historiographical approach, the thesis is divided into three parts. The first is historiographical approach, with life, works and possible design references of the architects. The second and third parts are focused on the formal typological analysis, functional and spatial, respectively, and reflections on the themes of type and character of spatiality in modern architecture. It was noted that Calabi adopts yard-schemes from traditional Italian matrix and Levi uses more Mies and Wright schemes, like many other contemporary architects from Sao Paulo and Rio de Janeiro, scattering the dominant Italian reference in the modern Brazilian courtyard-house. Still, both seek to establish in their projects a dialectical relation between extroversion and introversion, which refers to a common spatiality and Mediterranean character.

Esta tese parte da problematização de generalizações historiográficas que apontam que a casa-pátio na arquitetura moderna brasileira é, predominantemente, de influência italiana. Diante disso, se propõe a fazer um re-exame de dezessete casas de Daniele Calabi e Rino Levi, produzidas entre as décadas de 1940 e 1960. Levi e Calabi tiveram formação italiana e atuaram juntos em São Paulo entre 1939 e 1949, sendo que a relação entre ambos é considerada na historiografia da arquitetura brasileira como fundamental para a consolidação do uso da casa-pátio no modernismo brasileiro. A tese sustenta a hipótese de que o que confere unidade às suas obras efetivamente não é o tipo-pátio, que assume diversas configurações no modernismo, mas a espacialidade depreendida dessas casas. Entende-se por espacialidade a experiência concreta que o espaço promove em seu interior e o significado que ele passa a ter para as pessoas, sendo o estudo dos diferentes tipos de espacialidade arquitetônica tratado pela tipologia espacial. Assim, o trabalho objetiva analisar comparativamente as casas de Calabi e Levi, buscando identificar aspectos da tipologia formal-funcional e da tipologia espacial que lhes confiram unidade. Conciliando a abordagem tipológica com uma abordagem historiográfica, a tese está dividida em três partes. A primeira tem enfoque historiográfico, com vida, obras e possíveis referências projetuais dos arquitetos. A segunda e a terceira partes se voltam à análise tipológica formal-funcional e espacial, respectivamente, e a reflexões relativas aos temas do tipo, do caráter e da espacialidade na arquitetura moderna. Observou-se que Calabi adota esquemas-pátios de matriz tradicional italiana e Levi recorre mais a esquemas miesianos e wrightianos, assim como outros tantos arquitetos paulistas e cariocas contemporâneos, dispersando a dominante referência italiana na casa-pátio moderna brasileira. Apesar disso, ambos buscam estabelecer em seus projetos uma dialética relação entre extroversão e introversão, que remete a uma espacialidade e a um caráter mediterrâneo comum. / This thesis starts questioning the historiographical generalizations which point out that the house-yard in Brazilian modern architecture has predominantly Italian influences. Given this, it claims to do a re-examination of seventeen Daniele Calabi and Rino Levi’s houses, produced between the 1940s and 1960s. Levi and Calabi had both Italian graduation background and had worked together in São Paulo between 1939 and 1949, and the relationship is considered in the historiography of Brazilian architecture as essential to consolidate the use of house-yard in Brazilian modernism. The thesis supports the hypothesis that what gives unity to their work is not really the type “yard”, which takes different configurations in modernism, but the spaciousness of these houses. Spatiality is understood as the concrete experience that promotes the space inside and the meaning that it will take for people, and the study of different types of architectural spatiality treated by spatial typology. Thus, this thesis aims to analyze comparatively the houses of Calabi and Levi, seeking to identify aspects of the formal typology and the typology and functional space that give them unity. Combining the typological approach with a historiographical approach, the thesis is divided into three parts. The first is historiographical approach, with life, works and possible design references of the architects. The second and third parts are focused on the formal typological analysis, functional and spatial, respectively, and reflections on the themes of type and character of spatiality in modern architecture. It was noted that Calabi adopts yard-schemes from traditional Italian matrix and Levi uses more Mies and Wright schemes, like many other contemporary architects from Sao Paulo and Rio de Janeiro, scattering the dominant Italian reference in the modern Brazilian courtyard-house. Still, both seek to establish in their projects a dialectical relation between extroversion and introversion, which refers to a common spatiality and Mediterranean character.

Esta tese parte da problematização de generalizações historiográficas que apontam que a casa-pátio na arquitetura moderna brasileira é, predominantemente, de influência italiana. Diante disso, se propõe a fazer um re-exame de dezessete casas de Daniele Calabi e Rino Levi, produzidas entre as décadas de 1940 e 1960. Levi e Calabi tiveram formação italiana e atuaram juntos em São Paulo entre 1939 e 1949, sendo que a relação entre ambos é considerada na historiografia da arquitetura brasileira como fundamental para a consolidação do uso da casa-pátio no modernismo brasileiro. A tese sustenta a hipótese de que o que confere unidade às suas obras efetivamente não é o tipo-pátio, que assume diversas configurações no modernismo, mas a espacialidade depreendida dessas casas. Entende-se por espacialidade a experiência concreta que o espaço promove em seu interior e o significado que ele passa a ter para as pessoas, sendo o estudo dos diferentes tipos de espacialidade arquitetônica tratado pela tipologia espacial. Assim, o trabalho objetiva analisar comparativamente as casas de Calabi e Levi, buscando identificar aspectos da tipologia formal-funcional e da tipologia espacial que lhes confiram unidade. Conciliando a abordagem tipológica com uma abordagem historiográfica, a tese está dividida em três partes. A primeira tem enfoque historiográfico, com vida, obras e possíveis referências projetuais dos arquitetos. A segunda e a terceira partes se voltam à análise tipológica formal-funcional e espacial, respectivamente, e a reflexões relativas aos temas do tipo, do caráter e da espacialidade na arquitetura moderna. Observou-se que Calabi adota esquemas-pátios de matriz tradicional italiana e Levi recorre mais a esquemas miesianos e wrightianos, assim como outros tantos arquitetos paulistas e cariocas contemporâneos, dispersando a dominante referência italiana na casa-pátio moderna brasileira. Apesar disso, ambos buscam estabelecer em seus projetos uma dialética relação entre extroversão e introversão, que remete a uma espacialidade e a um caráter mediterrâneo comum. / This thesis starts questioning the historiographical generalizations which point out that the house-yard in Brazilian modern architecture has predominantly Italian influences. Given this, it claims to do a re-examination of seventeen Daniele Calabi and Rino Levi’s houses, produced between the 1940s and 1960s. Levi and Calabi had both Italian graduation background and had worked together in São Paulo between 1939 and 1949, and the relationship is considered in the historiography of Brazilian architecture as essential to consolidate the use of house-yard in Brazilian modernism. The thesis supports the hypothesis that what gives unity to their work is not really the type “yard”, which takes different configurations in modernism, but the spaciousness of these houses. Spatiality is understood as the concrete experience that promotes the space inside and the meaning that it will take for people, and the study of different types of architectural spatiality treated by spatial typology. Thus, this thesis aims to analyze comparatively the houses of Calabi and Levi, seeking to identify aspects of the formal typology and the typology and functional space that give them unity. Combining the typological approach with a historiographical approach, the thesis is divided into three parts. The first is historiographical approach, with life, works and possible design references of the architects. The second and third parts are focused on the formal typological analysis, functional and spatial, respectively, and reflections on the themes of type and character of spatiality in modern architecture. It was noted that Calabi adopts yard-schemes from traditional Italian matrix and Levi uses more Mies and Wright schemes, like many other contemporary architects from Sao Paulo and Rio de Janeiro, scattering the dominant Italian reference in the modern Brazilian courtyard-house. Still, both seek to establish in their projects a dialectical relation between extroversion and introversion, which refers to a common spatiality and Mediterranean character.

Analisi del parere di lettura come genere editoriale e come strumento utile alla storia dell'editoria, della letteratura e alla filologia. / This study explains the implications of the study of the Einaudi judgements about new manuscripts as instrument of the history of publishers, of literature and philology.

Oggetto della tesi è lo studio dell’esegesi paleocristiana dei “racconti” contenuti nel libro di Daniele, in una prospettiva pludisciplinare che esamina le testimonianze provenienti dall’iconografia e dalla letteratura. Il lavoro prende in considerazione la documentazione dalle origini della produzione figurativa (fine II sec) alla cosiddetta “svolta costantiniana”, includendo materiali provenienti da tutti i contesti geografici dei primi cristianesimi. L’elaborato si articola in tre sezioni che ricostruiscono le principali tradizioni ermeneutiche della ricezione “tipologica”, “allegorica” e “letteraria” del testo biblico, sottolineando in particolare il ruolo che i “racconti” ebbero nella formazione della teologia del martirio antico. L’analisi assume un metodo storico-critico particolarmente attento all’integrazione e al raffronto fra tipologie documentarie distinte, che testimoniano la varietà e l’eterogeneità dell’interpretazione biblica applicata presso le primitive comunità cristiane. L’inclusione della fonte figurativa muove dal presupposto della sua rivalutazione: più che “biblia pauperum”, l’iconografia delle origini, prodotta in ambito liturgico, testimonia una tradizione indipendente e originale della ricezione dei “racconti”. Da questo punto di vista, la complessa interpretazione del libro di Daniele fornisce un valido paradigma per comprendere, in senso più ampio, i meccanismi che determinano la formazione del pensiero cristiano antico. / The subject of the present work is the study of the paleochristian exegesis of the “tales” included in the Book of Daniel, in a pluridisciplinary perspective which examines the evidences coming from both iconography and literature. The work takes into account the documentation from the origins of iconography (end of the II century), to the so-called “Constantinian period”, including materials coming from every geographic context of ancient Christianity. The research is divided in three sections, according to the principal hermeneutic traditions of the “typological”, “allegoric” and “literary” reception of the biblical text, mainly highlighting the role assumed by the “tales” in the formation of the ancient martyrdom theology. The analysis assumes an historical-critical method, mainly focusing on the comparison between two different documentary categories, which attest the variety and the heterogeneity of the biblical interpretation activated in the first communities. The inclusion of the figurative source derives from its revaluation: more than “biblia pauperum”, the ancient iconography, produced in the context of liturgy, expresses an independent and original tradition of the “tales” reception. Under this point of view, the complex interpretation of the Book of Daniel offers a good paradigm to understand, in a wider sense, the processes determining the formation of paleochristian thought.

Comment considérer le cinéma italien des vingt dernières années ? Si en France il est associé à quelques réalisateurs qui luttent contre Berlusconi et contre un système politique et économique corrompu, tels que Roberto Benigni, Nanni Moretti, Sabina Guzzanti, et plus récemment Paolo Sorrentino ou Matteo Garrone, il ne trouve pas la même estime chez ses compatriotes qui, comme en témoignent les résultats du box-office, le considèrent tout au plus comme un moyen de divertissement. La critique des deux pays s’accorde cependant pour dire que l’on assiste depuis une dizaine d’années à un retour du cinema d’impegno (cinéma d’engagement) cher aux réalisateurs des années 1960-1970. Sorrentino et Garrone auraient repris respectivement les flambeaux de Elio Petri et de Francesco Rosi… Peut-on parler d’une nouvelle vague de cinéastes engagés et d’un nouveau cinéma politique italien ? Pour répondre à cette question, nous nous sommes penchés sur quatre films en particulier qui traitent de thèmes explicitement politiques et proposent une représentation de l’homme de Pouvoir différente de celle officielle : Il portaborse de Daniele Luchetti, Il Caimano de Nanni Moretti, Il Divo de Paolo Sorrentino et Qualunquemente de Giulio Manfredonia. Après avoir analysé la façon dont l’homme de Pouvoir est dépeint par ces cinéastes, nous avons essayé de comprendre si ces films sont l’expression d’un engagement réel et d’une volonté de dénonciation ou s’ils répondent à la demande d’une économie de marché et au besoin d’entendre un discours rassurant de la part du public. Dans une société où dire du mal de Berlusconi a permis à certains de s’enrichir et de se faire connaître, et où les systèmes de production et de distribution cinématographiques semblent verrouillés, l’existence d’un véritable cinéma politique est problématique. Il semble en effet difficile d’envisager qu’une œuvre exprime une opposition si elle est acceptée et financée par les entreprises de l’homme qu’elle critique. Face à ce contexte et aux témoignages de nombreuses personnalités du cinéma, nous avons cherché à comprendre si le sens et les critères sur lesquels repose la notion de cinéma politique sont à redéfinir. / How can we consider the Italian cinema of these past twenty years? In France it is associated with a few movie directors such as Roberto Begnini, Nanni Moretti, Sabina Guzzanti and more recently Paolo Sorrentino or Matteo Garrone, who fight against Berlusconi and a corrupt political and economic system, but it isn't received with such esteem in Italy where it is considered at the most as a means of entertainment, as indicated by box-office results.In both countries, reviewers however agree to say that for about ten years we have been witnessing a return to a « cinema d'impegno » (politically-motivated films), a form of cinema which is dear to the directors of the 60´s and 70's. Sorrentino and Garrone would have respectively taken over from Elio Petri and Francesco Rosi... Can we talk about a new wave of politically and socially-aware movie directors and about a new political Italian cinema? To answer this question, we have been studying four films in particular, which deal with themes that are explicitly political and which offer a different representation of the man of Power from the official one.: Il portaborse by Daniele Luchetti, Il Caimano by Nanni Moretti, Il Divo by Paolo Sorrentino and Qualunquemente by Giulio Manfredonia. After analysing the way the man of Power is depicted by these movie directors, we have tried to understand if these films are the expression of a real political commitment and of a will to denounce or if they only meet the demand of a market economy and the need for people to hear a reassuring speech. In a society where speaking badly of Berlusconi has allowed some to grow richer and make themselves known, and where movie production and distribution systems seem closed, the very existence of a political cinema appears problematic. Indeed, it seems difficult to consider that a cinematographic work can express some opposition if this work is accepted and financed by the undertakings of the man it criticizes. Faced with this context and with the testimonies of numerous leading figures of Italian cinema, we have been trying to understand if the meaning and the criteria on which the notion of political cinema is based have to be redefined.