Mon travail de thèse porte sur la « Scapigliatura democratica », un mouvement littéraire italien qui se développa à Milan entre les années 60 et 80 du XIXe siècle. Par rapport au plus large mouvement de la « Scapigliatura », la « Scapigliatura democratica » se caractérise par le lien étroit entre littérature et politique qui est à la base de son projet culturel. Mon étude a pour objectif d’analyser ce phénomène de politisation dans la production narrative et journalistique des représentants les plus significatifs du mouvement (Arrighi, Bizzoni, Tronconi, Valera, Cameroni).Après un chapitre introductif sur l’état de l’art concernant ce sujet, la thèse s’articule en deux parties principales. Dans la première, nous avons cherché à donner une description du rapport entre « Scapigliatura » et politique de la fin des années 1850, au moment où le terme « Scapigliatura » paraît pour la première fois dans le fragment signé par Cletto Arrighi La scapigliatura, jusqu’à « La Farfalla » de Angelo Sommaruga, un des derniers journaux liées au mouvement ; en passant aussi par l’expérience cruciale du « Gazzettino Rosa » (1867-1873) de Achille Bizzoni et Felice Cavallotti. Afin d’éviter toute confusion terminologique avec les études critiques précédentes, nous avons privilégié les usages du mot « Scapigliatura » qui venaient de l’intérieur du mouvement, notamment des articles-manifestes à la première personne que l’on retrouve souvent dans les journaux « scapigliati » de l’époque. En ce sens, une des tâches principales de notre travail à été d’évaluer, selon l’auteur ou le journal concerné, l’évolution et le différent degré de politisation du terme.Dans la deuxième partie, en revanche, l’objectif a été d’étudier en parallèle la production littéraire et journalistique du mouvement, en essayant d’en montrer la contiguïté aussi bien au niveau formel qu’au niveau de contenus. L’hypothèse que nous avons voulu vérifier, en particulier, est qu’un même courant « pamphlétaire » (Angenot, La parole pamphlétaire, 1982) traverse l’ensemble de cette production, tous genres littéraires ou pragmatiques confondus. Il en découle que le trait distinctif de la « Scapigliatura democratica » réside moins dans sa configuration artistique ou littéraire que dans sa disposition rhétorique. A cet égard, nous avons montré que même la tendance littéraire du réalisme, majoritaire au sein du mouvement, se caractérise dans son application concrète par la forte influence de catégories éthiques et idéologiques qui sont extralittéraires. Dans le dernier chapitre de cette partie, nous avons mis à l’épreuve cette idée de littérature hybride en analysant quelques-unes parmi les batailles à la fois culturelles et politiques menées par le mouvement tout au long de son activité, comme celles concernant le militarisme, la morale bourgeoise ou la question sociale dans l’univers urbain.En conclusion, nous avons souligné l’importance de la réflexion politique dans la construction de l’identité du mouvement, ainsi que le rôle novateur d’intellectuel-agitateur que les écrivains-journalistes « scapigliati » eurent dans la crise politique et culturelle de l’Italie de premières années après l’Unité. Cela se fit notamment par la proposition d’une littérature de combat qui allait montrer toute sa puissance et sa capacité d’incidence sur la société à partir de la fin du XIXe siècle. / My thesis work focuses on the “Scapigliatura democratica”, an Italian literary movement that developed in Milan between the 60s and 80s of the 19th century. Compared to the broader Scapigliatura movement, the Scapigliatura democratica is characterized by the close link between literature and politics that underlies its cultural project. My research aimed to investigate this phenomenon of politicization in the narrative and journalistic production of the most significant representatives of the movement (Arrighi, Bizzoni, Tronconi, Valera, Cameroni).After an introductory chapter on the state of the art, the thesis is divided into two main parts. In the first, we sought to describe the relationship between “Scapigliatura” and politics, from the late 1850s, when the term “Scapigliatura” first appeared in Cletto Arrighi’s fragment La scapigliatura, to the journal called «La Farfalla» by Angelo Sommaruga, one of the last newspapers linked to the movement; and also passing through the crucial experience of «Gazzettino Rosa» (1867-1873) by Achille Bizzoni and Felice Cavallotti. In order to avoid any terminological confusion with previous critical studies, we favoured the use of the word “Scapigliatura” from within the movement, in particular the articles written in the first person that were often published in the “scapigliati” journals of the time. In this sense, one of the main tasks of our work has been to evaluate, according to the author or journal concerned, the evolution and the different degree of politicization of the term.In the second part, our goal has been to show the contiguity between literary production and the journalistic activity of the movement, both formally and in terms of content. The hypothesis we wanted to verify was, in particular, the presence of some features related to the pamphlet genre (Angenot, La parole pamphlétaire, 1982) in all this production. It follows that the distinctive feature of the “Scapigliatura democratica” lies less in its artistic or literary configuration than in its rhetorical disposition. In this respect, we shown that even the literary trend of realism, which is the majority within the movement, is characterized in its concrete application by the strong influence of extraliterary ethical and ideological categories. In the last chapter of this section, we tested this idea of hybrid literature by analyzing some of the battles, both cultural and political, waged by the movement throughout its activity, such as those concerning militarism, bourgeois morality or the social question.In conclusion, we underlined the importance of political reflection in building the identity of the movement, as well as the innovative role of intellectual-agitator that the “scapigliati” writer-journalists had in Italy’s political and cultural crisis in the first years after Unity. This was done in particular by the proposal of a combat literature, which would show all its power and its capacity to have an impact on society from the end of the 19th century onwards.

Teilw. zugl.: Bamberg, Universiẗat, Zulassungsarb., 2006/07 u.d.T.: Kraiczi, Florian: Der Einfluss der Kafka-Frauen.

This essay examines the subject-object dichotomy between men and women in Toni Morrison’s Jazz and the thesis of the essay is that this dichotomy develops into subject-object harmony. Through Simone de Beauvoir’s theory regarding the subject-object dichotomy and a close reading of the novel, this essay concludes that Jazz shows the possibility of reciprocal relationships built on friendship. In other words, the dichotomy changes into harmony, which makes it possible for both men and women to reach freedom and fulfilment in transcendence.

Le raccolte epistolari di Felice Feliciano (1433-1479?) sono affidate a quattro manoscritti, di cui tre autografi e uno apografo; il corpus totale delle lettere ammonta a 189 pezzi, di cui 76 a testimoniale plurimo. Questo lavoro punta per la prima volta a ricostruire il quadro critico di questa complessa tradizione e a definire i prolegomena a una futura edizione degli epistolari. Il primo capitolo traccia il profilo biografico dell’autore e ne inquadra la produzione nel panorama dell’epistolografia quattrocentesca, mentre il secondo è dedicato alla descrizione codicologica e paleografica degli esemplari. Il terzo capitolo restituisce ogni epistolario a un contesto d’allestimento verosimile in una circostanza spazio-temporale precisa, sulla base dei dati interni a ciascun testimone. Il quarto capitolo contiene la trattazione complessiva e non più individuale degli epistolari, allo scopo di individuare una ratio organizzativa nell’assetto delle varie raccolte, tramite il riconoscimento di un’ossatura portante costituita da nuclei di lettere a testimoniale plurimo. Il quinto capitolo offre uno specimen editoriale, ovvero l’edizione critica commentata del nucleo individuato come il più antico, composto da 29 lettere e tramandato da tre mss. su quattro. L’elaborato termina con un’appendice nella quale, attraverso i regesti delle lettere, si propone il modello da seguire per la costruzione dell’edizione integrale degli epistolari felicianei. / The epistolary collections of Felice Feliciano (1433-1479?) are entrusted to four manuscripts, three autographs and one apograph; the total corpus of letters amounts to 189 pieces, 76 of which are in multiple attestation. This work aims for the first time to reconstruct the critical picture of this complex tradition and to fix the prolegomena for a future edition of the epistles. The first chapter traces the author’s biographical profile and sets his production against the panorama of 15th-century epistolography, while the second chapter is dedicated to the codicological and palaeographical description of the manuscripts. The third chapter restores each collection to a plausible setting in a precise space-time situation, on the basis of its internal features. The fourth chapter deals with the four books as a whole and no longer individually, with the aim of identifying a rational organisation in the arrangement of the various collections, through the recognition of a bearing framework made up of groups of letters in multiple attestation. The fifth chapter offers an editorial specimen, that is the critical commented edition of the group identified as the oldest, consisting of 29 letters and handed down by three out of four manuscripts. The thesis ends with an appendix in which, by means of the epistles’ registers, the model to be followed for the construction of the complete edition of Feliciano’s letters is proposed.

The project aims to develop a corpus of the 14th century marble sculptures in Brescia, Mantua and Cremona. After mapping the materials localized in these territories, which was made possible thanks to the inventories of the respective Superintendencies and Dioceses, as well as the bibliography, it was possible to collect a large number of testimonies. The resulting archival investigation allowed to refine the research on the history of the pieces, to update and correct the data already reported in bibliography and to investigate unpublished works. From a methodological point of view it was considered appropriate to proceed with the stylistic analysis of the sculptures in parallel with the identification of contexts, origins, authors, models and influences. This made it possible to identify and deepen a critical chapter, the history of Gothic sculpture in this part of Lombardy, which until a few decades ago was rather neglected by studies. The development of a catalog, divided into territorial sections, aims to be an easy reference tool for scholars of Italian sculpture. Several unpublished works have emerged in Brescia and in its province. Some hypotheses have been advanced about the path of the sculptor Delaido da Lodi, active in 1301 in Gargnano, and about the artworks in and from Brescia realized by the Master of Sant’Anastasia. The Mantua area, which returned the most significant results, was analyzed from the beginning of the fourteenth century to the eve of the dalle Masegne season. During this period of time, various artists, mainly from Venice, were active in the city. Among them, the sculptor Andrea da San Felice, the anonymous artist baptized here with the name of "Maestro di Piero Maser" and Antonio da Mestre. Some of the sculptures collected can be related to Lombard artists such as the "Maestro di Viboldone", to whom a new sculpture is attributed, and Guido Frisoni, an artist mentioned in some documents preserved in the State Archive of Mantua, to whom it is now possible to trace the "Madonna with Child" in Grazie di Curtatone, thanks to the interpretation of the epigraph placed at the base. The Cremona area closes the catalogue, which stands out for the quality of the surviving works, at the expense of quantity. The famous reliefs preserved in the church of San Bassiano in Pizzighettone are exemplary of the formal refinement of the survivals of this territory. / Il progetto si è posto l'obiettivo di elaborare un corpus delle sculture del XIV secolo in marmo conservate nelle province di Brescia, Mantova e Cremona. Grazie all’iniziale mappatura dei materiali nei singoli territori, realizzata passando in rassegna gli inventari delle rispettive Soprintendenze e Diocesi, oltre alla bibliografia, è stato possibile raccogliere un cospicuo numero di testimonianze. La conseguente indagine archivistica ha consentito di perfezionare le ricerche sulla storia conservativa dei singoli pezzi, di aggiornare e correggere i dati già segnalati in bibliografia e di indagare sugli inediti. A ciò si è aggiunta l’analisi stilistica delle sculture, che è avvenuta parallelamente all’individuazione di contesti, provenienze, autori, modelli ed influenze. Ciò ha permesso di individuare e fare il punto su un capitolo critico, la storia della scultura gotica in questi territori della Lombardia, che fino a pochi decenni fa era poco frequentato dagli studi. Numerosi sono, inoltre, gli spunti di ricerca emersi per il futuro. Per questo motivo è stato elaborato un catalogo, che ha l’obiettivo di essere uno strumento di agile consultazione per gli studiosi di scultura italiana. Sono emerse diverse opere inedite nel bresciano, su cui si è cercato di far luce. Alcune ipotesi sono state avanzate circa il percorso dello scultore Delaido da Lodi, attivo nel 1301 a Gargnano, e riguardo alle testimonianze bresciane del Maestro di Sant’Anastasia. Il territorio mantovano, che ha restituito i risultati più significativi, è stato analizzato dagli esordi del Trecento fino alla vigilia della stagione dei dalle Masegne. Durante questo lasso di tempo furono attivi in città diversi artisti, principalmente provenienti da Venezia, su cui ora è possibile ragionare. Tra essi emergono lo scultore Andrea da San Felice, l'anonimo artista battezzato in questa sede con il nome di "Maestro di Piero Maser" e Antonio da Mestre. Di origine lombarda furono invece il Maestro delle sculture di Viboldone, a cui in questa sede è attribuita una nuova opera, e Guido Frisoni da Como, artista citato in alcuni documenti conservati a Mantova, in Archivio di Stato, a cui è ora possibile ricondurre la 'Madonna con Bambino' di Grazie di Curtatone grazie all'interpretazione dell'epigrafe posta alla base dell'opera. Chiude il lavoro il territorio di Cremona, che si distingue per la qualità delle opere superstiti, a discapito della quantità. Esemplificativi della ricercatezza formale delle sopravvivenze di questo territorio sono i celebri rilievi che si conservano nella chiesa di San Bassiano a Pizzighettone.

This thesis explores the relationship between the many literary texts referring to the deaths of Ugo d'Este and Parisina Malatesta, who were executed in Ferrara in 1425 in accordance with an order by Niccolò III d'Este after he discovered their incestuous relationship. The texts are divided in three categories: (1) the fifteenth- and sixteenth-century Italian novellas and their translations; (2) the seventeenth-century Spanish tragedy; and (3) the nineteenth- and twentieth-century Romantic works. Although these categories divide the various texts chronologically, they also represent a thematic grouping as the texts within each category share common themes that set them apart from those in the other groups. While the various texts all tell the same story, each approaches the tragedy slightly differently based largely on the audience for which it was intended. Thus, the time and place of each text greatly affects its telling. Still, the fact that substantial differences exist between texts that were produced in both geographic and temporal proximity suggests that these are not all-determining factors. Although scholarship exists analyzing individual texts, a comprehensive study of the literary accounts relating to the tragedy has never been undertaken. Rather than detracting from the story, the differences put forth in each of the literary texts enrich the global reading experience by offering many perspectives on the tragedy. In addition, these differences influence how the reader reacts to each of the other texts. Familiarity with one version of the story changes the way a reader approaches the others. A parallel reading of the different versions of the story also shows the power culture has on interpretation. Texts referring to a singular event from one time and place sharply contrast with those that are the product of other circumstances.