Inaug.-Diss.--Cologne. / Vita. eContent provider-neutral record in process. Description based on print version record. Bibliography: p. 366-383.

Cette thèse de doctorat étudie l’image de Venise dans les œuvres d’écrivains vénitiens ou liés à Venise entre 1866 et la Première Guerre mondiale, époque où Venise occupait une place fondamentale dans la littérature mondiale, notamment à travers la littérature de voyage. À partir du constat de la méconnaissance dont pâtissent à l’inverse les auteurs vénitiens de l’époque, on analyse la représentation de Venise chez Camillo Boito (1836-1914), Enrico Castelnuovo (1839-1915), Giacinto Gallina (1852-1897) et Gerolamo Rovetta (1851-1910). Ces auteurs permettent d’engager une réflexion sur la littérature mineure. La première partie livre les jalons nécessaires pour cerner l’objet d’étude. Après avoir traité la question de l’existence d’un mythe littéraire de Venise au XIXe siècle, elle montre la marginalité du point de vue italien sur Venise dans les études consacrées aux représentations littéraires de la ville et dresse un tableau détaillé de sa situation économique et politique. La seconde partie est consacrée à l’analyse du corpus. Quatre chapitres présentent les lignes de force de la représentation que chacun des auteurs fait de Venise en mettant en évidence leur traitement des topoï littéraires vénitiens de l’époque. La troisième partie dresse certaines conclusions : Boito, Castelnuovo, Rovetta et Gallina mettent le mythe littéraire de Venise à distance, en même temps qu’ils illustrent les mutations qui affectent la société vénitienne de leur temps. Elle avance enfin l’hypothèse que leur vision de Venise, qui n’est pas fondée sur la singularité de la ville, permet d’appréhender une forme de modernité vénitienne, rarement mise en avant jusque-là. / This doctoral thesis provides an analysis of the image of Venice in the works of four writers, either born in Venice or strongly attached to the city, between 1866 and World War One, a time when Venice featured prominently in European literature. After having analysed the limited fame of Venetian writers in a literary context focusing on masterpieces which were mainly the results of their writers’ travels to Venice, this works analyses the Venetian works of Camillo Boito (1836-1914), Enrico Castelnuovo (1839-1915), Giacinto Gallina (1852-1897) and Gerolamo Rovetta (1851-1910) and focuses on the question of minor literature. The first part provides a series of benchmarks. It studies the possibility of a Venetian literary myth and details the economic and political history of Venice at the time. It also focuses on the challenges of minor literature when related to cultural history. The four chapters of the second part analyse the four writers’ works, emphasizing the way they deal with the Venetian stereotypes of the time. The third part draws some conclusions: Boito, Castelnuovo, Rovetta and Gallina distance themselves from the Venetian literary myth and their works show the deep changes that affected the Venetian society at the time. It offers the hypothesis that their works may have remained unknown because they didn’t dwell on the Venetian singularity. At the same time, they enable their readers to discover a modern Venice, an aspect rarely taken into consideration in the studies dedicated to Nineteenth Century literary Venice.

<p>This dissertation consists of two parts: a chamber opera and an article on the work of Claude Vivier.</p><p>"Cardano" is a new chamber opera by composer Bryan Christian about the work and tragic life of the Renaissance polymath Gerolamo Cardano (1501-1576). Scored for three vocal soloists, an actor, and an eleven-part ensemble, "Cardano" represents a coalescence of Christian's interests in medieval and Renaissance sources, mathematics, and intensely dramatic vocal music. Christian constructed the libretto from fragmented excerpts of primary sources written by Cardano and his rival Niccolo Tartaglia. The opera reinvigorates Cardano's 16th-century scientific and philosophical models by sonifying and mapping these models to salient musical and dramatic features. These models prominently include Cardano's solution to the cubic equation and his horoscope of Jesus Christ, which was deemed so scandalous in the 16th century that it ultimately led to Cardano's imprisonment under the Roman Inquisition in 1570 - the opera's tragic conclusion. Presenting these ideas in opera allows them to resound beyond the music itself and project through the characters and drama on stage. In this way, the historical documents and theories - revealing Cardano's unique understanding of the world and his contributions to society - are given new life as they tell his tragic story.</p><p>Claude Vivier's homophonic treatment of combination tones--what he called les couleurs--demands an extension of traditional methods of harmonic and spectral analysis. Incomplete explanations of this technique throughout the secondary literature further demand a revised and cohesive definition. To analyze all variations of les couleurs, I developed the analytical concept of combination-tone classes (CTCs) and built upon Angela Lohri's (2010) combination tone matrix to create a dynamic CTC matrix, from which CTC sets may be extracted. Intensive CTC set analysis reveals a definitive correlation between CTC set and formal sections in Vivier's composition "Bouchara." Although formally adjacent CTC sets are often markedly varied, all sets share a subset of lower-order CTCs, aiding in perception of spectral cohesion across formal boundaries. This analysis illuminates the interrelationships of CTC sets to their parent dyads, their orchestration, their playing technique, and form in "Bouchara." CTC set analysis is compared with Vivier's sketches for "Bouchara," which suggest that les couleurs were intended as integral components of the work's musical structure.</p> / Dissertation