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Over the past decade scholars have begun to examine in greater depth the pivotal role that foreigners played in the development of the Early Modern European city. In Rome foreign communities had a major part in shaping the urban landscape, more permanently with national churches, hospitals, chapels, neighborhoods, and temporarily through public processions and festivals. This dissertation examines the Spanish National Church, San Giacomo and San Ildefonso degli Spagnoli, founded in 1450 to provide a religious and charitable center for the growing Castilian expatriate community and their many co-nationals visiting on pilgrimage. When San Giacomo opened its doors it was a small, unpretentious space, with a hospital attached, facing the medieval street of Via del Sapienza. Over the next hundred years, the church expanded significantly and a second, statelier entrance was added opening onto the Piazza Navona, which had become a locus for grand secular and religious celebrations in the city. Significantly, these changes at San Giacomo coincide with the growing prestige and influence of the Spanish community on the European stage. This dissertation will provide the first art historical monograph produced since the 1950s of San Giacomo from its origins through the 1560s. In contrast to previous studies, I will set my discussion of the architecture and art within the historical context. In this way I will demonstrate that the Spanish used the most common languages available in Roman culture--the visual and spatial--as a rhetorical device to set forth their political aspirations and religious values and promote their nation in Rome. I also connect this project to other Spanish commissions in Rome, which has not previously been undertaken, and illustrate that they shared characteristics by which the nascent Spanish nation sought to define itself. Reexamining the church within the historical background allows for a thorough iconographic reading, not previously attempted, of the most well known chapel in the church, that of Cardinal Jaime Serra, designed by Antonio da Sangallo and decorated by Pellegrino da Modena and Jacopo Sansovino. I provide an explanation for the patron's choice of content, taking into consideration both Spanish ambitions and the pressing political concerns of both the Pope and the curia. My analysis will also take into account recently discovered archival evidence that the Sangallo architectural ornamentation was actually designed and constructed two decades after the chapel was decorated. This is the first lengthy discussion of the architecture based on the new date. Moreover I use it as a base on which to reconsider the patron's motivations for refurbishing the architecture of the chapel. Finally, this study proposes that national churches in Rome, as a group, should be recognized for the vital role they played in society. Within their community they provided a safe haven and a space from which foreign nationals could deal with the rest of society. Simultaneously, they were a primary means for the public recognition of a nation within this cosmopolitan city. Consequently, tracking the art and architecture of these churches, and the changes made over time, offers a unique opportunity to gauge the way an Early Modern European country saw itself, and the way they wanted to be perceived. / Art History

(EN) The Prague's Lesser Town house of count Václav Michna of Vacínov (1611?-1667) pertains to be one of the biggest mysteries of the history of 17th-century architecture in Bohemia, the attention of a number of scholars notwithstanding. The grandiosity of the proposed plan, known in its entirety from a later copy, as well as the imposing design of the house's east front, distinguishing itself by a skilful use of the classical orders, indicate an employment of a designer of a rather surprising capacity and adroitness, given the time and place - Prague in the sixteen- thirties and sixteen-forties. The only incontestable clue, that suggests itself to a solver of this riddle, remains to be the date of the completion of the palace's stucco decoration (1644) and the name of its author, Domenico Galli (died 1675). The anonymity of the designing architect led the previous researchers to search for formal analogies in the Italian architectural production, quite without convincing results. The principal intention of this thesis, aside from an assessment of the previous findings and an attempt for a more accurate placement of the building in the context of Italian architecture, is rather to propose a reading of its meaning, based on a deeper knowledge of the patron's life, his interests, and representational...

La thèse, divisée en trois parties, constitue une introduction à l’univers musical de Giacomo Manzoni (Milan, 1932). La première partie aborde huit dimensions de l’œuvre du compositeur dans une perspective analytique (matériau, temps, dynamique, timbre, forme, figures sonores, espace et texte). Dans la deuxième partie, où figure une étude de Per Massimiliano Robespierre (1974) et de Doktor Faustus (1988), sont présentés les principaux axes de sa poétique : l’engagement et l’innovation. La dernière partie conceptualise la notion de matiérisme en tant que fondement de sa praxis compositionnelle. À ce propos, Atomtod (1964), sa troisième œuvre pour le théâtre musical, a été analysée. Des documents inédits, dont des esquisses de ses œuvres et une correspondance avec Luigi Nono, ont été commentés tout au long de la thèse. Les annexes incluent un catalogue chronologique et thématique des œuvres du compositeur, une édition critique bilingue des textes mis en musique, la traduction de son dernier livre (Parole per musica) et une discographie. / This thesis, which consists of three parts, represents an introduction to Giacomo Manzoni’s (Milan, 1932) musical ideas. First part deals with eight dimensions of his work from an analytical point of view (material, time, dynamics, timbre, form, sound shapes, space and text). In the second part, which contains an analysis of Per Massimiliano Robespierre (1974) and Doktor Faustus (1988), two main axes of his poetics were examined: commitment and innovation. Last part conceptualizes the notion of materialism in his poetics, as it constitutes the basis of his musical praxis. To this end, Atomtod (1964), his third work for the stage, was analysed. Unpublished documents, like sketches of his works and a correspondence with Luigi Nono, were commented throughout the thesis. Appendices include a chronological and thematic catalogue of his works, a bilingual critical edition of the texts which he set to music, a French translation of his last book (Parole per musica) and a discography.

abstract: The focus of this in-depth study is to look at the gestation, performance history, and reception of Giacomo Puccini's evening of three one-act operas called Il Trittico and differentiate the particular components, Il Tabarro, Suor Angelica, and Gianni Schicchi to analyze them for their individual stylistic elements of Italian Opera. These were the styles of verismo, pathos and sentimentality, and opera buffa. As substantiated by written criticism, the audience and the critics did not fully comprehend the hidden meaning behind the individual works of Il Trittico. Puccini, enigmatically, had chosen to present one last glimpse of outmoded Italian operatic traditions. In order to evaluate Il Trittico's importance in the history of Italian opera, this study will first review the musically changing landscape in Italy during the early to mid-nineteenth century, then the second part of the nineteenth and beginning of the twentieth-century when German, French, and eventually Russian music were starting to influence audience taste. Puccini who, over the course of his compositional life, absorbed and incorporated these different styles realized that long held Italian operatic tradition had reached a fork in the road. One path would ensure Italian composers a place in this new order and the other a stagnant dead end. Even though Puccini's triptych garnered primarily negative reviews, the basis for this negativity was the perception that Il Trittico had broken with the historically traditional Italian musical styles. Though the present study acknowledges that break to a degree, it will also present a historically based rationale for the deviation, one left largely unnoticed by Puccini's critics. In the end, this author plans to realize their symbolic importance as a farewell to three uniquely Italian styles and a departure point for a new operatic tradition. Looking forward to the centenary of the work, this author seeks to illuminate how Puccini reached the pinnacle of firmly rooted genres of Italian opera. Ultimately this might help to unravel the enigma of Il Trittico while it continues to secure its rightful place as one of the masterpieces of the Puccini canon. / Dissertation/Thesis / Masters Thesis Music 2015

Le Zibaldone est le grand journal de pensées de Giacomo Leopardi (1798-1837). Le jeune philologue et poète y consigne, sur près de quinze ans (1817-1832) et plus de 4500 pages, des pensées qu’il nomme « de philosophie variée et de belle littérature ». Et en effet, c’est bien la variété, et même la plus étonnante bigarrure qui caractérisent ce monumental magasin d’écriture : bigarrure des matières brassées (théorie de la connaissance, métaphysique, anthropologie, politique, morale, esthétique, autobiographie) ; bigarrure de ses formes (aphorisme, anecdote, maxime, remarque, citation, note érudite, essai) ; bigarrure de ses tonalités (tour à tour sarcastique ou sérieuse, docte ou familière, polémique ou poétique) ; intensité variable de ses rythmes d’écriture etc. Le Zibaldone apparaît donc tout d’abord comme un flux discontinu et disparate de pensée. Cependant, Leopardi n’entend pas y exposer une rhapsodie de vérités isolées et fragmentaires mais une véritable philosophie, un authentique système philosophique. « Il mio sistema » : « mon système se fonde sur un scepticisme raisonné », « mon système ne se fonde pas sur le christianisme mais s’accorde avec lui », « mon système ne détruit pas l’absolu mais le multiplie » etc. La philosophie de Leopardi se place sous le signe d’une assomption répétée et explicite de la systématicité : « il n’existe pas de philosophe véritable sans système ». Affronter la question du système revient alors pour lui à affronter la question de l’ordre. Il ne s’agit pas d’une simple velléité mais d’une exigence aussi bien méthodologique qu’ontologique. Manquer d’esprit de système c’est manquer d’ordre, et c’est surtout manquer l’essence même du réel, de la nature en tant que totalité , une nature qu’il ne saurait concevoir autrement, elle aussi, que comme un système et comme un ordre. Quel est donc l’ordre du système léopardien ? Et dans quelle mesure celui-ci épouse-t-il l’ordre du système de la nature ? Quel est leur fondement commun ? Répondre à ces questions revient à parcourir l’ensemble du manuscrit et à montrer en quoi cette totalité mouvante, ouverte et réticulaire qu’est le Zibaldone est le seul lieu à même d’accueillir une pensée placée devant l’urgence de statuer sur les guises de l’existence et de la contradiction. / The Zibaldone is Giacomo Leopardi’s (1798-1837) famous diary of thoughts. The young philologist and poet recorded, for almost fifteen years (1817-1832) and in over more than 4,500 pages, thoughts that he calls "of varied philosophy and fine literature." And, indeed, it is its variety and even the most striking variegation which characterise this monumental magasin d’écriture: the variegation of its subject matters (theory of knowledge, metaphysics, anthropology, politics, morals, aesthetics, autobiography); the variegation of its forms (aphorism, anecdote, maxim, observation, quotation, scholarly notes, essay); the variegation of its tones (sarcastic or serious, learned or familiar, polemical or poetic); the variable intensity of its writing rhythms and so forth. So the Zibaldone appears as a discontinuous and disparate stream of thought. However, Leopardi does not mean to put forward a rhapsody of isolated and fragmentary truths but a true philosophy, a genuine philosophical system. "Il mio sistema": "my system is based on a well-argued scepticism", "my system is not based on Christianism but is compatible with it", "my system does not destroy the absolute but multiplies it", etc. Leopardi’s philosophy is placed under the sign of a repeated and explicit assumption of systematicity: "there is no true philosopher without a system." For him confronting the question of the system means confronting the question of order. It is not about a simple inclination but about a methodological as well as an ontological requirement. Lacking the spirit of a system is lacking order, and it’s above all lacking the essence of reality itself, the essence of nature as a totality, a nature he cannot conceive otherwise than as a system and an order. So what is the order of the leopardian system? And to what extent does it fit in with the order of the system of nature? What is their common foundation? Answering these questions means browsing through the whole manuscript to show to what extent this moving, open and reticular totality which is the Zibaldone is the only suitable place to receive a thought placed in front of the urgency to pronounce a judgment on the modes of existence and contradiction.