Paul M. Walker points out the importance of three seventeenth-century manuscripts which, according to him, reflect the origins of the late Baroque monothematic fugue. The documents present a new "model" with specific criteria to write monothematic fugues. Walker suggests that the criteria presented in these manuscripts are first found in seventeenth-century Italian violin ensemble fugues. This thesis traces the development of seventeenth-century monothematic fugues and how they compare with the criteria presented in the manuscripts, with a particular emphasis on Italian violin ensemble fugues. The manuscripts indeed present a new "model" to write monothematic fugues as compared to earlier models. Generally speaking, the criteria included in the manuscripts are more present in monothematic fugues found in seventeenth-century violin ensemble music than in keyboard music of the same period. However, many of these imitative pieces present characteristics of fugato (rather than "true" fugues) and cannot be compared with the manuscripts' criteria. Therefore, the documents are important from a theoretical standpoint but their practical application in seventeenth-century violin music is not as clear or systematic as Walker implies.

Thème central des débats du XVIIIe siècle sur les fondements de la sociabilité humaine et sur les sources du Moi, la compassion est aussi l’un des sentiments les plus analysés par Leopardi dans son journal philosophique, le Zibaldone. Or, plus que tout autre siècle ou tradition, le XVIIIe siècle marque de son empreinte l’étude léopardienne des passions humaines. La doctrine de la compassion de Leopardi subit-elle aussi cette influence ? Quelle place occupe Leopardi dans l’histoire moderne des théories philosophiques de la compassion ? Se situe-t-il du côté des défenseurs de la compassion, exemplairement représentés par Rousseau, ou du côté de ses nombreux adversaires ? Après un premier chapitre introductif sur le contexte où prend forme le nouveau paradigme moral et lexical du XVIIIe siècle, cette recherche aborde les grandes questions rencontrées par Leopardi dans son analyse de la compassion : la nature énigmatique de ce sentiment ; ses principes et ses composantes ; les conditions psycho-physiques des différentes catégories de personnes qui sont prédisposées ou non à éprouver ce sentiment ; les objets « pitoyables » ainsi que les états d’âme et les moments de la vie qui favorisent davantage l’apparition de ce sentiment. Enfin, le dernier chapitre ouvre une perspective sur la dernière forme de compassion envisagée par Leopardi : la compassion universelle. Ce travail souhaite ainsi souligner les nuances de la théorie et de l’expérience du sentiment de la compassion chez Leopardi, en montrant la complexité d’une analyse toujours en tension entre anthropologie et morale, ontologie et phénoménologie, philosophie et poésie. / Compassion, at the center of the Enlightenment debate on the fundamentals of sociability and human nature, is perhaps one of the most analyzed feelings in Leopardi’s Zibaldone. Enlightenment contributed, more than any other tradition, to the shaping of Leopardi’s thought, and surely contributed to his interest in passions and human nature. Hence, can we say that it also influenced his examination of compassion ? What is the place of Leopardi within the modern history of the philosophical theories of compassion ? Does he stand with its defenders, whose main champion is Rousseau, or rather with its many opponents ?After an introductory chapter outlining the context in which the new moral and lexical paradigm of the Enlightenment develops, this study explores the topics examined by Leopardi in his analysis of compassion : the enigmatic nature of this feeling, its principles and elements ; the psychophysical conditions of different categories of people who are predisposed, in different degrees, to feel compassion ; the objects that move compassion ; the different moods and stages of life in which one is more inclined to compassion. Finally, the last chapter presents the ultimate form of compassion in Leopardi : the universal compassion. The main goal of this research is therefore to illustrate the diverse facets of the theory and experience of compassion in Leopardi, and to show the complexity of his analysis, which is constantly in between anthropology and morals, ontology and phenomenology, philosophy and poetry. / Al centro del dibattito illuministico sui fondamenti della sociabilità e della natura umana, la compassione è forse uno dei sentimenti più analizzati nello Zibaldone di Leopardi. Più di ogni altro secolo e di ogni altra tradizione, quella illuministica ha contribuito alla formazione del pensiero di Leopardi, influenzandone soprattutto l’interesse verso le passioni e la natura umana. Si può dire che questa tradizione abbia inciso anche sull’analisi leopardiana della compassione ? Qual è il posto di Leopardi nella storia moderna delle teorie filosofiche della compassione ? Si schiera con i suoi difensori, di cui il rappresentante principale è Rousseau, o con i suoi numerosi avversari ?Dopo un primo capitolo introduttivo sul contesto in cui prende forma il nuovo paradigma morale e lessicale dell’illuminismo, questa ricerca affronta le tematiche incontrate da Leopardi nella sua analisi della compassione : dalla natura enigmatica di questo sentimento ai princìpi e componenti ; dalle condizioni psicofisiche delle diverse categorie di persone che sono più o meno predisposte a provare compassione, agli oggetti “compassionevoli” ; dagli stati d’animo ai momenti della vita in cui si è più inclini a provare questo sentimento. Infine, l’ultimo capitolo offre uno scorcio sull’ultima forma di compassione leopardiana : la compassione universale. Questo lavoro intende così mettere in luce le numerose sfaccettature della teoria e dell’esperienza della compassione in Leopardi, mostrando la complessità di un’analisi sempre in tensione tra antropologia e morale, ontologia e fenomenologia, filosofia e poesia.

Abbé Prévost’s novel L’Histoire du chevalier des Grieux et de Manon Lescaut (1731) has inspired at least four operas, notably by Daniel Auber, Jules Massenet, Giacomo Puccini, and Hans Werner Henze. This study will look at the three nineteenth-century operas based on that novel: Auber’s Manon Lescaut (1856), Massenet’s Manon (1884), and Puccini’s Manon Lescaut (1893). Massenet’s treatment receives the most attention because it is the most popular, and arguably the most well-known, of the three operas. I will discuss Manon’s role in the novel and operas, and its impact on the dramatic conception of each work. In the three operas I will examine her arias and other music, and her relationships with other characters. The goal is to gain a better understanding of each composer’s interpretation of Prévost’s heroine and to explore why Manon is different in each work.

Zugl.: Berlin, Freie Univ., Diss., 2004

El presente trabajo de investigación estudia la influencia que tiene el mundo italiano en la producción lírica del poeta chileno Raúl Zurita. Debido a la ingente cantidad de material bibliográfico y a los numerosos núcleos temáticos, la presente tesis se divide en tres partes. En la primera se presenta un panorama general de los acontecimientos vitales del poeta chileno que han influenciado su literatura. Con el fin de crear un marco metodológico que nos sirva como contexto lingüístico y literario, nos dedicamos a examinar de manera específica las facetas de la lingüística y de la teoría de la literatura aplicadas a la obra zuritiana, proponiendo una aproximación diferente a la que expone la crítica actual. Seguidamente, se proponen unos tópicos literarios comunes entre la poesía zuritiana y los elementos del mundo italiano, para averiguar cuál es su grado de participación en la poética del autor. En la segunda parte de la tesis nos dedicamos a estudiar la presencia de Dante Alighieri en la poesía del autor chileno. Se presenta además una nueva propuesta de lectura para interpretar el rol de Raúl Zurita dentro de su obra, tomando en consideración los estudios previos de los exégetas dantescos. Para concluir, proponemos un análisis de los primeros, inéditos, VII cantos de la Divina Commedia traducidos por Raúl Zurita, que el lector puede encontrar en un apéndice al final del epígrafe. La tercera y última parte de la tesis está dedicada a otros artistas italianos que han tenido un papel fundamental en la lírica y la reflexión zuritiana. En primer lugar, nos centramos en Miguel Ángel para examinar cómo el autor chileno desarrolla un nuevo lenguaje poético gracias a las obras del artista aretino. Seguidamente pasamos a analizar la influencia de Giacomo Leopardi, Pier Paolo Pasolini y finalmente Cesare Pavese. El propósito último de este trabajo es demostrar, en primer lugar, quiénes son los personajes italianos que forman parte de la lírica zuritiana. Una vez sentada esta base, queremos dar al lector las herramientas para probar que Dante, Miguel Ángel, y los creadores de la modernidad no se pueden explicar ni delimitar con la definición “cita”, sino que forman parte activa de la creación de una poética del compromiso. Al final de la tesis, se hallarán dos apéndices: la entrevista que Raúl Zurita nos concedió en marzo 2017 y un corpus inédito de 50 poemas traducidos del español al italiano.

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The survival and success of religious reform groups in the late medieval period was often due to the efforts of an ecclesiastical patron, a powerful and often wealthy individual who exerted their influence on behalf of the group or their leaders and spokesmen. This thesis uses the wealth of documentation available on the Spiritual Franciscans to explore the origin, development and wider effect of the relationships between the most powerful ecclesiastical patrons of the reformers and their clients, spokesmen for the Italian Spirituals at the papal court who were taken into the patrons’ households for years or even decades. During that time, the political fortunes of the different groups of Spiritual Franciscans fluctuated dramatically: in only a handful of years they went from hopeful expectation at the Council of Vienne c. 1311 to heresy trials, imprisoned spokesmen and friars burned at the stake c.1317-1318. Using testaments from the patrons’ families and the patrons themselves, the thesis explores the possible reasons for the patrons’ initial attraction to their Spiritual Franciscan clients. Letters, chronicles and exegetical texts written by the clients during and after their time in the patrons’ households are examined along with papal registers and other narrative and epistolary sources to develop models of the nature and progression of the patronage relationship, and how it survived in the face of periods of intense disapproval and harassment from the papacy, other prelates and some members of the Franciscan hierarchy. After establishing a framework for the progression of the patronage relationship, evidence of art patronage and other religious and patronage interests that the patrons and clients shared is used to develop a deeper understanding of how the patrons’ choice to involve themselves with the Spiritual Franciscans positively or negatively affected others in their orbit, especially their other clients.

La thèse porte sur le traitement de trois classiques de la littérature italienne durant les vingt-deux années du régime fasciste italien. Ces trois classiques sont : Vittorio Alfieri (1749-1803), Ugo Foscolo (1778-1827) et Giacomo Leopardi (1798-1837). Elle analyse d'une part la place qui est réservée à ces trois poètes dans les histoires littéraires de l'époque, en la comparant avec la production analogue précédente, et les questions esthétiques et thématiques qu'abordent le plus souvent les critiques littéraires, qu'ils soient d'inspiration fasciste ou antifasciste. Elle étudie d'autre part la spécificité du régime totalitaire, et sa vocation à s'approprier le culte de ces trois poètes et à en contrôler les lectures, principalement par le biais de l'enseignement - via les manuels et les programmes scolaires - et des institutions officielles qu'il crée de toute pièce ou qu'il « phagocyte ». En s'appuyant sur un corpus très varié, comportant les textes critiques méconnus ou oubliés des années 1920 et 1930 ainsi que des documents scolaires, des textes officiels, des lettres et différentes formes de témoignage, cette étude pose la question plus générale de l'instrumentalisation de la littérature dans le totalitarisme et du caractère particulier du fascisme italien.

As lirico-spinto soprano commonly indicates a soprano with a heavier voice than lyric soprano and a lighter voice than dramatic soprano, there are many problems in the assessment of the voice type. Lirico-spinto soprano is characterized differently by various scholars and sources offer contrasting and insufficient definitions. It is commonly understood as a pushed voice, as many interpret spingere as ‘to push.' This dissertation shows that the meaning of spingere does not mean pushed in this context, but extended, thus making the voice type a hybrid of lyric soprano voice type that has qualities of extended temperament, timbre, color, and volume. This dissertation indicates that the lack of published anthologies on lirico-spinto soprano arias is a significant reason for the insufficient understanding of the lirico-spinto soprano voice. The post-Verdi Italian group of composers, giovane scuola, composed operas that required lirico-spinto soprano voices. These giovane scuola composers include Alfredo Catalani (1854 –1893), Umberto Giordano (1867 –1948), Pietro Mascagni (1863 –1945), Giacomo Puccini (1858 –1924), and Riccardo Zandonai (1883 –1944). Descriptions of the soprano voices that premiered these roles are included in this document to determine the suitability of the lirico-spinto soprano voice for each role.

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