Cette thèse, La question identitaire dans le ‘giallo’ sarde contemporain. Essai interprétatif, porte sur vingt-quatre romans policiers, parus en Sardaigne entre 1988 et 2006. Ils traitent, ou permettent de traiter, de questions sociales et, plus généralement, de la question identitaire sarde. Elle est composée de trois parties principales (formées de sept chapitres) permettant d’étudier la typologie du ‘giallo’ sarde, le contexte historico-littéraire sarde contemporain, les éléments constitutifs du ‘giallo’ autochtone (l’enquêteur, le lieu, le rapport au crime) et, plus spécifiquement, la problématique identitaire. L’approche sociologique a été choisie comme paraissant la plus appropriée pour analyser la spécificité identitaire de l’île. Dans cette optique, les romans sont étudiés sur la base de leur caractère essentiel, à savoir le ‘réel’, car il permet de mieux saisir les implications de la société sarde considérée dans son évolution historique, sociale et anthropologique. / This thesis, The Identity Question in the Contemporary Sardinian ‘Giallo’. Interpretative Essay, deals with twenty four thrillers published in Sardinia between 1988-2006. They are about or related to social questions and, moreover, to the question of Sardinian identity. This work focuses on three main themes (in seven chapters). Allowing for the study of tipology Sardinian ‘giallo’, the historical and litterary context of contemporary Sardinia, the elements wich constitute the ‘giallo’ itself (the investigator, the place, the circonstances of the crime) and more specifically, the identity issue. The sociological approach was chosen as it seemed the most appropriate way to analyse the island’s specific identity. The novels are studied on their essential level, as it is their realism wich allow them to seize the implications of Sardinian society, in its historical, sociological, and antropological evolution.

In this comparatively brief chapter I begin by introducing my central research proposition. I then introduce my corpus of films and establish their significance both in their own right and as somewhat representative examples of a broader area of cinema. Following this I introduce my corpus of theory. Throughout, I seek to position my research within its wider context, identifying precedents for the approach I will take, alongside the originality of the thesis as a whole. My central contention in this thesis is that the films made by the Italian directors Sergio Leone and Dario Argento between the mid-1960s and the early 1980s are distinctive instances of a Deleuzean hybrid cinema. Gilles Deleuze suggests that we can identify two main, contrasting forms of cinema. These are the cinema of the movement-image and the cinema of the timeimage. As a philosopher of difference, Deleuze tends to present the two cinemas as alternatives. This is enhanced by their most important respective manifestations. The movement-image is associated with classical Hollywood genre cinema, the time-image with modern European art cinema. Accordingly, a Deleuzean approach leads to two contradictory hypotheses on the nature of Leone and Argento’s films. On the one hand, that they are genre works (westerns, gangster, thrillers and horror films) suggests they are movement-image. On the other hand, that they are post-Second World War continental European films suggests they are time-image. My contention is that we can resolve this apparent contradiction by considering the films as including combinations of movement-images and time-images. This entails reading Deleuze’s theory somewhat against the grain, by suggesting the existence of a continuum between the two image regimes. Crucially, however, there are a number of precedents for using Deleuze’s ideas to investigate hybrid cinemas, with these also demonstrating the value of modifying or extending his theories. In addition, I would suggest that we can deploy notions of hybrid cinema as a means of exploring the career trajectories of certain directors, by considering the proportions and types of movement-image and time-image apparent over their filmographies. My main corpus of films comprises fourteen works by Italian directors Sergio Leone (1929-1989) and Dario Argento (1940-). The Leone films span the period 1964 to 1984 and are all westerns with the exception of his final film, which belongs to the gangster/crime genre. The Argento films span the period 1970 to 1982 and are all giallo thrillers or fantasy-horror films, with some overlap between these genres. The Leone films are A Fistful of Dollars (1964), For a Few Dollars More (1965), The Good, The Bad and The Ugly (1966), Once Upon a Time in the West (1968), Duck You Sucker (1971), My Name is Nobody (1973) and Once Upon a Time in America (1984). The Argento films are The Bird with the Crystal Plumage (1970), The Cat o’ Nine Tails (1971), Four Flies on Grey Velvet (1971), Deep Red (1975), Suspiria (1977), Inferno (1980) and Tenebrae (1982). The exclusion of Argento’s later films allows for a clearer and closer comparison to be made with Leone’s films, my contention being that the two directors were doing similar things in their respective genres during this time period. Argento also broke into filmmaking through collaborating with Leone upon Once Upon a Time in the West.

This dissertation discusses Italy’s bestselling author Andrea Camilleri’s series of Montalbano crime novels. It poses the question of what makes Camilleri’s series so successful in the contemporary literary marketplace and if his success is a representation of Italian culture (and by extension, the postmodern or post-postmodern Italian literary scene). This dissertation deals with Camilleri and his success from a narrative literary point of view. It examines Camilleri’s work from several different perspectives, placing it within the vaster context of Italian literature while also taking a meticulous look at Camilleri as the author who has managed to free a literary genre from its previous confines and opened new boundaries for Italian literature. The dissertation demonstrates how Andrea Camilleri provides a "security blanket" for his readers: by including many elements of a common cultural memory, he keeps his readers safely anchored. These elements include a long list of recurring characters that function almost like the chorus in a Greek play. Certain thematic elements, such as Montalbano’s perpetual search for Justice, and his struggle to combine the written law with the law of men are a topoi of Western literature, as are the antonyms eros/thanatos as well as food and death, which Camilleri heavily employs. The Sicilian author manages to root his work deeply within a literary tradition through direct citations, and explicit and implicit references to the canon, but also breaks new ground and manages to move Italian literature a step forward. In front of this apparently nostalgic background, the Sicilian author plays with and invents many new components in his works, satisfying thus the Italian need for the "known" with the pleasure of a discovery of the "unknown" or the "new", which is a major reason for his success. Camilleri participates in a (post)modern shift of horizons, but does not radically challenge his reader’s "expectations". His series of Montalbano mysteries presents literature of a high level that almost by chance becomes part of an "immediate" literary canon, but does not set out with the ambition to become part of "the canon". / Romance Languages and Literatures

Submitted by Rosimeri Vergara (rosimerivergara@unipampa.edu.br) on 2018-12-10T22:31:51Z No. of bitstreams: 1 Daniel Vale 2018 Dissertação.pdf: 6297517 bytes, checksum: 404fc06fb3159e75ff73132d9ff10e45 (MD5) / Approved for entry into archive by Dayse Pestana (dayse.pestana@unipampa.edu.br) on 2018-12-11T15:58:11Z (GMT) No. of bitstreams: 1 Daniel Vale 2018 Dissertação.pdf: 6297517 bytes, checksum: 404fc06fb3159e75ff73132d9ff10e45 (MD5) / Made available in DSpace on 2018-12-11T15:58:11Z (GMT). No. of bitstreams: 1 Daniel Vale 2018 Dissertação.pdf: 6297517 bytes, checksum: 404fc06fb3159e75ff73132d9ff10e45 (MD5) Previous issue date: 2018 / No Espírito Santo, uns dos segmentos comerciais mais lucrativo é o de rochas ornamentais. O estado apresenta uma posição geográfica estratégica e uma infraestrutura que atende este mercado, como porto e ferrovia, proximidade com os grandes centros consumidores do país, incentivo fiscal, oferta de mão-de-obra, aglomeração espontânea de empresas do setor, dentre outros. Com finalidade de compreender e analisar a viabilidade em extrair minério de uma pedreira no município de Nova Venécia/ES, a realização de mapeamento geológico e estrutural, petrografia macroscópica e microscópica e caracterização tecnológica da rocha são fatores fundamentais para o reconhecimento e a compreensão do minério, assim, podendo julgar se a rocha atende o mercado consumidor, apresenta volume e qualidade necessária para seu uso na indústria de revestimento e/ou ornamento. Neste trabalho, para reconhecimento da área foi realizado levantamento aéreo com uso de drone, facilitando o mapeamento e possibilitando modelamentos digitais importantes para compreensão da área e dos padrões encontrados. Comparando os dados disponibilizado pela empresa, titular do processo da mina (objeto de estudo), com os realizados nessa pesquisa, é perceptível que não há um volume de rocha que supra as necessidades financeiras e comerciais da empresa, onde o minério encontra-se em estágio avançado de fraturamento, com isso não é possível o dimensionado em blocos e chapas para sua comercialização. Essa situação inviabiliza esse minério, tanto para seu beneficiamento quanto para seu uso na indústria de revestimento e design em construções civis. / In Espírito Santo state, one of the segments more profitable is the ornamental stones. The state is located in a strategic geographic position and it is composed by an infrastructure that serves this market, such as port and railroad, proximity to major centers of the country, tax incentives, labor supply, spontaneous agglomeration of companies of the sector, among others. This paper aims to analyze the feasibility of extracting the ore from a quarry in the municipality of Nova Venécia / ES, a geological and structural mapping, macroscopic and microscopic petrography and the technological characterization of the rock are fundamental factors for the recognition and understanding of the ore, and thus judging whether the rock serves the consumer market, has the volume and quality required for its use in the coating industry and / or ornament. This study, to recognize the área, an air making was executed using a drone, facilitating the mapping and enabling important digital modeling for the understanding of the area and content of found. Comparing the data available to the company with the data performed in this survey, it is noticeable that there is a data volume above needs such as those of the company where the ore is located advanced stage of fracturing, it is not possible to size blocks and plates for its commercialization. This situation becomes this ore unfeasible, both for its beneficiation and for its use in the coating industry and civil construction project.

<p>This study is a conscious attempt at opening up the discussion on the Italian giallo film of the 1960’s & 1970’s. Part of its mission is examine views and writings currently available on the giallo and using these to analyse the body of films known as the giallo. It is also an attempt at the generic definition seeing the giallo as a series of thriller films according to Tzvetan Todorov’s model and in depth discussing the influence of the horror story and the whodunit. Beyond that it is a close look upon the form and devices of giallo narration, with focus upon the role of the eyewitness, focalization and point of view as first person narration. The study also traces the giallo’s influences interdisciplinary including placing it in the cultural context of the Italian adult comics known as fumetti neri. The study also includes a close look upon the idea of the eroticised violent set piece tracing it to the French theatre of horror – the Grand Guignol. Furthermore the study addresses the concept of seriality as understood in reference to the giallo. Finally the study examines the role of the giallo hero and suggests that the giallo is posing existential questions, and can be understood as existential suspense thrillers. The findings are exemplified through a wide scope of films including brief references and longer analytic examples elaborating on topical discussions in this developing field of study.</p>

This study is a conscious attempt at opening up the discussion on the Italian giallo film of the 1960’s &amp; 1970’s. Part of its mission is examine views and writings currently available on the giallo and using these to analyse the body of films known as the giallo. It is also an attempt at the generic definition seeing the giallo as a series of thriller films according to Tzvetan Todorov’s model and in depth discussing the influence of the horror story and the whodunit. Beyond that it is a close look upon the form and devices of giallo narration, with focus upon the role of the eyewitness, focalization and point of view as first person narration. The study also traces the giallo’s influences interdisciplinary including placing it in the cultural context of the Italian adult comics known as fumetti neri. The study also includes a close look upon the idea of the eroticised violent set piece tracing it to the French theatre of horror – the Grand Guignol. Furthermore the study addresses the concept of seriality as understood in reference to the giallo. Finally the study examines the role of the giallo hero and suggests that the giallo is posing existential questions, and can be understood as existential suspense thrillers. The findings are exemplified through a wide scope of films including brief references and longer analytic examples elaborating on topical discussions in this developing field of study.

Syftet med den här uppsatsen är att belysa den förbisedda subgenren giallo genom att undersöka om genren har influerat den mer framgångsrika och erkända subgenren slasher. Och om det är fallet undersöka hur omfattande arvet ifrån giallogenren till slashergenren är. För att besvara detta har följande frågor använts som utgångspunkt för analysen och diskussionen: Vilka likheter och skillnader finns mellan subgenrerna giallo och slasher? och Vad återfinns från giallon till slashern och hur omfattande är inflytandet? Med hjälp av tidigare forskning kring skräckgenrens historiska utveckling, influenser, subgenrer och genrekonventioner har generna kartlagts och analyserats. Genom en komparativ analysmetod av två stycken filmer ifrån respektive subgenre påträffade undersökningen väsentliga likheter i innehållet som påvisar att giallogenren har inspirerat och influerat slashergenren avsevärt.

In Italia il genere “giallo”, definibile anche “poliziesco”, “thriller”, e ultimamente “noir”, fra il ventennio conclusivo del Novecento e il primo decennio del Duemila mostra interessanti linee evolutive, che si collegano con i flussi della storia recente e le paure di fine millennio. Da un lato si assiste all’affermarsi del “giallo metropolitano”, cioè al proliferare di scrittori che si legano alla propria città, d’origine o di elezione, in particolare con Milano, che conquista la palma di città più “nera” d’Italia; dall’altro al consolidarsi del legame fra autori e territori più vasti, tanto da poter parlare di un nuovo regionalismo “giallo”. Ma la novità più interessante consiste nell’entrata in scena di nuovi aspetti: la fusione con elementi propri della fantascienza, o addirittura fantastici, che colorano il giallo di una sfumatura soprannaturale, tra commissari che sentono i pensieri delle vittime di omicidio, o hanno visioni mistiche, e assassini guidati dal sussurro del diavolo. Il giallo storico presenta a sua volta tutti questi aspetti, mostrando come l’ambientazione storica diventi spesso un pretesto per mettere in scena i problemi del presente. / In Italy the crime novel, that can be also defined “detective story”, “thriller”, or more recently “noir”, between the last twenty years of Twentieth century and the first decade of Two Thousand, shows an interesting evolution, that can handle with some recent historical events, or can be linked with the end of Millennium fears. On the one hand, we can see the rise of “metropolitan crime novel”, in which many writers set their novels always in the same city, their native one or the city in which they live; Milan is the most important in this list and wins the prize of “crime city” in Italy. On the other hand, many novelists establish a strong relationship with their own region, creating a new “crime” regionalism. The most interesting trend is that science fiction and supernatural events enter the crime novel, with policemen that can hear the thoughts of the victims, or have mystic visions, and killers that are guided by a whispering devil. All these aspects appear also in the historical crime novel, that shows how history is often a sort of pretext to stage some problems of the current society.

Cette étude porte sur un type de cinéma italien appelé giallo. Ayant connu une forte popularité au tournant des années 1970 auprès d’un public dit vernaculaire, ces thrillers horrifiques sont encore aujourd’hui réputés pour leurs scènes de meurtre sanglantes et spectaculaires mettant à l’honneur un assassin ganté. Ce mémoire se propose de faire le point sur ces séquences de meurtre et surtout d’expliquer la façon particulière avec laquelle elles sont mises en scène. Pour bien y parvenir, nous en fournissons tout au long des exemples et les soumettons à une analyse détaillée. Notre approche analytique se veut essentiellement formaliste. Il s’agit de déconstruire ces scènes violentes afin d’en révéler certains des rouages. Dans un premier temps, nous rappelons quelques notions fondamentales du cinéma gore et nous penchons sur la problématique que pose invariablement la représentation de la mort au grand écran. Ceci nous permet ensuite d’observer plus amplement comment les réalisateurs du giallo traitent ces scènes d’homicide sur un mode excessif et poétique. Enfin, le rapport érotique à la violence entretenu dans ces scènes est considéré. Cela nous donne notamment l’occasion de nous intéresser à la figure du mannequin (vivant et non vivant) et de voir de quelles manières les cinéastes peuvent par son entremise transmettre un sentiment d’inquiétante étrangeté. / This study aims to explore giallo, a specific type of Italian cinema. Very popular with a vernacular audience at the turn of the 1970s, these horrific thrillers remain notorious for their bloody and spectacular murder scenes showcasing a gloved killer. With this thesis, we seek to review these murder sequences with a focus on explaining the particular way in which they are staged, shot and edited. To fully achieve this, we provide examples from these scenes and submit them to a detailed analysis. Our analytical approach is essentially formalist. We wish to deconstruct these violent scenes and reveal some of their inner workings. At first, we recall some basic notions of gore cinema and look at the problems that the depiction of death on the silver screen invariably raises. This allows us to see how giallo filmmakers treat these murder scenes in an excessive and poetic mode. Lastly, the erotic aspect of violence presented in these scenes is considered. This gives us the opportunity to focus on the figure of the model/mannequin (living and non-living) and see how filmmakers can use it to transmit an uncanny feeling.

La fibra di canapa europea è l'unica fibra naturale con una certificazione di sostenibilità. La qualità della fibra è influenzata principalmente da genotipo, tecniche agronomiche, epoca di raccolta e metodo di macerazione. L'obiettivo principale della tesi è delineare le pratiche agronomiche e di post-raccolta per migliorare l'estrazione e la qualità della fibra, con particolare attenzione alla produzione di canapa multiuso ritardando la raccolta fino alla maturazione dei semi. Le prove di densità, fertilizzazione azotata e varietali sono state condotte in differenti ambienti Europei. La procedura di decorticazione standardizzata è stata confrontata con la linea longitudinale di estrazione della fibra per applicazioni di alto valore aggiunto. I test su bio-compositi di canapa sono stati effettuati con fibra pettinata per confrontarne le proprietà tra genotipi, epoca di raccolta e metodi di macerazione. I risultati di questa indagine suggeriscono che i) la densità di semina e la concimazione azotata ottimale sono tra 90-150 piante m-2 e 30-60 kg N ha-1; ii) le nuove varietà dallo stelo giallo presentano un'alta efficienza di decorticazione e una ridotta contaminazione da canapulo nella fibra, iii) la fibra di canapa, con proprietà comparabili a quelle del lino, si è dimostrata adatta per applicazioni in compositi di alto valore. / European hemp fibres are the only natural fibre with an established sustainability certification. Hemp fibre quality is affected by genotype, agronomic techniques, harvest time and retting method. The main objective of this thesis is to outline the agronomic and post-harvest practices for improved fibre extraction and fibre quality, with special attention to multipurpose hemp production delaying the harvest from the flowering stage until seed ripening is complete. Planting density and nitrogen fertilization trials and variety trials were conducted in contrasting environments in Europe. Stems were decorticated following a standardised procedure and longitudinal hemp line for textile and high-added values application was compared with lab-scaled decortication. Impregnated fibre bundle tests were carried out with hemp hackled fibre bundles to compare composites and back-calculated fibre properties between genotypes, harvest times and retting methods. Results of this investigation suggest that i) optimum plant density and nitrogen fertilization are between 90 and 150 plants m-2 and 30 and 60 Kg N ha-1 respectively; ii) new yellow stemmed varieties are characterized by high decortication efficiency and relative high cleanness of the extracted fibre and iii) long hemp fibre, having properties comparable to those of flax, proved to be suitable for high-tech composites applications.