Une terre exotique aux moeurs archaïques, peuplée de bandits et marquée par la vendetta : c'est ainsi qu'a principalement été représentée la Sardaigne, pendant de nombreuses années, par un cinéma dit “sarde” s‟inspirant des classiques de la littérature deleddienne et de certains faits divers, et le plus souvent réalisé par des non Sardes. L‟image de l'île et des ses habitants a été forgée par le recours à un grand nombre de stéréotypes, parfois perçus comme outranciers par les spectateurs sardes. À la fin des années 80 apparaissent les premiers signes significatifs d‟une “réappropriation” du cinéma sarde par les Sardes eux-mêmes. Progressivement (et surtout dans les années 2000), plusieurs réalisateurs proposent de nouvelles approches des représentations filmées de leur île, jusqu‟à la constitution plus ou moins consciente d‟un mouvement non officiel appelé “nouveau cinéma sarde” : G. Cabiddu, G. Columbu, P. Sanna, S. Mereu et E. Pau en sont les représentants. Cette étude se propose d‟analyser, par le traitement des oeuvres significatives et une approche sociologique du mouvement, le phénomène collectif du “nouveau cinéma sarde” et les démarches individuelles des auteurs qui le composent, plaçant l‟identité au coeur de la question. Partant du modèle imposé par la littérature et le cinéma relatifs à la Sardaigne, les “nouveaux” cinéastes sardes ont su créer une cinématographie sarde basée sur l‟interprétation et la ré-élaboration des stéréotypes, dans une démarche visant à offrir une nouvelle vision de l‟île, de ses habitants et de leurs pratiques, à une instance spectatorielle hétérogène, à travers les différentes formes de distribution de leurs oeuvres. / An exotic territory with archaic standards, populated by bandits and marked by vendetta : this is how has mainly been represented Sardinia for many years, by so called “Sardinian” movies inspired by the classics of deleddian literature and some news items, usually directed by non-Sardinians. The image of the island and its people was forged by using a large number of stereotypes, sometimes seen as outrageous by Sardinian spectators. In the late 80‟s had appeared the first significant signs of a Sardinian cinema “reappropriation” by the Sardinians themselves. Progressively (and especially in the 2000‟s), several directors propose new approaches to filmed representations of their island, until the more or less conscious constitution of an informal movement called “new Sardinian cinema” : G. Cabiddu, G. Columbu, P. Sanna, S. Mereu and E. Pau are its main representatives. This study aims to analyze, through the treatment of major works and a sociological approach to the movement, the collective phenomenon of “new Sardinian cinema” and the individual efforts of the authors who make it up, placing the identity to the heart of the matter. Leaving from the model imposed on Sardinia by literature and cinema, the “new” Sardinian directors have created a Sardinian film-making based on the interpretation and re-development of stereotypes, whose wants to offer a new vision of the island, its people and their practices, to a heterogeneous spectatorial instance, through the various forms of distribution of their works.

Missa Papae Marcelli: A Comparative Analysis of the Kyrie and Gloria Movements of Giovanni Pierluigi da Palestrina and an Adaptation by Giovanni Francesco Anerio

The aim of this work is to study the development of balance between the factographic and belletristic components in travel literature during the medieval era in Italy. The basis for the analysis are following works: Historia Mongolorum by Giovanni da Pian del Carpine, Il Milione by Marco Polo and Diversae Historiae by Odorico da Pordenone, namely the excerpts from the chosen texts. This work is divided into five chapters. The second chapter is a short introduction to the whole work. In the third chapter is presented Giovanni da Pian del Carpine, his life and historical context, followed by a study of the extent of author's presence in the text composed according to a clear given conditions. The fourth chapter is dedicated to Marco Polo, his life, work and short analysis of author's presence in a text written without any formulated task. In the fifth chapter is presented Odorico da Pordenone, his life and historical context. Afterwards the extent of author's presence in a text is studied on an example of text with a relatively clearly formulated given conditions. The sixth and last chapter is a recapitulation. It contains confrontation and comparison of the gathered information and points out differences and similarities.

Die Geschichte der Mozartrezeption entwickelte sich - und ich meine nicht nur in Polen - in mehreren Phasen. Die erste war eine feen- und märchenhafte Phase, bei der vor allem Papageno Pate stand. Die nächste Phase ist die dämonische (oder bescheidener gesagt romantische), die im Zeichen von Don Juan stand. Sie hat bei uns fast ausschließlich das 19. Jahrhundert beherrscht. Gegen Ende des Jahrhunderts kommt eine neue Phase: Mozart im Rokokostil - Mozart als Autor vom Figaro und leichter Klaviersonaten.

This document traces a link between Pedro Valls and Giovanni Bottesini by identifying traits of Homenaje à Bottesini that resemble techniques and musical characteristics of Bottesini's music, through the comparison of Valls' Homenaje à Bottesini to Bottesini's Fantasia sur La Sonnambula, focusing on the works formal, musical and idiomatic characteristics. This is supported by documented evidence of Bottesini's presence in Spain during Valls's lifetime and Pedro Valls contact with the Italian master of the double bass school of playing and teaching method. This study also proposes adjustments in the notation of Homenaje à Bottesini to more modern and player-friendly score indications, which will help its inclusion into the active double bass repertoire. This document examines performance practice(s) of the work and what advantages or disadvantages these practices have in playing the work, and to ultimately offer a clear pathway, a road map, to performers interested in delving into Pedro Valls's work, with a better idea of what Valls's style consists of and what approach to take when performing his works.

Giovanni Legrenzi was a prolific composer of vocal music and maestro di cappella at the Basilica di San Marco but his vocal works are not often studied as a part of the Venetian lineage with composers such as Willaert, de Rore, Zarlino, Monteverdi, Cavalli, and Vivaldi. Despite his being a prolific composer who had significant influence on the work of other musicians in the traditional canon, references to Legrenzi in standard music publications (Grout, Taruskin, Grove Music Online, etc.) are at best sparse, and largely biographical. This dissertation is one step to correct that pattern by creating a performance edition of Sacri e festivi concenti, Opera nona, one of Legrenzi's significant works near the beginning of his Venetian period. This collection of sacred music was published on 12 June 1667 in Venice though Legrenzi's exact whereabouts at the time remain uncertain. This phase of his career can be defined by his having sought more prestigious and lucrative employment. Having lived and worked in rural Lombardy and Ferrara, he made unsuccessful overtures in places such as Milan, Bologna, Vienna, and Paris. A full score has been produced by transcribing from the part books of the Bologna Museo copy, which will allow consumers to have insight into Legrenzi's music. A performance edition of these Vespers settings is important because it would increase access to, and understanding of, Giovanni Legrenzi's music. This era of Italian music between Monteverdi and Vivaldi is often underperformed by practitioners. One goal of this project is to broaden the work's circulation through a music publisher that would be willing to include portions of the chapters outlined in this proposal. Doing so would offer the work as a good specimen of the period to a wider audience of performers and scholars alike.

The early trumpet arias by Giovanni Legrenzi and Carlo Pallavicino are important works in the trumpet repertoire that have remained relatively unpublished and unstudied. This dissertation will look at the history of the trumpet in opera, discuss the development of the trumpet aria, and provide examples of how to approach the performance of the trumpet aria. Through study and performance of the early trumpet arias by Legrenzi and Pallavicino, trumpet soloists will be able to learn the necessary techniques to collaborate with singers and perform all trumpet arias.

No description available.

The problem with which this study is concerned is that of determining the role of war and social revolution in Afro-American poetry of the 1960's. For this study, four major poets were selected: Gwendolyn Brooks, Nikki Giovanni, LeRoi Jones, and Don L. Lee.

Travestimento/travestitismo: Masquerade and Mischief in Boccaccio’s World examines Boccaccio’s use of masquerade to parody social conventions and invert the cultural themes characterizing fourteenth-century Italy. Its aim is to demonstrate the myriad ways in which the medieval author masks and unmasks characters—often using gender as performance—to gain access to either sublimated sexuality or forbidden power, and ultimately to reveal rather than conceal human nature. This study offers a close reading of the Ninfale fiesolano and five novellas (2.3, 2.9, 3.1, 3.2, and 4.2) of the Decameron, focusing on characters that go beyond their usual identity and/or the limits of their biological sex to occupy transgendered spaces. Today, our understanding of gender studies encompasses a far more inclusive understanding of the term “gender.” This dissertation begins with the concept that gender is fluid and performative, and that though the body may be fixed, its gender is not confined to restrictions imposed on it by society. Some of Boccaccio’s characters, accordingly, occupy multiple gendered spaces while assuming the identity of another sex, in particular Zinevra/Sicurano, the abbot/princess, and Africo (Chapters Two, Three, and Four). Although far from the transformations found in the mythological world of Ovid’s Metamorphoses, Boccaccio’s tales offer the “metamorphosis” of the masquerade, that is, a false outward show, a pretense, or façade that oftentimes is achieved through disguise or costume. My analysis considers how masquerade in this way (travestimento) — or in its more radical form of cross-dressing (travestitismo) — paradoxically offers access to the more authentic aims of the protagonists. Although critics have written on deception in the Decameron, they have not dealt thoroughly with the trope of masquerade and have altogether ignored the concept of transvestism. Travestimento/travestitismo: Masquerade and Mischief in Boccaccio’s World advances our understanding of gender and identity in Boccaccio’s work to show that his ideas may help us understand not only the Middle Ages, but also our own epoch.