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This thesis investigates the literary fantastic in Italy from the late nineteenth century to the second half of the twentieth century. The purpose is to analyse the way in which the fantastic functions in a story—its ʻmechanicsʼ—and to see how the fantastic evolved structurally over the first century of its existence in Italy. This investigation is carried out by the development of a new theoretical methodology together with the close reading of a selection of texts from four key Italian authors of fantastic literature. The thesis is divided into six chapters. The first chapter is a historical overview of the emergence of the fantastic in Italy in the late nineteenth century up to the second half of the twentieth century; it examines the obstacles the fantastic has faced and some of the thematic and structural characteristics of texts which emerge. The second chapter is a literature review of the theoretical models used to analyse and understand the fantastic, followed by an outline of a new model, entitled Different Mimetics, which looks at the internal logic of the fantastic. In the following four chapters Different Mimetics is applied to the study of a selection of fantastic texts by four authors. Chapter three focuses on Ugo Tarchetti, and shows that his stories are defined by coexistence and coincidence in both historical and thematic terms. Chapter four demonstrates how Giovanni Papini reverses the mechanics one might expect, and how his stories are structured as internal narratives. Chapter five looks at how Dino Buzzatiʼs stories are characterised by instability and stretched narrative paradigms; and finally, chapter six looks at how Italo Calvinoʼs narratives focus on world creation and paradox and how they question the stability of narrative paradigms.

This thesis is a study of the usage of sixteenth-century polyphonic devices as employed by the English composer William Byrd and the Italian composer Pierluigi Palestrina. Both men represented a culmination of sixteenth-century contrapuntal composition in their respective school and period, Byrd of the Renaissance Tudor period, and Palestrina of the Roman school and Renaissance period. Palestrina's work became a pattern for sacred Roman music during the late Renaissance because of its consistency, its origin in the modes, and its compositional style. As it became a popular standard for Latin liturgical music, Catholic composers of all nationalities began to use it as a guide for their writing. At this time in England, one such young composer named William Byrd began to emulate Palestrina. Up to this time few of the English composers had taken advantage of the progress made by the musicians of the Netherlands school. These two composers lived about the same time, and their vocal works are quite comparable, yet there was never any known contact between them. There seem to be some notable differences, but each of these is as consistent as the similarities. Both men were prolific writers of motets, which mirrored all of the Roman Catholic Church activities in an ecclesiastical year. Twelve motets by each composer, six from the early works and six from the late works of each, were chosen for contrast and comparison. In his book, Direct Approach to Counterpoint in 16th-Century Style, C.F. Soderlund set forth a conclusive and concise set of rules which he felt particularly characterized the music of Palestrina. A select group of rules or practices, some pertaining to the melodic line and others concerned with dissonances, was chosen from Soderlund's book to be used as a basis for comparison and contrast of the motets of Palestrina and Byrd.

L’Europe du XXe siècle voit la création de compagnies et centres de recherche qui se consacrent à la redécouverte des modules de la Commedia dell’Arte, véritable forme de théâtre traditionnel en Occident qui a décliné après la ‘réforme’ de Goldoni. Giovanni Poli représente l'exemple le plus significatif de ce processus de réinvention que nous appelons, avec un néologisme, néo-Commedia dell'Arte. Ayant eu accès à ses archives privées et après les avoir retranscrites et proposées en annexe, nous avons pu entrer dans tous les méandres de son activité polymorphe et voir comment elles répondaient à nos questionnements. La présente thèse est structurée en trois parties allant de la pensée à la pratique et vice-versa. La première interroge la formation de la pensée de Poli autour de la Commedia dell'Arte afin de comprendre quelle était la démarche qui l'a conduit à concevoir son spectacle le plus célèbre La Commedia degli Zanni (1958). La deuxième est dédiée à sa pratique artistique, corrélée à la fois à la dramaturgie et aux mises en scène inspirées du phénomène historique, attachant une importance particulière à la technique du montage anthologique, l'une des caractéristiques principales de son écriture ‘postdramatique’. La dernière partie analyse les processus de transmission de cette réinvention, qui advient à travers son activité pédagogique et les ‘voyages’ au sens propre et au sens figuré entrepris avec sa néo-Commedia dell'Arte. Puisant à la fois dans la tradition théâtrale italienne et dans l’avant-garde, il réinvente un système référentiel, se révélant une cheville indispensable à la reconstruction du panorama européen et mondial de la néo-Commedia dell'Arte. / Europe of the XXth century sees the creation of companies and research centers which dedicate themselves to the rediscovery of the modules of Commedia dell'Arte, the real shape of western traditional theater, which declined after the 'reform' of Goldoni. Giovanni Poli represents the most significant example of this process of reinvention that we call, with a neologism, néo-Commedia dell'Arte. Having had access to his private archives and having transcribed and proposed them in appendix, we were able to enter all the meanders of his polymorphic activity and to see how they answered our questionings.This thesis is structured in three parts, moving from the thought to the practice and vice versa. The first one, questions the formation of Poli’s thought around Commedia dell'Arte to understand what was the approach which led him to conceive his most famous play La Commedia degli Zanni (1958). The second part is dedicated to his artistic practice correlated, at the same time, with dramatic art and with directions inspired by the historical phenomenon, setting a particular importance to the technique of anthological editing, one of the main features of his 'postdramatic' writing. The last part analyzes the processes of transmission of this reinvention, which happens through his educational activity and the 'journeys' literally and figuratively undertaken with his néo-Commedia dell'Arte. Drawing at the same time on Italian theatrical tradition and on the avant-garde, he reinvents a reference system, showing itself an essential core to the reconstruction of European and world panorama of néo-Commedia dell'Arte.

Made available in DSpace on 2016-04-26T20:23:23Z (GMT). No. of bitstreams: 1 Alexandre Andreta dos Santos.pdf: 933190 bytes, checksum: b27f4ffee26b774386c08f46eaae78ce (MD5) Previous issue date: 2014-11-18 / This research aimed to address the dignity of man under a historical-philosophical approach along a timeline. The chapters follow the chronological order of history, starting with Presocratics and culminating in Giovanni Pico della Mirandola, the Humanist movement and the Renaissance. It is examined what freedom and free will meant in each time period and the unrest brought by that thinker even before the philosophers of ancient Greece. As the topic evolves throughout history it seems to deconstruct the social pyramid of Plato, suggesting greater flexibility and easy transit among classes. This leads man to a sense of freedom never experienced before. The bourgeois catalyze this movement in Humanism, funding philosophers devoted to the subject, like Giovanni Pico della Mirandola. In his Oration, Mirandola introduces a unique vision of the dignity, treating it as something immanent to man, a divine gift that could not be disrupted even by God. His thinking promotes the development of mercantilism and encourages commercial and maritime practices whose interesting results pleased the bourgeoisie and assured them they were on the right path / Esta pesquisa teve como escopo percorrer a linha do tempo sob o enfoque histórico-filosófico acerca da dignidade do homem. Os capítulos seguem a ordem cronológica da história, iniciando nos pré-socráticos e culminando em Giovanni Pico della Mirandola, no movimento Humanista e no Renascimento. Examina-se o que significou a liberdade e o livre-arbítrio em cada período e a perturbação trazida por ele antes mesmo dos filósofos da Grécia antiga. A evolução do tema no transcorrer na história parece desconstruir a pirâmide social de Platão, sugerindo uma maior flexibilidade e facilidade no tramitar entre as classes desta pirâmide, impingindo no homem uma sensação de liberdade nunca antes experimentada. Os burgueses catalisam este movimento no Humanismo, financiando filósofos dedicados ao assunto como Giovanni Pico della Mirandola que, em sua Oratio traz uma visão inédita acerca da dignidade, tratando-a como algo imanente ao homem, um dom divino que não poderia ser perturbado nem mesmo por Deus. Seu pensamento facilita o desenvolvimento do mercantilismo e incentiva práticas comerciais e marítimas cujos resultados interessantes à burguesia trouxeram a certeza de ser esse o caminho correto

The task of this diploma thesis is to confront the writing La prigione eterna dell'Inferno that was written by Giovanni Battista Manni with its Czech translation that was made by Václav Matěj Šteyer. This piece of writing, La prigione, was published in 1666 and the Šteyer's work in 1676. The writer Šteyer translated the text directly from the Italian one according to the fourth publication of Manni's master copy from the year 1669 because Manni changed there some passages in last two chapters and these changes are seen in the Czech version too. Neither Manni's writing was not original. He was inspired by a tract that was written by the Spanish Jesuit, Juan Eusebio Nieremberg. I observed the way how Šteyer proceeded in the translation of Manni's master copy, especially in the field of lexicon, syntax and stylistics. I also concerned how the rhetoric of Jesuit schools is presented by both authors.

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Con l’edizione commentata di un’opera giovanile di Sforza Pallavicino, il poema inedito e incompleto 'I fasti sacri', si cerca di fornire una ulteriore tessera utile a comprendere e definire le caratteristiche della poetica del circolo barberiniano nella Roma di inizio Seicento. In apertura dell’opera il 'Discorso intorno al seguente poema' raccoglie le dichiarazioni esplicite della poetica del Pallavicino, a partire dalla riflessione di Tasso sul poema; seguono poi sette canti, ognuno dei quali è anticipato e riassunto da un 'Soggetto' in prosa. In essi l’autore, sul modello dei 'Fasti' di Ovidio, rilegge il calendario in chiave cristiana, raccontando le vicende dei principali santi e martiri di ogni mese. La stesura del testo, sotto la supervisione di Papa Urbano VIII, sembra avvicinarsi alle operazioni di revisione del 'Martyrologium Romanum', in particolare all’edizione voluta dallo stesso Urbano nel 1630. L’opera, in stretta sintonia con la 'Poetica sacra' di Giovanni Ciampoli ma che dialoga anche con altri testi del classicismo barberiniano, si propone come alternativa alla poesia avvertita come lasciva e mendace della scuola marinista, in un’opposizione spesso polemica, ma che mostra a volte alcune interessanti consonanze con le opere di Marino stesso e di alcuni esponenti del marinismo moderato. / The commented edition of the unpublished and unfinished poem ‘I fasti sacri’, written by Sforza Pallavicino in the first years of his poetic activity, proposes new interesting information about Barberini’s circle in Rome, at the beginning of XVII century. Explicit definitions on poetic matter are in the ‘Discorso intorno al seguente poema’, with argumentations taken from the theoretical consideration on the epic poem by Tasso. On the model of Ovid’s ‘Fasti’, throughout seven cantos, each one anticipated by a subject in prose, the author covers the Christian calendar narrating the stories of some important saints and martyrs, in the same years of the revision of ‘Martyrologium Romanum’ promoted by the Pope Urban VIII. The poem, extremely close to ‘Poetica sacra’ by Giovanni Ciampoli but also in dialogue with other works of the classicism of Barberini’s circle, proposes itself as an alternative to Marino’s poetry, perceived like lascivious and mendacious. Notwithstanding an often polemic opposition to Secentismo, the text reveals some interesting consonances with Marino’s works, as well as with other authors of the moderate Marinism.

Although the opera paraphrase was once a cornerstone of the virtuoso pianist's repertoire, as a genre it has traditionally been neglected by a scholarship which prioritizes authenticity and original compositional thought. By approaching this repertoire from a critical standpoint concerned with the production of narrative, this thesis demonstrates the true value of the paraphrase. A review of the current literature on narrative, gesture, and the paraphrase reveals major gaps in the state of research, and this thesis addresses these issues by presenting analyses of several works, in both printed and performed forms. The chapter “Settling the Score” interrogates the score, and argues that through their choice, ordering, and setting of operatic themes in a paraphrase, composers can alter or recreate the narrative of the source opera. By analyzing and comparing by reading the narrative schemes of seven different paraphrases based on Mozart's Don Giovanni, the chapter highlights the agency of the arranger in the production of narrative. The next chapter, entitled “Playing the Part,” suggests that the creation of narrative also extends beyond the work of the composer to encompass the role of the performer. By comparing the use of physical gestures in two video-recorded performances of Liszt's paraphrase Réminiscences de Don Juan, the thesis postulates that a pianist's gestures can influence the audience's perception of narrative. In an attempt to centralize the voice of the performer, the chapter also includes reflective analysis of the author's own performances of Liszt's paraphrase. By employing analytical methods which focus on the production of musical narrative, this thesis demonstrates that the paraphrase is worthy of greater attention, both in scholarship and performance.

Although the opera paraphrase was once a cornerstone of the virtuoso pianist's repertoire, as a genre it has traditionally been neglected by a scholarship which prioritizes authenticity and original compositional thought. By approaching this repertoire from a critical standpoint concerned with the production of narrative, this thesis demonstrates the true value of the paraphrase. A review of the current literature on narrative, gesture, and the paraphrase reveals major gaps in the state of research, and this thesis addresses these issues by presenting analyses of several works, in both printed and performed forms. The chapter “Settling the Score” interrogates the score, and argues that through their choice, ordering, and setting of operatic themes in a paraphrase, composers can alter or recreate the narrative of the source opera. By analyzing and comparing by reading the narrative schemes of seven different paraphrases based on Mozart's Don Giovanni, the chapter highlights the agency of the arranger in the production of narrative. The next chapter, entitled “Playing the Part,” suggests that the creation of narrative also extends beyond the work of the composer to encompass the role of the performer. By comparing the use of physical gestures in two video-recorded performances of Liszt's paraphrase Réminiscences de Don Juan, the thesis postulates that a pianist's gestures can influence the audience's perception of narrative. In an attempt to centralize the voice of the performer, the chapter also includes reflective analysis of the author's own performances of Liszt's paraphrase. By employing analytical methods which focus on the production of musical narrative, this thesis demonstrates that the paraphrase is worthy of greater attention, both in scholarship and performance.