Welche Rolle spielen die Medien in Deutschland? Welchen Anteil haben sie am Vertrauensverlust in der Gesellschaft und an der Spaltung, die überall zu beobachten ist? Damit möchte ich mich heute beschäftigen.

The purpose of this paper is to show the similarities between two authors, who both have been very successful in Italy and abroad. They are the 14th century writer Giovanni Boccaccio and the contemporary author Andrea Camilleri. I compare five short stories by Camilleri published in his books Gran circo Taddei and La regina di Pomerania and five short stories from Decameron. My aim is to show that they, although more than 600 years apart, have a common angle of approach when it comes to describing how women, seemingly subordinate and compliant, not rarely manage to achieve their aim even if it is trivial, low and not at all focused on changing the world. I also want to elucidate the fact that both writers not rarely let their female characters act as accomplices, that there is a female solidarity between them and that they seem to hav an energy and vigour that men seem to lack. The man on the other hand is often described as weak, as a false authority, who changes into a tool, a diversion in the hands of the woman. Besides this I make an analysis of the "false" short story by Boccaccio, Antonello da Palermo, written by Camilleri to see if it can fall into the genre of rewriting of classical works, which is typical of postmodernism, simply if it fulfills the criteria of such a rewriting.

Type de dépôt #1 (version complète) / Ce mémoire porte sur la réactualisation de l’opéra d’un point de vue féministe en s’appuyant sur l’exemple de la mise en scène de Don Giovanni (1787-1788) de Wolfgang Amadeus Mozart (1756-1791). Cette étude montre comment il est possible, en s’appuyant sur les outils de l’analyse musicale et littéraire, de créer une mise en scène qui respecte les principales caractéristiques du livret et de la partition – conservant ainsi ce que Jean-Jacques Nattiez appelle des « fidélités locales » – tout en permettant au public d’aujourd’hui de s’identifier à une œuvre composée il y a plus de deux siècles, et de s’y projeter. Pour ce faire, l’enjeu est de proposer une adaptation de l’opéra qui tient compte du contexte politique et social actuel, axé ici sur le féminisme. Prenant pour exemples les trois personnages féminins de Don Giovanni, le mémoire est construit sous la forme d’un triptyque, par ordre chronologique d’apparition des personnages : Donna Anna, Donna Elvira, Zerlina. Ainsi, il sera possible d’établir un point de vue s’apparentant au female gaze dans cet opéra, jusqu’ici majoritairement interprété par le biais du male gazing (regard masculin). Le premier chapitre propose donc l’analyse de deux airs phares du personnage de Donna Anna. Cherchant à l’abstraire de l’entité quasi fusionnelle qu’elle constitue avec son fiancé Don Ottavio, l’analyse harmonique et littéraire s’intéresse aux passages où Donna Anna est susceptible d’affirmer son indépendance. L’analyse de ces mêmes scènes dans deux mises en scènes récentes de l’œuvre vise ensuite à vérifier si les caractéristiques qui ressortent de cette analyse sont mises en valeur dans les productions. Enfin, dans un processus s’apparentant à la recherche-création, je propose pour les passages étudiés des avenues de mise en scène qui tiennent compte des analyses effectuées dans les premières parties du chapitre. Les deux autres personnages féminins sont abordés suivant le même procédé, cherchant d’un côté à dé-ridiculiser celui de Donna Elvira – trop souvent considérée comme « hystérique » – et, de l’autre, à rendre au personnage de Zerlina son côté stratège, habituellement camouflé dans les productions « traditionnelles » où la jeune femme n’est représentée que par son côté paysan. / This thesis explores the feminist actualization of opera, using Wolfgang Amadeus Mozart’s (1756-1791) Don Giovanni (1787-1788) as a case study. This study shows how it is possible, by using musical and literary analytical tools, to create a performance that respects the main characteristics of the libretto and the score—thus preserving what Jean-Jacques Nattiez calls “local loyalties”—while allowing today’s audience to identify with a work composed over two centuries ago. To do so, I propose an adaptation of the opera that takes into account the current political and social context, focused here on feminism. Taking as examples the three female characters of Don Giovanni (Donna Anna, Donna Elvira, and Zerlina), the thesis is built as a triptych in which the characters are studied in the chronological order of their apparition. The approach is based on a female gaze point of view, contrasting with the male gazing interpretation which has been dominant in the operatic world until now. The first chapter analyses two major arias of Donna Anna. In order to free her from the almost fusional entity she forms with her fiancé Don Ottavio, the harmonic and literary analysis centers around passages where she is most likely to show independence. The analysis of these same scenes in two recent stagings of the work then aim to verify whether the characteristics that emerge from this analysis are highlighted in the productions. Finally, in a process of research-creation, I propose staging directions for the same passages that take into account the findings made throughout the chapter. The two other female characters are approached following the same process, seeking on the one hand to de-ridiculize the character of Donna Elvira—too often considered “hysterical” —and, on the other hand, to highlight Zerlina’s sense of strategy, which is usually downplayed in “traditional” productions in which the young woman is solely represented by her peasant character.

No description available.

Tout visage est structuré selon un ordre symétrique. La thèse explore les conséquences de cette spécificité formelle du visage sur la construction du portrait dans le contexte spécifique de la Renaissance. Elle débute par une remise en cause de l’approche neuropsychologique qui fait de la dissymétrie et de la partition du visage dans le portrait la simple expression d’un donné physionomique. À travers une réflexion autour de la symétrie et de la dissymétrie dans l’ordre de la représentation, notre recherche rend compte de l’intérêt de ces catégories esthétiques pour la compréhension des enjeux formels et philosophiques propres à la construction du portrait. Elle révèle également la richesse et la complexité des significations allouées à la symétrie et à la dissymétrie dans le cosmos culturel de la Renaissance, celles-ci allant parfois à contre-courant de nos représentations contemporaines. Une dernière partie de cette recherche est consacrée au symbolisme théologique séculaire distinguant entre le côté droit et le côté gauche du visage, un côté tourné vers le céleste, l’autre vers le terrestre, et à son influence sur l’art du portrait. La démonstration est rythmée par diverses études de cas, parmi lesquelles des analyses approfondies de portrait peints par Jan Van Eyck, Giovanni Bellini, Raphaël et Albrecht Dürer. / Every face is structured in a symmetrical order. This research paper explores the consequences of this formal specificity on the construction of the portrait in the particular context of the European Renaissance. It starts with a critique of the neuropsychological approach that makes the asymmetry and the distinction between the two sides of the face in the portrait the mere expression of a particular physiognomy. Through a reflection on the aesthetic categories of symmetry and asymmetry in the order of representation, the research demonstrates the interest of these concepts for the understanding of the formal and philosophical issues specific to the construction of portraits. It also reveals the richness and complexity of meanings assigned to symmetry and asymmetry in the cultural cosmos of the Renaissance, these ones sometimes going against the grain of contemporary representations. The final section is devoted to the secular theological symbolism distinguishing between the right side and the left side of the face, one side turned to the heavenly, the other to the earthly, and the resulting influence on the art of portraiture. The demonstration is punctuated by various case studies, including an in-depth analysis of portraits painted by Jan Van Eyck, Giovanni Bellini, Raphael and Albrecht Dürer.

Le film d’opéra correspond à la rencontre de deux formes d’art ayant chacune ses propres règles de mise en scène. Il nécessite de concilier les exigences de l’opéra et celles du cinéma, mais prétend aussi favoriser leur enrichissement mutuel. Notre réflexion porte sur la pertinence, du point de vue créatif, de cette rencontre. Elle vise à mettre en évidence les risques, les enjeux et les intérêts artistiques du film d’opéra. Le corpus revêt une dimension franco-italienne : il se compose de cinq films produits par Daniel Toscan du Plantier (Don Giovanni de Joseph Losey, Carmen de Francesco Rosi, La Bohème de Luigi Comencini, Madame Butterfly de Frédéric Mitterrand, Tosca de Benoît Jacquot) et de deux autres, non produits par lui : La Traviata et Otello de Franco Zeffirelli, qui appartiennent à cette même « vague » du film d’opéra. L’étude s’intéresse tout d’abord à la politique culturelle du producteur Daniel Toscan du Plantier, grâce à qui ce genre cinématographique s’est développé de façon significative dans les années 1980, afin de définir le contexte de création de ses films, de comprendre son engagement en faveur de ce genre artistique et son intérêt tout particulier pour la culture italienne. Notre analyse tend par la suite à évaluer les difficultés techniques ainsi que les libertés créatives qu’engendre le passage à l’écran. L’écriture cinématographique de l’opéra implique des concessions sur le plan de la réalisation et nécessite un positionnement entre les deux esthétiques, mais elle permet aussi une lecture nouvelle et originale de l’opéra. Nous évaluons à la fois les exigences résultant de l’articulation opéra-cinéma et les solutions apportées par les réalisateurs pour répondre à ces contraintes, bien souvent musicales. La réflexion se concentre dans la seconde partie sur l’aboutissement de cette union, tout d’abord à travers l’analyse de l’interprétation visuelle de la musique fournie par les réalisateurs pour chacun des films du corpus, selon une approche thématique. Elle montre comment l’image mobile transcrit la musique, comment l’écriture cinématographique traduit visuellement la partition et peut accroître la dimension émotive. Enfin, elle s’intéresse à la réception de ces films en France et en Italie, en vue de mesurer l’accueil reçu par chacun auprès de la critique, partagée entre démocratisation de l’opéra et vulgarisation de l’art lyrique. / The "opera film" corresponds to the encounter between two art forms envolving specific staging rules. It combines the requirements of opera and cinema alike whilst endeavouring to promote their mutual enrichment. In this dissertation I analyse the relevance of this encounter from a creative point of view. I intend to highlight the risks, stakes and artistic appropriateness of the opera film. The body of works has a Franco-italian dimension: it includes five films produced by Daniel Toscan du Plantier (Joseph Losey's Don Giovanni, Francesco Rosi's Carmen, Luigi Comencini's La Bohème, Frédéric Mitterrand's Madama Butterfly and Benoît Jacquot's Tosca) as well as two other films which he did not produced: La Traviata and Otello, by Franco Zeffirelli, also belong to this opera film "wave". First of all, I examine Daniel Toscan du Plantier's cultural policy as a producer. Indeed, it was thanks to him that this cinematic genre flourished significantly in the 1980s. I aim to define the creative context of these films and to understand his commitment towards their promotion as well as his genuine interest for Italian culture. I then move on to analysing the technical difficulties as well as the creative licence which results from screen adaptation. On the one hand, the cinematographic writing of opera implies concessions in staging and requires a position be taken in respect of aesthetics, cinematographic and opera. On the other hand, it also triggers a new and original reading of opera. I assess the requirements which result from the opera-cinema articulation and the solutions, often musical, proposed by films directors confronted to these constraints. In Part II I focus on the achievements of this union, first by thematically analysing each director's the visual interpretation of music provided in the films included in the body of works. I argue that the moving image transcribes music, that cinematographic writing translates the music score visually and that it can enhance the emotional dimension. Finally, I examine the response to these films in France and in Italy, especially through the critics divided between the democratisation of opera and the vulgarisation of lyric art.

Nuovi dati e considerazioni sulla biografia e gli scritti di Carlo Bianconi che emergono principalmente dallo spoglio di materiale archivistico inedito. Con questo studio viene ad essere chiarita la fase formativa di Bianconi cresciuto in una casa di bibliofili e collezionisti d’arte. Aggiornato sulle elaborazioni teoriche di Winckelmann e Mengs entrambi conosciuti personalmente, lo vedono progressivamente avvicinarsi e aderire ai modi del classicismo, mediato anche dal rapporto instaurato con Francesco Algarotti, a cui viene in questa sede ridato valore. Uno spiraglio viene aperto sul biennio trascorso a Roma, la frequentazione del cardinale Albani e sul viaggio a Napoli con importanti risvolti per la sua maturazione intellettuale. Seguono i motivi della scelta di Bianconi a segretario dell’Accademia di Brera, le sue iniziative a livello didattico e il rapporto con Carlo di Firmian. Vengono, di volta in volta ricordati i suoi numerosi corrispondenti, la sua produzione figurativa e soprattutto commentati i suoi scritti editi (guide di Bologna e Milano) e inediti (Vitruvio, scritti teorici sull’origine dell’architettura e dell’incisione, orazioni) e riconsiderata la collaborazione all’Enciclopedia Metodica di Pietro Zani. Artista, collezionista, scrittore d’arte e insegnante, immerso in una temperie di matrice razionalista è precoce assertore dei dettami del nuovo gusto per il classico. / New information and analysis about Carlo Bianconi’s biography and writings mainly appear from unpublished archival material bare. This work allows to clarify the education of Bianconi, who grew up in a family of bibliophiles and art collectors. He kept abreast of theoretical development of Winckelmann and Mengs, who personally knew and he gradually moved closer and accepted the models of the classicism that was also mediated by the relationship established with Francesco Algarotti, who is here reevaluate. Regarding his two-year period spent in Rome, the relationship with the Cardinal Albani and moreover his trip to Naples, a glimmer is opened, with important implications for his intellectual maturity. Furthermore, there are: the reason regarding the choice of Bianconi as Secretary of the Academy of Brera, his educational initiatives and the relationship with Carlo di Firmian. From time to time, his many correspondents, his figurative works of art and especially his published writings were commented (for example the guide of Bologna and Milan) and his unpublished writings (such as Vitruvius, theoretical writings on the origin of architecture and engraving, orations) are remembered and also the collaboration with the Enciclopedia Metodica of Pietro Zani is reconsidered. Artist, collector, art writer and teacher, immersed in a climate of a Rationalism, he is a early supporter of the new taste for the classic.

This thesis defines ‘classical lyricism’ as any mode of appropriation of Greek and Latin monodic lyric whereby a poet may develop a wider discourse on poetry. Assuming classical lyricism as an internal category of enquiry, my thesis investigates the presence of Sappho and Catullus as lyric archetypes in Italian and North American poetry of the 20th century. The analysis concentrates on translations and appropriations of Sappho and Catullus in four case studies: Giovanni Pascoli (1855-1912) and Salvatore Quasimodo (1901-1968) in Italy; Ezra Pound (1885-1972) and Anne Carson (b. 1950) in North America. I first trace the poetic reception of Sappho and Catullus in the oeuvres of the four authors separately. I define and evaluate the role of the respective appropriations within each author’s work and poetics. I then contextualise the four case studies within the Italian and North American literary histories. Finally, through the new outlook afforded by the comparative angle of this thesis, I uncover some of the hidden threads connecting the different types of classical lyricism transnationally. The thesis shows that the course of classical lyricism takes two opposite aesthetic directions in Italy and in North America. Moreover, despite the two aesthetic trajectories diverging, I demonstrate that the four poets’ appropriations of Sappho and Catullus share certain topical characteristics. Three out of four types of classical lyricism are defined by a preference for Sappho’s and Catullus’ lyrics which deal with marriage rituals and defloration, patterns of death and rebirth, and solar myths. They stand out as the epiphenomena of the poets’ interest in the anthropological foundations of the lyric, which is grounded in a philosophical function associated with poetry as a quest for knowledge. I therefore ultimately propose that ‘classical lyricism’ may be considered as an independent historical and interpretative category of the classical legacy.

At the end of the 15th century in Bohemia penetrates the Renaissance style, which appeared in 1493 at the Prague Castle in the form of windows of the Vladislav Hall in the Old Royal Palace. Their appearance is historically and stylistically linked to the Buda Castle, where Vladislaus II. Jagiello relocated in 1490. Here he met the prime marble carvings of the court of Matthias Corvinus, for which worked Italian masters. Patterns of fragments of windows founded in Buda can find at the Palazzo Ducale of Federico da Montefeltro in Urbino, because Hungary was due Queen Beatrice of Aragon from Naples in live contact with Italy.

(in English) The key theme of my thesis are venetian influences on the Boccaccio Boccaccino's work, who was one of the most important exponents of the Cremonese school of painters. Initially he worked in Genoa, Cremona and Milan and he was influenced by the painters as Leonardo, Bramantino and Boltraffio. In the years 1497-1500 Boccaccino is documented in Ferrara. In this period he executed so-called tondo Gronau, The Christ on the way to Calvary, The Virgin and Child, now in Boston, The Virgin and Child, now in Padua, The Adoration of the Shepherds, now in Naples and Dead Christ supported by an Angel. This works show the influence of Bramantino, umbrian school but also early influence of venetian art. In 1500 or 1501 he painted the altarpiece with Virgin and Child with Sts Peter, Michael, John the Baptist and John the Evangelist for the church of S. Giuliano in Venice. Models of this composition are the S. Cassiano altarpiece of Antonello da Messina and Virgin and Child with Saints which Giovanni Bellini executed for the church of S. Giobbe. Boccaccino's image in S.Giuliano is also inspired by Ercole de'Roberti and Lorenzo Costa. His colours show the influence of Giorgione. In 1506 is Boccaccino documented in Venice but also in Cremona. In the years 1500-1506 he stayed probably in Venice, but he...