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Lo scopo della tesina è comparare, alla luce della cornice teorica che esiste nel campo della ritraduzione, le due traduzioni in lingua svedese del romanzo Il Gattopardo di Giuseppe Tomasi di Lampedusa. I metatesti svedesi sono la prima traduzione del 1960 di Eva Alexandersson e quella del 2016 di Viveca Melander. Le due traduttrici svedesi usano due versioni differenti del prototesto: la versione d'origine del 1958 e la versione riveduta del 1969. Quindi, all'inizio di questo lavoro. è stata in primo luogo fatta un'analisi comparativa di un estratto delle due versioni del prototesto. L'analisi dimostra differenze più frequenti tra le due versioni di quanto fosse precedentemente indicato nella bibliogafia a riguardo. In secondo luogo. viene condotta un'analisi del lessico della traduzione della Alexandersson per indagnare in che modo un invecchiamento del lessico di quella traduzione possa motivare una ritraduzione del romanzo. Vengono esaminati 18 lemmi del primo capitolo della traduzione della Alexandersson ed è esplorata la presenza di questi lemmi in due versioni della Svenska Akadmiens Ordlista: la versione 9 (del 1950) e la versione 14 (del 2015). Usando questo metodo non è risultato possibile dimostrare in maniera conclusiva un invecchiamento del lessico. In terzo luogo, è analizzato in che modo la teoria proposta da Antoine Berman sul carattere della ritraduzione, quella di avere lo scopo di essere più fedele della prima traduzione al testo di origine, possa applicarsi alle traduzioni svedesi di Il Gattopardo. Sono paragonate dal punto di vista lessicale e sintattico 14 frasi dei prototesti e delle due traduzioni in lingua svedese. Viene mostrato che la seconda traduzione è più prossima al prototesto. Queste osservazioni danno quindi appoggio alla teoria di Berman. / The aim of this thesis is to compare, considering the theoretical framework that exists in the field of retranslation, the two translations into Swedish of Giuseppe Tomasi di Lampedusa's novel Il Gattopardo (The Leopard). The Swedish texts are the first translation from 1960 by Eva Alexandersson and the one from 2016 by Viveca Melander. The two Swedish translators use different versions of the source text: the original version from 1958 and the revised version from 1969. Therefore, at the outset of this work, a comparative analysis is made of an excerpt of these two versions of the source text. The analysis shows that there are more differences between the versions than has previously been reported in the literature. Secondly, an analysis of the translation by Alexandersson is made in order to examine to which extent an ageing of the vocabulary of this translation could justify a retranslation of the novel. 18 headwords from the first chapter of Alexandersson's translation of the novel are investigated, and their existence in two editions of Svenska Akademiens Ordlista: version 9 (1950) and 14 (2015) is examined. Using this method, it was not possible to conclusively prove an ageing of the vocabulary. Thirdly, it i investigated to which extent the theory proposed by Anoine Berman on the character of retranslation, i.e. to have the tendency and function to get closer to the source text, is applicable to the Swedish translations of Il Gattopardo. 14 sentences from the source text and the two translations are compared from lexical and syntactic points of view. It can be shown that the second translation is closer to the source text. These observations thus give support to Berman's theory.

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The objective of this dissertation, inspired by performance experience, was to establish the similarities in the use of recitative style in the music of Claudio Monteverdi and Giuseppe Verdi. To achieve this objective, their use of recitative style was examined through comparative analysis of four scenes from their operas: “Arianna's Lament” from L'Arianna and “Disprezzata regina” from L'incoronazione di Poppea by Monteverdi, and “Condotta ell'era in ceppi” from Il trovatore and “Judgment Scene” from Aida by Verdi. The examination of the similarities included a discussion of the following: (a) the historical influences and cultural backgrounds of the composers; (b) general similarities in their compositional approaches to recitative style; (c) comparable characteristics of the dramatic recitative style in the early Baroque monody and in Verdi's operas; (d) similarities in musical characterization and expression of affective and emotional content through stylistic musical devices; (e) similarities in the composers' approaches to vocal and acting issues with special emphasis on the problems of diction; and (f) some related performance-practice issues. A discussion of the poetic lament and the influence of its form and content on musical setting was also a part of this research. The comparative research revealed numerous similarities in the historical circumstances influencing Monteverdi's and Verdi's choice of musical styles; their motivation; formal and stylistic characteristics of their dramatic recitative scenes; their choice of libretto; their use of the elements of lament; their musical treatment of emotional content of the text; and their prerogatives in vocal and acting issues. Numerous similar characteristics were also established regarding vibrato, tempo, rhythm, and ornamentation in the performance practice of the early Baroque recitative soliloquy and Verdi's dramatic recitative scenes. The similarities of the four scenes' functions, topics, form, and characterization through devices of musical style indicated a fundamental continuity in the development of Italian opera from its inception to the end of the nineteenth century.

In music, the term verismo usually refers to a realistic or naturalistic movement in Italian operas of the late nineteenth century. From the dawn of Italian opera four features have been manifested--umanita (humanism), sincerity (sincerity), passione (passion), effetto (not only theatrical effect but the supreme dramatic moment). The elements of verismo are among the characteristics present in the operas of Giuseppe Verdi where they reached a zenith of development. It is upon these veristic aspects, as identified in the second chapter, that the operas Cavalleria Rusticana and Pagliacci were based. Rigoletto, Il Trovatore, and La Traviata richly exhibit these elements of verismo which have been identified in the fourth chapter.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-10-27T12:27:44Z No. of bitstreams: 1 Andréia Medolago de Medeiros.pdf: 2615036 bytes, checksum: 150fdac17c0ab8b7f99b55eaafd63372 (MD5) / Made available in DSpace on 2017-10-27T12:27:44Z (GMT). No. of bitstreams: 1 Andréia Medolago de Medeiros.pdf: 2615036 bytes, checksum: 150fdac17c0ab8b7f99b55eaafd63372 (MD5) Previous issue date: 2017-10-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Giuseppe Cilento, professor at University of São Paulo in the 1950´s, considered that excited species in non-emissive tiplet state could exist in biochemical systems, providing the energy needed for some biological reactions. The development of his research lead him to consider that the energy released by these excited molecules could be used so that biochemical system produced photosynthetic reactions, even in the absence of light, creating a new research field: the photobiochemistry in the dark. Cilento also demonstrated the existence of this type of reaction in “in vivo” cells, with possible application in various study fields, such as medicine, biochemistry, pharmaceutics, agronomy and bioenergetics. His work at University of São Paulo, at University of Campinas (Unicamp) and in fostering agencies, along with other researchers who sought for the establishment of the biochemical field in São Paulo, was of fundamental importance to institutionalize this area of study in Brazil / Giuseppe Cilento, professor da Universidade de São Paulo ainda na década de 1950, considerou que espécies excitadas em estado triplete não emissivos pudessem existir em sistemas bioquímicos, fornecendo a energia necessária para algumas reações biológicas. O desenvolvimento de suas pesquisas levou-o a considerar que a energia desprendida por essas moléculas excitadas poderia ser utilizada para que sistemas bioquímicos realizassem reações fotossintéticas, mesmo na ausência de luz, criando uma nova área de pesquisas: A fotobioquímica na ausência de luz. Cilento buscou ainda demonstrar a existência desse tipo de reação em células “in vivo”, com possibilidade de aplicação em campos tão diversos como a medicina, bioquímica, farmacêutica, agronomia e bioenergética. Sua atuação na Universidade de São Paulo, na Universidade de Campinas (Unicamp) e nas agências de fomento, juntamente com outros estudiosos que buscavam o estabelecimento de pesquisadores no campo da bioquímica em São Paulo, foi de fundamental importância para a institucionalização da área no Brasil

Lo studio effettuato sulle carte di Ungaretti critico e docente universitario ha permesso di evidenziare l'evoluzione dei concetti di memoria e di innocenza e di far emergere alcune basi teoriche della nozione di memoria, elaborate nel corso degli anni Trenta. L’approfondimento della conoscenza di Bergson, Agostino e Vico, infatti, rendono il concetto di memoria sempre più articolato, ampliandone i confini. L’indagine ha inoltre portato alla luce il debito che l’attività critica di Ungaretti ha con le teorie di Giambattista Vico, conosciuto quasi certamente tramite gli animatori de «La Voce», ma poi studiato quale fonte, indiretta, della poetica leopardiana. Sono le teorie vichiane ha suggerire a Ungaretti il ruolo fondamentale della fantasia nella creazione artistica, ruolo che svolge coadiuvando la memoria. Nella Scienza Nuova infatti fantasia e memoria sono sempre associate. Anche in Ungaretti questa associazione, una volta istituita, resiste nel tempo e, nel periodo in cui la suggestione vichiana è più intensa, la fantasia sembra sostituire l’innocenza. Ungaretti si interessa di Vico anche perché il filosofo che pone grande attenzione alla questione delle origini dell’umanità. Un tema imprescindibile per chi, come Ungaretti, fa dell’innocenza primigenia un obiettivo artistico ed umano da raggiungere, tramite la memoria. / The aim of this essay is investigate the evolution of ideas like memory and innocence in Ungaretti's critical writings. These ideas were influenced from studies on Bergson, Agostino e Vico' philosophical teories during the Thirties in Brazil. Thanks to these investigations Ungaretti can wide the bounds of those concepts. Particularly important was Vico's influence and the association introduced between memory and imagination by the neapolitan philosopher in his most important work, the Scienza Nuova. Furthermore, Ungaretti is interested in Vico's humankind origins theory, a fundamental topic for who, like the italian poet, set the idea of archetypical innocence as a human and artistic target attainable by memory.

My master's degree thesis is about the premiere held at La Scala Theatre in Milan, Italy of Nabucco by Giussepe Verdi. This thesis is made up of two parts: a theoretical part and a practical part. The theoretical part introduces the life of Verdi, the background of the "birth" of the Opera Nabucco, and the historical background of the time. This section will also discuss the history of the Babylon Captivity, which is the background of Nabucco. The history of Korea and Italy when (ruled over) will also be compared. Lastly Va Pensiero sull ali doroate, the very important aria of Nabucco, is examined. This thesis includes research on three different Nabuccos performed in the last two years in many different countries. The first is a collaboration by the Opera House of Royal Covent Garden of Britain and La Scala Theatre of Milano in 2013. This opera is very abstract and modernized, and presented with minimalist staging and costume. The second was held on Vlaamse Opera in Antwerp, Belgium in 2013. This was an opera with very modern and fancy staging and costume like a musical compared to the first Nabucco. Also the opera was an adaptation of many problems of the present society. The third was a Nabucco performed in Kennedy Center by the Washington National Opera of Washington, U.S. in 2012. Beside the former two operas, it showed the quintessence of classic opera with an elaborate and magnificent scale of the stage, equipment, and costume. The three different recreations of Nabucco with historical accounts enabled me to work freely and more creatively. In the practical part, the overall concept of the recreation of Nabucco is shown. The concept describes how and when the inspirations come from, moreover the balance to the historical background tried. Compared to other works, the key concept is the contrast between two ethnic groups rather to the contrast between each character in the opera, and the traditional visual features of Jewish people used, as well as Babylon's. The main concept is the combination of historical and contemporary aspects. For example, in the case of Babylon, luxurious and decadent costumes partially inspired by the gold color of the Ishtar Gate used and in the case of Babylonian forces, the symbols that reminds one of Babylon attached to the present uniforms of military forces. Nabucco and his two daughters have significant differences. Abigaille is a woman with charisma and power, whereas Fenena is very thrifty and her mind is pure. Lastly, Zacharias and Ismael appear with typical Jewish costumes. The dramatical characteristics of opera is combined with the harmony of history and contemporary parts over the whole concepts of Nabucco. The costumes show the fundamental parts of people from each ethnic group over artistic factors.