Luca Marenzio has long been acknowledged as one of the greatest masters of the Italian madrigal, yet no collected edition of his works exists: in particular relatively few of the six-voiced madrigals are available in published form, and criticism has tended to concentrate on the five-voiced works. This thesis presents an Edition with Commentary of the six-voiced madrigals published in six books between 1581 and 1595. Two polychoral madrigals and a madrigal by Antonio Bicci also found in those books are included in an Appendix, together with two furtner madrigals included by Phalèse in his 1594 edition of Books I-V, which proved a valuable collative source. The Commentary presents a stylistic study of the madrigals in the Edition and a critical survey of their place in Marenzio's output, together with an editorial commentary and extensive bibliographical material. Following an outline of the madrigal's chief characteristics, Chapter One presents a biographical and critical account of Marenzio's work. Each book of madrigals is considered individually and in relation to his stylistic development. Finally the chapter treats briefly of his influence, with contemporary and historical comment. A stylistic analysis of the music in this Edition follows, considering particularly the relationship between music and text, texture, form, tonality and chromaticism. The poets, forms and principal sources of the texts are then considered. Chapter Four discusses the Edition - sources, notation, tempo, pitch and musica ficta - and concludes with a note on performance. Two Critical Commentaries deal respectively with music and text, the latter providing a comparison between musical and literary versions and listing poets (some newly discovered) and literary sources. The Bibliography lists all published appearances of the six-voiced madrigals and provides a complete reference for the literary sources consulted. The complete texts of the madrigals are given in an Appendix.

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Thesis (Ed.M.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2999-01-01

Thesis advisor: Kenji Hayao / Thesis advisor: Hiroshi Nakazato / The most stunning example of two historical figures working both together and against one another to fashion a shared goal is the demonstration of power and compromise displayed by Count Camillo Benso di Cavour and Giuseppe Garibaldi during the Sicilian Revolution of 1860 and additional events during the greater Italian Risorgimento. This thesis is an attempt to uncover the bargaining strategies utilized by Cavour and Garibaldi throughout their political interactions as well as reach important conclusions concerning the use of interpersonal relationships to aid, not hinder, the outcome of a common political aim. This case study focuses on the years from 1852 to 1870, but specifically looks at 1859 to 1861, largely considering the theoretical framework of political game theory as outlined by Thomas Schelling. After forming two distinct hypotheses regarding both the competitive and cooperative nature of the two men's relationship, this thesis finds a greater cooperative characteristic to their historic interactions, although both hypotheses contribute to a relationship that formed the state of Italy. / Thesis (BA) — Boston College, 2008. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: International Studies. / Discipline: International Studies Honors Program.

Although the figure of the warrior woman has always existed as a literary topos, the popularity of the warrior woman figure has never been greater than in the period of the Italian Renaissance. The character of the female warrior in the 14th and 15th centuries in Italy results from many literary traditions ranging from the Amazons of classical and medieval times, to the many versions of the Aeneid to the character of Aigiarne in the Milione of Marco Polo. In addition, other examples exist of female characters who demonstrate their fighting capabilities who, without necessarily being considered warrior women, have helped nonetheless to shape the character of the warrior woman in the Italian Renaissance. The main objective of this thesis is to document the formation of the warrior woman figure in Italian Cavalier Romance poems dating from the late 1300's to the early 1400's before the great poems of Pulci and Boiardo.

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A Dissertation submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, for the degree of master of Arts. / This thesis examines a medieval text which forms part of Italian chevalric literature i.e. The story of Ugone d'Alvernia. Its original name was Huon d'Auvergne. Firstly the text will be examined from the historic angle and then from a more scientific point of view. It shows how the original "chanson de geste", written in French was brought by the French "jongleurs" into Italy and became initialized, producing a unique phenomenon, a linguistic mixture known as franco-venetian. This literature played a decisive part in the diffusion of the stories surrounding Charlemagne. Huon d'Auvergne was elaborated and extended by Andrea da Barberino (c. 1370-1432) and called La Storia di Ugone d' Alvernia (The story of Ugone Of Alvernia). Various descents into Hell are then examined , from both the classic and the Christian point of view. This examination leads on to the comparison of the two "Inferni" described by Andrea da Barberino in his two works La Storia di Ugone d' Alvernia and in Guerino il Meschino with the descent described by Dante in his Inferno. A morphological analysis of the text is then undertaken. It applies the theory propounded and used by Propp in his morphological analysis of some Russian fairy tales. According to the theory there are thirty-one "functions" which can be applied in such an analysis / Andrew Chakane 2018

Previous studies of the left have tended to focus on groups or movements within the confines of national boundaries. Yet the adherents of these organizations were often migrants who traveled to and lived in multiple states. The Italian anarchist movement emerged during the latter half of the nineteenth century during the process of that country’s unification. As the need for cheap labour in the industrializing nations of north-western Europe and North and South America grew, a mass exodus of migrants left Italy. Among those migrants were anarchists who established networks that spanned continents and the Atlantic Ocean. Wherever Italian anarchists settled they began to publish journals, engage in anarchist activism, and re-create the radical culture that had its roots in Italy. This dissertation examines a portion of the transnational anarchist movement that existed in Canada and the United States between 1915 and 1940. The themes explored in this work include the formation of these transnational anarchist networks, the divisions within the Italian anarchist movement and their repercussions, how transnational activism was conducted, and the culture these transnational radicals created. / Thesis (Ph.D, History) -- Queen's University, 2010-11-14 12:18:45.49

This thesis is a study of the colony of Italian anarchists who found refuge in London in the years between the Paris Commune and the outbreak of the First World War. The first chapter is an introduction to the sources and to the main problems analysed. The second chapter reconstructs the settlement of the Italian anarchists in London and their relationship with the colony of Italian emigrants. Chapter three deals with the activities that the Italian anarchists organised in London, such as demonstrations, conferences, and meetings. It likewise examines the ideological differences that characterised the two main groups in which the anarchists were divided: organisationalists and anti-organisationalists. Italian authorities were extremely concerned about the danger represented by the anarchists. The fourth chapter of the thesis provides a detailed investigation of the surveillance of the anarchists that the Italian embassy and the Italian Minster of Interior organised in London by using spies and informers. At the same time, it describes the contradictory attitude held by British police forces toward political refugees. The following two chapters are dedicated to the analysis of the main instruments of propaganda used by the Italian anarchists: chapter five reviews the newspapers they published in those years, and chapter six reconstructs social and political activities that were organised in their clubs. Chapter seven examines the impact that the outbreak of First World Word had on the anarchist movement, particularly in dividing it between interventionists and anti-interventionists; a split that destroyed the network of international solidarity that had been hitherto the core of the experience of political exile. Chapter eight summarises the main arguments of the dissertation.

The following work consists of a careful analysis of the translation of the Iliad by Homer prepared by Melchiorre Cesarotti. Caught amidst the dilemma of loyalty to the original and the beauty of translation, Cesarotti decided to compose two versions: one in blank verses and the other in prose. This work is therefore none other than a comparison between Cesarotti's version in poetry and the version in prose. / The first part deals briefly with a few details on the criticism that Cesarotti's work raised. / The second part consists of the comparison work, which is subdivided in "Canti" (as Cesarotti's version in poetry) because the work proposes to compare the version in poetry to the version in prose and not vice-versa. / The last part examines the artistic value of Cesarotti's translations and the place they occupy in Europe in the eighteenth century.