Notre thèse analyse le rapport entre pratiques sociales d’intégration d’immigrés, modèles d’installation et processus de transformation de la morphologie urbaine dans deux études de cas qui se prêtent à une comparaison stimulante. D’un côté, nous avons le cas de l’émigration italienne interne vers un pole industriel de la banlieue métropolitaine milanaise (Sesto San Giovanni); de l’autre côté, celui de l’émigration italienne internationale dans une agglomération des bassins miniers wallons (La Louvière). Il s’agit de deux contextes d’insertion fort différents du point de vue de la morphologie sociale et de l’organisation territoriale, qui profilent des espaces hybrides entre rural et urbain en profonde et rapide transformation, à cause des flux massifs de la main d’œuvre immigrée. Ces différences nous permettent de mettre à l’épreuve de l’analyse comparée les conceptions sociologiques et les parcours historiques de l’intégration, du tissu sociale qui en est à la base, de la citoyenneté, de la construction d’identités collectives, afin de dépasser les dichotomies stéréotypées entre rural/urbain, tradition/modernité, intégration/conflit, migration interne/internationale. <p>La thèse développe une analyse parallèle des deux études de cas en suivant un fil argumentatif unitaire, qui s’ouvre avec une enquête sur les flux migratoires et les contextes d’accueil des migrations. Dans les deux premiers chapitres nous avons analysé le contexte économique, social et territorial dans lequel s’inscrivent les processus migratoires. Pour le cas belge, nous avons analysé le cycle de l’industrie charbonnière, le processus de dépopulation de la Wallonie et les mécanismes qui règlent les flux, c'est-à-dire une migration contractée par les deux gouvernements. En ce qui concerne le cas milanais, nous avons tracé les contours de la très rapide urbanisation, qui a conduit toute une série de communes limitrophes à Milan à entrer dans l’orbite métropolitaine et à se qualifier comme des pôles périphériques.<p>Après avoir tracé les contours du cadre général, nous avons fait face, dans la deuxième partie, à la question plus spécifique du logement et des formes d’installations. Pour le cas louviérois, nous avons reconstruit les conditions de logement et la très difficile confrontation des premiers immigrés avec le monde du travail charbonnier, l’absence d’une initiative publique dans le secteur du logement jusqu’en 1954, faiblement compensé par l’initiative patronale, et la phase suivante des années 1950, qui a mené à la stabilisation des immigrés dans la région. De Sesto San Giovanni nous avons reconstruit la transition complexe vers la périphérie métropolitaine, à partir des installations rurales jusqu’aux politiques publiques locales et nationales de construction de grands ensembles, en soulignant comment cette intervention urbanistique était au centre d’un débat très vif sur l’aménagement du territoire, qui a débouché sur la création d’institutions administratives régionales. Dans la dernière partie de la recherche nous avons plutôt approfondi les aspects sociaux et culturels des parcours d’installation et d’intégration dans les deux tissus urbains. C’est en cette partie que nous avons utilisé davantage les sources orales, afin d’analyser les perceptions de soi, les mécanismes de construction de l’identité sociale et donc tous les changements que la migration, le rencontre avec la ville et l’industrie ont entraîné dans les organisations familiales, dans les perspectives de vie, les aspirations et les projets des migrants. À partir de l’analyse de ces parcours, dans le chapitre conclusif nous avons interrogé quelques catégories historiques et sociologiques classiques des études migratoires: d’abord le sens d’appartenance à la communauté d’origine et le développement d’un sens d’identité nationale, ensuite le processus de formation d’une solidarité de classe, qui dans les deux contextes a pris des formes sensiblement distinctes surtout par rapport aux différences dans la mémoire de l’expérience migratoire.<p> / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished

This thesis examines the prosaic works of Ladislav Dvo ák (1920-1983), specifically the collection of short stories entitled Šavle me e. It analyses the construction of Dvo ák's texts with regard to two significant aspects. First it deals with the connection between reality and the world depicted in the narrative. With the help of the concept of objectivity', adapted for literary interpretation, it explores the role of facts, description and narrator in the text. The second part treats the function of comedy in the stories, especially the difference between comical and humorous characters and the role of the verbal and situational humor. The analysis is based on the theories of P emysl Blaží ek and Milan Jankovi , who treat the specifics of creating meaning in literature.

L’époque moderne est marquée à Milan par l’empreinte de Charles Borromée, archevêque de 1564 à 1584. Canonisé en 1610 pour être donné en modèle du parfait évêque dans toute la chrétienté, Charles Borromée conçoit avant tout son rôle historique à l’échelle lombarde, par une mainmise sans précédent sur l’écrit. Quand les études se sont arrêtées sur la discipline sociale imposée par les évêques tridentins, le parti de cette thèse est de porter l’attention sur le phénomène du gouvernement de l’écrit borroméen, de l’épiscopat de Charles à celui de son cousin Frédéric Borromée (1595-1631). Les individus pris en compte ne se limitent pas aux familiers de la maison de l’archevêque. Sont retenues les trajectoires les plus saillantes de ceux qui écrivent pour l’archevêché et forment son « atelier ». Le corpus examiné réunit des écrits savants et hagiographiques, aussi bien qu’administratifs et juridiques. En observant les formes prises par l’écrit et les contraintes du service de l’archevêque par la plume, on lie ensemble deux histoires d’ordinaire dissociées : la fabrique d’un modèle d’évêque et les pratiques d’écriture commandées par le gouvernement épiscopal. La thèse présente successivement la formation de l’atelier de l’archevêque aux lendemains du concile de Trente, la fabrication locale de l’autorité de Charles Borromée au début du XVIIe siècle, enfin la sortie du modèle de l’atelier, avec l’institution, par Frédéric Borromée, d’une bibliothèque érudite peuplée de lettrés de métier, la Bibliothèque Ambrosienne (1609). L’attention aux mécanismes, formes et supports de l’écriture mise au service de l’archevêque de Milan révèle une conception du pouvoir à l’époque moderne. / Modern Milan is marked with the seal of Carlo Borromeo, archbishop from 1564 to 1584. Though his canonization in 1610 establishes him as a model for the entire Christian world, Carlo Borromeo defines his historical role mainly within the boundaries of Lombardy, where he secures an unprecedented control over the written production. Whereas previous studies have focused on the social discipline enforced by the Tridentine bishops, this thesis draws the attention on the Borromean governance of the written production, from Carlo’s to his cousin Federico’s archbishopric (1595-1631). Its scope is not limited to the members of the archbishop’s family: the remarkable careers of individuals writing for the archbishop, members of his « workshop », are thoroughly studied. The examined sources encompass hagiographic, learned, as well as administrative and legal texts. Through an analysis of these various kinds of writings and of the constraints weighing on whoever served the archbishop with a pen, this thesis links two usually separated historical topics: the elaboration of a model of bishop and the specific practices imposed by a Modern bishop in the written production. We examine successively the forming of the archbishop’s workshop just after the Council of Trent, the local elaboration of Carlo Borromeo’s authority in the early 17th c. and finally Federico Borromeo’s dissociation from the model of the workshop through the setting up of a college of learned men endowed with an erudite library, the Ambrosiana (1609). The description of the mechanisms, shapes and media of the texts written for the archbishop of Milan sheds light on a conception of power in Modern Times.

My dissertation focuses on an analysis of postmodern narrative strategies in Milan Kundera's The Unbearable Lightness of Being (ULB) and The Book of Laughter and Forgetting ( BLF) . By analysing the postmodern ab/use of narrative strategies, I argue that postmodern fiction marks a decided shift from both classical realism and modernism. My dissertation has predominantly been motivated through my contention that postmodern fiction is not elitist as it has been perceived to be. Rather, I suggest that postmodern fiction ab/uses narrative strategies to deconstruct the ontological boundaries between the political and private and fiction and 'fact'. Consequently, postmodern fiction interrogates the contrived intelligibility of History. A further argument that I raise is that postmodern fiction through its (re) appropriation, subversion and use of parodic structures creates.narrative space for the Other. In order not to canonize Kundera's texts, I situate both ULB and BLF as 'nodes' within a diffuse network of intertextual discourse. My analyses of the postmodern narrative strategies in ULB and BLF, attempt to interrogate the diffuse 'nature' of postmodern fiction which resists both authorative analysis and closure. In exploring the relationship between recuperation and postmodern narrative strategies in ULB and BLF and other works and/or texts of fiction, I argue that postmodern fiction does not revel in its narrativity, it constitutes, instead, a political strategy / Afrikaans and Theory of Literature / M.A. (Theory of Literature)

ENGLISH SUMMARY In my diploma thesis called The Dramatization of Ivan Olbracht's novel The Bandit Nikolai Shuhai I have concentrated primarily on the adaptation most appreciated by readers as well as, in my opinion, the adaptation of the best quality. In chapter one I focused on Olbracht's novel, precisely on the theme genesis in The Bandit Nikolai Shuhai, which was based on a real-life event. The public responses on the book, which was awarded the state prize for a literary work of art in 1933, are reflected as well. We also deal with blending of the myth with reality, the language and stylistic processing of the novel, and with the main protagonists. Personally, I consider Olbracht's The Bandit Nikolai Shuhai one of the greatest pieces within the Czech literature of 20th century. There are two reasons for which the theme of the novel became a good-quality and favourite basis for further processing: it tells an engaging story of a real-life figure and it is situated in a place which impresses us, Europeans, with enchanting exoticism of its landscape and culture. Chapter two deals with the work of Petr Ulrych which was inspired by Olbracht's novel. Ulrych's first product based on this literary work was a monothematic LP The Bandit Nikolai Shuhai (released in 1974). A year later those thirteen songs were...

Diploma thesis "Milan Kundera's 'The Joke' supervised. Critical reception of the novel in the context of its release and today" deals with critical reflection of the novel 'The Joke' in the period from the end of the 1960's up to current reviews. The author dedicates first chapters to the cultural and political background of the release. The core of the thesis focuses mostly on critical reception of the novel, which is divided into three historical periods. In the first part of the critical historical analysis and qualitative analysis, the author examines critical acceptance of the novel in the aftermath of its release (1967- 1969), in the Czechoslovakian and exiled journals and literary magazines in particular. The second part considers critical reaction to the novel throughout 1970's and 80's, and stresses outcomes of the reception in the sixties, official normalized critical reviews and the acceptance in the exile and samizdat literature as well. Finally, the last part of the thesis offers contemporary critical response to 'The Joke', analyzed on the basis of journals, literary magazines and newly emergent Kundera's monographs. Summarizing critical reception in each period, historical context is of primary importance to a profound understanding of the topic. The aim of the thesis is to find out...

Oggetto della tesi è l'attività scientifica e didattica di Aristide Calderini (1883-1968), studioso di antichità classiche, papirologo, epigrafista, archeologo, fondatore e direttore di associazioni culturali e riviste, divulgatore della cultura classica. Sulla base del copioso archivio personale, del quale si è operato il riordinamento e si forniscono l'inventario e l'indice della corrispondenza, si ricostruisce un intenso e fecondo percorso culturale, sottolineandone i valori ispiratori e gli obiettivi raggiunti. Le molteplici relazioni dello studioso con importanti personalità e istituzioni contemporanee permettono di tracciare un affresco della realtà culturale lombarda durante sei decadi del Novecento. / This thesis is devoted to the scientific and didactic work of Aristide Calderini (1883-1968). Calderini was a scholar of the Classics, namely papyrologist, archaeologist and epigraphist. He was the founder and director of many cultural societies and journals and a populariser of ancient Roman and Greek culture. The main source of material for this research was Calderini's own copious personal archive, which has been reorganized by the author of this dissertation, resulting in a detailed inventory and the index of his letters. From these documents it is possible to follow the intense and fruitful cultural route of Calderini, perceive his inspiring principles and appreciate the results of his work. Moreover, from the study of his letters, it is possible to reconstruct Calderini's multiple connections with important personages and institutions of his time, disclosing an interesting overview, spanning six full decades of the 20th century, of the cultural milieu in Lombardy.

Il primo capitolo si occupa degli aspetti culturali e letterari della Milano di inizio Seicento, in particolare attraverso lo studio dello sviluppo del 'genere poema' e il confronto di due opere, pubblicate nel 1611 dallo stesso stampatore Giacomo Como: La risorgente Roma di Giovan Ambrogio Biffi e L'Armidoro del poeta veneziano Giovanni Soranzo. Entrambi gli autori ebbero come patrono il conte di Sale Francesco d'Adda, mecenate, pittore dilettante e cavaliere, dedito all'organizzazione di tornei. Questo tipo di intrattenimento, molto diffuso nelle corti italiane del periodo, è argomento del secondo capitolo. dalla lettura delle cronache sulle giostre allestite a Milano tra il 1605 e il 1606 per festeggiare i natali del delfino di Spagna, cui partecipò lo stesso conte di Sale, sappiamo che il personaggio di Armidoro, cantato nei loro versi sia da Biffi che da Soranzo, altri non è che lo stesso Francesco d'Adda. abbiamo scoperto anche che tra le fonti del poema di Soranzo vi sono le relazioni del matrimonio delle infante di Savoia (1608) e il testo del Balletto delle ingrate del Rinuccini, composto per l'evento, musicato da Claudio Monteverdi. Il terzo capitolo consiste nell'analisi del poema di Soranzo, di circa 36.500 versi, che trae ispirazione dai modelli di Ariosto e Tasso, ma per certi aspetti si mostra in sintonia con le nuove mode poetiche del secolo barocco. / The first chapter deals with cultural and literary aspects of Milan at the beginning of XVII century, through the confrontation of two poems, published in 1611 by the same editor Giacomo Como: the Risorgente Roma of the Milanese author Giovan Ambrogio Biffi and the Armidoro, wrote by the Venetian poet Giovanni Soranzo. Both Biffi and Soranzo were protected from Francesco d'Adda, earl of Sale's county, patron of artists, amateur painter and knight, who delighted in organizing tournaments. This kind of entertainment, very frequent in the Italian courts of that period, is argument of the second chapter. After the reading of chronicles about chivalrous performances, played in Milan by count of Sale from 1605 till 1606 to celebrate the birth of Spanish prince, we know that Armidoro is the mask of Francesco d'Adda. At the same time we detected many important sources of the Soranzo's poem: the commentaries of Federico Follino and Pompeo Brambilla on the marriage between Francesco Gonzaga and Margherita di Savoia (1608), and the Ingrate's ballet of Ottavio Rinuccini, performed in that occasion with music of Claudio Monteverdi. The third chapter consists on analysis of Armidoro, the poem of about 36.500 lines that Soranzo wrote in competition with Ariosto's Orlando furioso and Tasso's Gerusalemme liberata.

This interdisciplinary study examines a collection of chants intrinsically connected to the larger body of Western Chant: the psallendae. These chants of the Ambrosian rite, the form of Christian worship proper to the archdiocese of Milan, were sung during religious processions. With over 700 psallendae assigned to the Church calendar, this study examines only those assigned to feast days of the Virgin Mary, and in doing so, reveals a rich history of devotion to her. The primary sources examined are thirteenth-century manuscripts and medieval liturgical manuals. The processional chants are subjected to a thorough literary and musical analysis. Rooted in François-Auguste Gevaert's thematic theory, and using tools of reticular and stemmatic analysis, the psallendae are grouped according to melodic profile. Each group is then reduced to a core melodic theme, which, when juxtaposed with the ancient practice of religious processions, makes a compelling argument for the psallendae as among the oldest Christian chants.

This interdisciplinary study examines a collection of chants intrinsically connected to the larger body of Western Chant: the psallendae. These chants of the Ambrosian rite, the form of Christian worship proper to the archdiocese of Milan, were sung during religious processions. With over 700 psallendae assigned to the Church calendar, this study examines only those assigned to feast days of the Virgin Mary, and in doing so, reveals a rich history of devotion to her. The primary sources examined are thirteenth-century manuscripts and medieval liturgical manuals. The processional chants are subjected to a thorough literary and musical analysis. Rooted in François-Auguste Gevaert's thematic theory, and using tools of reticular and stemmatic analysis, the psallendae are grouped according to melodic profile. Each group is then reduced to a core melodic theme, which, when juxtaposed with the ancient practice of religious processions, makes a compelling argument for the psallendae as among the oldest Christian chants.