Mémoire de maîtrise--Paris 3. / Bibliogr. p. 179-184.

Thesis (M. Arch.)--Virginia Polytechnic Institute and State University, 1993. / Vita. Abstract. Also available via the Internet.

Cette thèse s'intéresse aux liens politiques et culturels entre Napoléon et Milan de 1796 à 1814. L'auteur porte une attention particulière aux évolutions de la mise en scène, de la réception et de la délégation du pouvoir du général Bonaparte à Napoléon Ier roi d'Italie. / This thesis focuses on the political and cultural links between Napoleon and Milan from 1796 to 1814. The author pays particular attention to changes in production, reception and delegation of power from general Bonaparte to Napoleon Ist, King of Italy.

The last comprehensive biography on Francesco Filelfo was written well over one hundred and fifty years ago. Since then the general state of knowledge about this humanist has been largely conditioned by G. Voigt's hostile assessment and G. Bendaucci's unsystematic and unreliable studies. Monographs on Filelfo's stay at Florence and Siena have been provided by G. Zippel and L. de Feo Corso, but the chief period in Filelfo's life, i.e. Filelfo at the court of Milan, has so far not been studied in adequate depth. E. Garin's recent account of Filelfo at Milan does not open up any new vistas. Yet Milan was the city where Filelfo spent half his life, where he wrote almost all his works and where he left a deep imprint in the development of humanistic culture. This thesis is therefore intended to fill this gap. The recent publication of P.O. Kristeller's 'Iter Italicum' made it possible to base such a reappraisal on an extensive survey of Filelfo manuscripts in Italian libraries. Almost all the existing Filelfo manuscripts at Rome, Florence, Milan, Pisa, Lucca, Bergamo, Venice, Munich, Oxford, Holkham Hall and London have been examined for this thesis. All unpublished material found there had to be copied and editions had to be prepared. Only Vienna, Paris and Wolfenbüttel seem to hold still unknown works. Particularly in the archives of Florence and Milan a large amount of entirely new material has been discovered which is being edited for the first time in the appendix of this thesis. It throws a significant light on Filelfo's social and economic situation. It allows us to penetrate the curtain of rhetorical declamations of Filelfo's letters and to understand the economic and cultural reality that lay behind them. Another purpose of this thesis consisted in the compilation of a bibliography in which all the various publications on Filelfo since about 1870 are listed, for they are scattered in periodicals and sometimes difficult to trace. [Continued in text ...]

The reason why I have studied the way Milan Kundera appeals to poetry inside his novels is that I did the opposite in my creative text by subjecting a poetic form to certain novelistic constraints such as narration, the presence of characters and the use of prose. Out of these constraints, the poetic obsession about images and shapes leads to a story. / These four "Short geometrical proses" appear as "short stories" all of which tell a moment, a situation or the life of characters obsessed with geometrical figures such as the rectangle, the triangle, the square and the circle. This "nature of geometrical figures" brings forth sweet reveries which translate various feelings in a playful tone.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1991. / Vita. Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves: 148-154).

No description available.

This dissertation explores the place of sound, noise and silence in Milan at the turn of the twentieth century. By focusing on this particular urban environment, it aims to investigate the notion of sonic modernity through a series of four case studies. It begins in 1881, the year of the city's National Industrial Exposition, with the premiere of the ballet Excelsior--a work that, like the Exposition itself, celebrated modern progress by staging technological inventions and was preoccupied with industrial production. Pursuing these echoes of labor, a second case study examines workers' songs, which comprised a resonant document in the rise of Italian socialism. These songs present us with a workers' culture that commemorated factory disputes and strikes; they also embody tensions in the interface between workers and socialists which, I argue, characterized the ways in which songs imagined urban space. In my third case study, my attention shifts to this urban imagination by focusing on a media event: the death of Giuseppe Verdi. Focusing on different contemporary interpretations of the respectful silence, as articulated through the city's transport and communication media, I argue that Verdi's death can provide a fresh perspective on the political unconscious of Milan's lugubrious fine secolo. It is against this historical context, that my fourth and final case study examines Luigi Russolo's famous "L'arte dei rumori" (The Art of Noises); in it, I seek to show that Russolo's ideas stand out against the resonant background of Milan's symbolic architectural sites and the noise of its human multitudes. Ultimately, this dissertation provides alternative contexts against which to understand Futurist noise, seeking to move beyond existing interpretations of Futurism as a turning point in music history and to position it instead as a refraction of Milan's increasingly industrial soundscape. / Music

No description available.

For several critics, Milan Kundera's novels illustrate the disenchantment of the world and the demystification of all myths. In this thesis, we accept this point of view while insisting on the persistence of sacred elements in the works of Kundera. We formulate the hypothesis of the "inoculation" of a sacred part (i.e. myths, scenes and figures of the Holy Bible, etc.) in the prose of the novel---"le caractere concret, quotidien, corporel de la vie", as Kundera wrote---in order to anchor this often unstable matter and alleviate the brevity of the character's life. Our analysis of three novels (The Book of Laughter and Forgetting, The Farewell Party and The Joke) reveals an oscillation between the sacred and the prose within the works of Milan Kundera. This movement is illustrated, in the text, by the motif of the baroque angel.