Désireux de conquérir et de dominer le Milanais, François Ier (1515-1521) Francesco II Sforza (1522-1525) et Charles Quint (1526-1530) sont tous trois confrontés à un terreau politique à haut potentiel centrifuge, ce que nous appelons un « champ de forces et de luttes ». Notre enquête comparative de leur exercice successif de la domination met en lumière trois stratégies originales d’exercice direct, de délégation du pouvoir et d’intégration/médiation par les élites ou le popolo. Car chacun des princes et de leurs serviteurs conçoivent, à leur façon, leur propre pouvoir, les limites juridiques, géographiques et symboliques de celui-ci, et de celles des sujets dominés. Chacun a sa cartographie propre des rapports de force en ses terres d’origines, à Milan, en Italie, et en Europe. Très important, chaque modèle n’est pas statique mais en production, en tant que fruit d’une dialectique continue entre son héritage et une réalité chaque jour inédite, entre ses forces internes et l’influence extérieure, entre ce qu’il croit, et dit être, et ce qu’il exprime au quotidien. Dans ce contexte, la capacité d’adaptation du politique, ses modalités et ses limites face à l’inconnu et l’inédit devient cruciale afin de faire prévaloir ses attentes et défendre ses gains politiques. / Eager to conquer and dominate the State of Milan, Francis I (1515-1521) Francesco II Sforza (1522-1525) and Charles V (1526-1530) all three face a political ground with high centrifugal potential, what we call a "field of forces and struggles". Our comparative survey of their successive exercise of domination highlights three original strategies of direct exercise, delegation of power and integration/mediation by the elites or the Popolo. In their own way, each of the princes and their servants conceive their own power, its legal, geographic and symbolic limits, and the quality of dominated subjects. Each has its own mapping power relations in its origins land whether in Milan, France and Spain. Very importantly, each model is not static but in production, as a result of continuous dialectic between its heritage and a reality each day renewed, between its internal forces and external influences, between what he believes, and said to be, and that it expresses every day. In this context, the policy of adaptability, its terms and limits of the unknown and the unexpected becomes crucial to uphold its expectations and defend its political gains.

Texte remanié de: Dissertation--Marburg, 2004. / Bibliogr. p. 295-324.

The PhD thesis The Reception of Milan Kundera in Czech and French Cultural Worlds aims to describe the main tendences and changes in the evolution regarding the reception of Milan Kundera and his work in both of the countries concerned, from its beginning to the year 2015 and their consecutive comparison. The analysis of the perception of the writer's work is based especially on articles from the press and the monographies about the author's work published until now in both of the cultural worlds. An essential part of our work has also become the chapter dealing with the author's occasional texts and translations published in various periodical or in the form of prefaces or postfaces to other monographies.

The project is one building and the floor of the Piazza del Duomo, in Milan, Italy. The piazza is an ideal case history of the development of an urban fabric, and of the consciousness of urbanism itself. / Master of Architecture

The present study reconstructs the musical milieu in which Vincenzo Ruffo's 1542 motet collection was conceived through an examination of the archival materials surviving from each of the major musical establishments known to be active in Milan 1535-1550. The relationship of the 1542 collection to Milanese musical activity. Its publication problems and its current position in source studies are then explored in light of the archival information that is currently available.

Diploma thesis Czech literary dreams deals with interpretation of three novels by Milan Kundera (The Joke, Life Is Elsewhere, The Book of Laugter and Forgetting). The core of the interpretations lies with the dreamy parts of the novel. The meaning of the text was sought within relations of more and less noticeable subjects and intertextual references. The interpretations of chosen Kundera's novels are partially observed through the context of works of Ludvík Vaculík, in particular by the context of The Czech Dreambook.

Texte remanié de: Diss.--Philosophische Fakultät--Münster--Westfälische Wilhelmsuniversität, Wintersemester 1998/9. / Bibliogr. p. 515-546. Index.

For Milan Kundera, the question of identity is one of the essential questions around which a novel is constructed. The novelist attempts to define the issue by exploring the existential themes that are tied to it. These themes are examined from different angles with the aid of what the author calls "motifs". Our study is centered on one of those motifs, that of the mirror, through which the author explores the "enigma of the ego". The typological analysis of this motif in Kundera's ten novels brings out in the characters two fundamental attitudes with regard to their identity. The first consists in clinging to it, which results in the character's disquiet, while the second consists in freeing oneself from it, which leads to a better understanding of reality as well as to a certain form of wisdom.

This dissertation explores the intersection between scientific practices and political economy from the time of Maria Theresa's and Joseph II's reforms in the Habsburg State of Milan to the Cisalpina and Italian Republics. It is structured in four parts, corresponding to the themes of "appropriations", "technologies", "spaces" and "soils". Each of these parts comprises of two chapters, with the exception of the last one on "soils". Part I, named "Appropriations", explores how the Società Patriotica took on board the practices and debates which originated in the context of French Physiocracy, such as economic milling and the question of the scale of land-holdings, and analyses how they were appropriated to fit the political economy of the State of Milan. Part II, titled "Technologies", takes into account the attitudes of Milanese reformers, public officers and naturalists towards mechanical arts and, in general, towards technology for the achievement of the felicità and utilità pubblica. Part III of the dissertation has been named "Spaces". It focuses on the travels of naturalists Domenico Vandelli, Paolo Sangiorgio and Lazzaro Spallanzani, using them as starting points to examine the significance of natural history practices, such as travelling and collecting, for an understanding of contemporary political economy. Part IV, titled "Soils", examines a series of texts about the management and making of salnitro, showing their relevance in the context of the newly founded Italian Republic. Overall, the thesis aims to acknowledge the complexity, as well as the intellectual debts, of the production of political economy and scientific knowledge in the State of Milan, and pushes forward the debate on the Italian Enlightenment, by opposing those narratives which have represented it as a marginal and peripheral case in the broader and more "international" European Enlightenment.

Dissertação (mestrado)—Universidade de Brasília,Instituto de Ciências Humanas, Programa de Pós-Graduação em Metafísica, 2017. / Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2017-12-18T16:46:50Z No. of bitstreams: 1 2017_HerissonCardosoFernandes.pdf: 1377077 bytes, checksum: 3f3cbb77cb4681eefa6aec40821d9d5d (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-02-21T13:59:26Z (GMT) No. of bitstreams: 1 2017_HerissonCardosoFernandes.pdf: 1377077 bytes, checksum: 3f3cbb77cb4681eefa6aec40821d9d5d (MD5) / Made available in DSpace on 2018-02-21T13:59:26Z (GMT). No. of bitstreams: 1 2017_HerissonCardosoFernandes.pdf: 1377077 bytes, checksum: 3f3cbb77cb4681eefa6aec40821d9d5d (MD5) Previous issue date: 2018-02-20 / O Romance, enquanto instância artística e literária, é fundado sobre um determinado e específico número de elementos? Se sim, é possível identificar quais seriam eles? Ou seja, pensando ontologicamente, há algum conjunto de fundamentos que fazem o romance ser o que é? Essas são indagações das quais partimos para analisar os textos ensaísticos do romancista tcheco Milan Kundera. Em seu livro A arte do romance, de 1983, Kundera discute – a partir das reflexões do filósofo Edmund Husserl acerca da modernidade – sobre o fazer romanesco, bem como a posição do romance neste momento da história. Tomando como pressuposto a abordagem proposta pelo grupo de pesquisa Epistemologia do Romance, pretendemos decompor o pensamento teórico de Kundera, no sentido de intentar encontrar aqueles que podem ser considerados os elementos ontológicos de sua própria criação romanesca, bem como discutir uma das proposições fundamentais do pensamento kunderiano: a de que o romance possui uma sabedoria que lhe é própria. A pesquisa será pautada fundamentalmente nas propostas exibidas por Kundera em A arte do romance, dialogando com outros textos ensaísticos do autor como Testamentos traídos (1993), A cortina (2005) e Um encontro (2009). / Is the Romance, as an artistic and literary instance, founded on a precise and specific number of elements? If so, what are they? Ontologically thinking, are there any set of fundamentals that make the romance what it is? These are the questions which we set out to analyze the essay texts of the Czech novelist Milan Kundera. In his book The Art of Novel, 1983, Kundera discusses – since reflections about modernity of the philosopher Edmund Husserl – about the romanesque doing, as well as the position of the novel at this moment in history. Taking as a presupposition the approach proposed by the research group Epistemology of Romance, we intend to decompose the theoretical thought of Kundera, in the sense of trying to find those that can be considered the ontological elements of his own romanesque creation, as well as to discuss one of the fundamental propositions of the kunderian thought: that the novel has its own wisdom. The research will be placed fundamentally on the proposals presented by Kundera in The Art of the Novel, dialoguing with other essayistic Kundera‟s texts as Testaments betrayed (1993), The curtain (2005) and Encounter (2009).