L’univers médiéval tient une place importante dans la culture poétique italienne du XVème au XVIIIème siècle. Emblèmes de cet univers, les poèmes épiques de l’Arioste et du Tasse, imités de ceux d’Homère, promeuvent les histoires les plus populaires des théâtres italiens des XVIIème et XVIIIème siècles. L’écriture du Moyen Âge dans l’opéra, entre 1690 et 1730, montre une diversité des esthétiques et des figures poétiques et dramatiques. Grâce à l’Accademia dell’Arcadia, la rénovation du livret ouvre de nouvelles perspectives à son exploitation, que développera Zeno contrairement à Metastasio. En s’appuyant sur la tragédie française, celle-ci lie étroitement art poétique et musical. L’air symbolise ce point de rencontre des affects et de leur représentation musicale. Il contribue à la célébrité de l’Artaserse (1730) de Vinci et celui de Hasse. Ces opéras précipitent le déclin des sujets médiévaux et laissent la place à un nouveau modèle lyrique. / Medieval universe took an important place in the Italian poetic culture from the 16th to the 18th century. Emblems of this universe, Ariosto and Tasso’s epic poems, imitated of Homer’s, upgraded to most popular histories of the Italians theatres of the 17th and 18th centuries. The Middle Ages’ representation in Opera between 1690 and 1730, showed a diversity of esthetics but dramatic and poetic figures too. Thanks to the Accademia dell’Arcadia, the renovation of the libretto led to consider new prospects of its exploitation. Zeno developed the new vision of Middle Ages contrary to Metastasio. Supporting by French tragedy, this renovation unified with strength poetical and musical art. The aria symbolized the meeting point of affects and their musical representations. It contributed to the celebrity of Vinci’s and Hasse’s Artaserse (1730). These two operas hastened the decline of medieval subjects and installed a new lyric model.

Les phlébovirus présentent sont présents dans toutes les régions du globe. Certains phlébovirus transmis par phlébotomes provoquent une maladie fébrile et des infections du système nerveux central. Depuis, de plus en plus de données montrent que la péninsule des Balkans joue un rôle majeur dans l'émergence de maladies à transmission vectorielle. Au début de ce travail, on comptait un nombre très limité de phlébovirus identifiés et isolés dans cette région. Une étude intégrée et transdisciplinaire en vue d'un inventaire des virus circulant dans pays des Balkans. (i) Un total de 3,850 phlébotomes sont été recueillis dans sept pays des Balkans en 2014 et 2015. Ils ont été testés pour la présence d'ARN viral et inoculé sur des cellules VERO afin d'isoler le virus détecté; (ii) des études de séroprévalence utilisant des tests de neutralisation ont été effectuées sur des échantillons de bovins et de moutons pour évaluer à deux agents pathogènes humains : le virus Toscana (TOSV) et le virus Sandfly fever Sicilian virus (SFSV). Nos résultats se composent de (i) la découverte et le séquençage de 3 nouveaux phlébovirus appartenant à 2 espèces différentes, (ii) la première identification du genotype B de TOSV en Croatie, (iii) la preuve de la co-circulation de deux genotypes (B et C) de TOSV, (iv) des taux d'anticorps neutralisants qui sont beaucoup plus élevés chez les bovins et les moutons pour le SFSV que pour TOSV. En conclusion, les résultats obtenus au cours de ce travail démontrent qu’es les Balkans représentent une zone de très importante activité pour les phlebovirus et donc mérite une surveillance particulière à cause du risque d’émergence et de dissémination. / Phleboviruses have a worldwide distribution. In the areas where sand flies are present, some of the sandfly-borne phleboviruses cause febrile illness and central nervous system infections. Sandfly fever was first reported in the Balkan Peninsula at the end of the 19th century. Since there is accumulating data showing that the Balkan peninsula plays a major role in the emergence of vector-borne diseases. At the outset of this work, a very limited number of phleboviruses had been identified and isolated in this region. To fill this gap, an integrated and transdisciplinary study was designed aiming at an inventory of viruses circulating in Balkans and associated seroprevalence studies using domestic animals: (i) a total of 3,850 sandflies were collected in seven Balkan countries (Albania, Bosnia-Herzegovina, Croatia, Kosovo, Montenegro, Republic of Macedonia and Serbia) in 2014 and 2015. They were tested for the presence of viral RNA and inoculated on VERO cell for virus isolation; (ii) seroprevalence studies using neutralisation tests were performed on cattle and sheep samples to assess the level of exposure to two human pathogens, Toscana virus (TOSV) and Sandfly fever Sicilian virus (SFSV). Our results consist of (i) the discovery and sequencing of 3 novel phleboviruses belonging to 2 different species, (ii) the identification for the first time of TOSV lineage B in Croatia, (iii) evidence of co-circulation of two lineages (Lineage B and C) of TOSV, (iv) rates of neutralising antibodies that are much higher in cattle and sheep for SFSV than for TOSV. Together the findings obtained during this work demonstrate that the Balkan area is a hot spot for phleboviruses.

La présente thèse de doctorat trouve son origine dans la singularité de l’histoire de la seconde Maison d’Anjou (1360-1481), qui se caractérise, à chaque génération, par des temps de rupture au cours desquels les femmes se trouvent en charge de la conduite de l’État comme régente, lieutenante ou en tant que vice-régente. Cette dynastie princière française offre un terrain d’observation privilégié pour décrire et expliquer un phénomène, en cours d’élaboration juridique et pratique à la fin du Moyen Âge, celui de l’exercice du pouvoir politique par des souveraines qui n’auraient pas dû gouverner. Grâce au croisement de sources de nature très variée, il s’agit aussi de mesurer les progrès administratifs ou les évolutions institutionnelles de la principauté auxquels participent les duchesses. Ces dernières ont également joué un rôle essentiel dans la construction territoriale de leur État, permettant de donner corps à une histoire commune d’espaces traditionnellement étudiés de façon indépendante : l’Anjou, la Provence, le Barrois, la Lorraine, Naples. L’étude, qui porte sur plus d’un siècle, repose sur une dialectique entre existence individuelle et fortune collective afin d’offrir une cohérence nouvelle aux problématiques liant l’identité et l’action politique féminine. Celle-ci est abordée au travers d’approches multiples (politique, anthropologique, juridique, quantitative) et de thèmes variés (finances, entourage, gouvernement des corps constitués, guerre, relations diplomatiques). L’analyse met ainsi à jour les mécanismes et les dynamiques par lesquelles, d’un côté, ces princesses exercent leur autorité à l’égal des hommes, comme des femmes « au coeur d’homme », tout en étant, d’un autre, contraintes par les restrictions morales, mentales et juridiques imposées à leur genre, les conduisant à adopter une pratique gouvernementale spécifiquement féminine, à exalter des vertus singulières, voire à tenter de modifier les règles de la politique ordinaire. / This PhD thesis is based on the specificity of the history of the second House of Anjou (1360-1481) characterized in each generation by moments of discontinuity in which women find themselves in state governing positions as regents, lieutenants or vice-regents. This princely French dynasty offers a unique opportunity to observe and analyze a phenomenon that was in the developing stages both judicially and practically at the end of the Middles Ages, namely the exercise of political power by sovereigns who were not supposed to govern. Due to the increasing variety of existing sources, this study will also assess the administrative progress or institutional developments in the principalities where the Duchesses were involved in governing. The Duchesses have also been instrumental in the territorial expansions of their states, enabling the articulation of a common history for areas traditionally studied independently: Anjou, Provence, Barrois, Lorena, and Naples. The study, spanning over a century, draws on the dialectic of individual existence and collective destiny in order to offer a new interpretation to issues concerning women’s identity and political actions. These issues are analyzed using multiple approaches (political, anthropologic, legal, judicial, and quantitative) and various themes (finances, entourages, governing of constitutional bodies, war, diplomatic affairs). As a result, the analysis sheds light on the mechanisms and dynamics by which, on one hand, these princesses exert their authority as men’s equal, as women « with a man’s heart », while on the other hand, forced by their gender’s moral, intellectual and judicial imposed constraints, they adopt a governing style specifically feminine, exalt particular virtues or even change the rules of ordinary politics.

This study investigates the petrographical and chemical characteristics of a group of Zeuxippus Ware Related Ceramics dating to the late 12th-13th centuries from Kusadasi Kadikalesi/Anaia. Kadikalesi was a Byzantine fortress at the coast of Aegean Sea. It was also a significant commercial port and an episcopacy center during the 13th century. In this study, visual classifications of the ceramics were carried out based on their stylistic properties. Then, ceramic samples were investigated by several methods including mineralogical, micromorphological, chemical (SEM-EDX, ICP-OES, ICP-MS) and Raman Spectrometry techniques and further evaluated by statistical analyses. Bodies are found to be rich in SiO2 and Al2O3 while relatively high amounts of Fe2O3 measured, agree well with their reddish bodies. These bodies mostly display micaceous matrix with a relatively low degree of vitrification. Cluster analysis performed among thirty selected samples, points out the presence of two main groups. Observed slip layers are also found to be rich in SiO2 and Al2O3 contents and exhibit various types of crystalline and/or vitreous matrix. Glazes are found to be high lead glazes processed at or below. The glazes are found to be high lead glazes processed at or below 700&deg / C as confirmed by SEM-EDX and Raman spectrometry investigations. Iron compounds are the major coloring agents for most of the glazes analyzed regardless of their observed colors. Presence of Raman peaks in some yellow glazes which may be assigned to a solid solution of Naples yellow type of pigment is significant since its use in the Byzantine period as a glaze pigment has been scarcely reported before.

No description available.

No description available.

De récentes découvertes sur le rôle du détail phonétique ont inspiré des modèles prosodiques basés sur une approche exemplariste. Au travers de quatre expériences portant sur la production et la perception du détail mélodique et temporel dans la variété napolitaine de l'italien, nous montrons que la notion de détail prosodique n'est pas non plus incompatible avec une approche abstractionniste. Plus particulièrement, nous suggérons que l'exploration du détail prosodique permettrait de mieux encadrer les rapports entre substance phonétique et formes phonologiques, en éclairant ainsi comment les fonctions pragmatiques sont véhiculée par la prosodie. / Recent findings on phonetic detail have been taken as supporting exemplar-based approaches to prosody. Through four experiments on both production and perception of both melodic and temporal detail in Neapolitan Italian, we show that prosodic detail is not incompatible with abstractionist approaches either. Specifically, we suggest that the exploration of prosodic detail leads to a refined understanding of the relationships between the richly specified and continuous varying phonetic information on one side, and coarse phonologically structured contrasts on the other, thus offering in-sights on how pragmatic information is conveyed by prosody.

This dissertation is a study of the comic intermezzo’s literary origins and musical practice in the years before Pergolesi’s La serva padrona (1733). It begins with a chronological examination of Italian comic plays and operas written between 1660 and 1723. During these years comic playwrights adopted a style of writing speech from the improvised theatre which makes use of what Richard Andrews (1993) refers to as “elastic gags.” This style of comedy flourished under Medici patronage in Florence in the last decades of the seventeenth century and then spread to Venice, Rome and Naples during the first years of the intermezzo’s development. It is a style of comedy shared with the plays of Molière, and other contemporaneous French authors. This dissertation examines several scenes based on French works which have previously not been identified as having earlier sources. The decision to adapt these earlier sources for the intermezzo did not occur in a vacuum. The practice of comedy in the intermezzo was conditioned by the artistic, social and political climate of Italy. This study investigates the relationship between intermezzos and the milieus which produced them. The success of some intermezzos, like Il marito giocatore (1719), resulted from a combination of their artistic merit and their broad social appeal, while others, like Albino e Plautilla (1723), were musically adept but remained obscure because their humour was specific to the world they satirized. Both intermezzos are indebted to earlier French sources. Many others which are metatheatrical in nature draw on contemporary debates about opera. A final section examines selected arias from the intermezzo repertory using incongruity theory. Comic theory makes clear that the intermezzo’s musical language was not a new development. Just as librettists drew on earlier written traditions to form the literary text of the intermezzo, composers drew on existing musical practices to create humour. The intermezzo was therefore not naively comic—a portrait of the genre which is all too common—but rather a repertory which was thoroughly enmeshed within contemporary artistic practice and a wider social and cultural world.

This dissertation is a study of the comic intermezzo’s literary origins and musical practice in the years before Pergolesi’s La serva padrona (1733). It begins with a chronological examination of Italian comic plays and operas written between 1660 and 1723. During these years comic playwrights adopted a style of writing speech from the improvised theatre which makes use of what Richard Andrews (1993) refers to as “elastic gags.” This style of comedy flourished under Medici patronage in Florence in the last decades of the seventeenth century and then spread to Venice, Rome and Naples during the first years of the intermezzo’s development. It is a style of comedy shared with the plays of Molière, and other contemporaneous French authors. This dissertation examines several scenes based on French works which have previously not been identified as having earlier sources. The decision to adapt these earlier sources for the intermezzo did not occur in a vacuum. The practice of comedy in the intermezzo was conditioned by the artistic, social and political climate of Italy. This study investigates the relationship between intermezzos and the milieus which produced them. The success of some intermezzos, like Il marito giocatore (1719), resulted from a combination of their artistic merit and their broad social appeal, while others, like Albino e Plautilla (1723), were musically adept but remained obscure because their humour was specific to the world they satirized. Both intermezzos are indebted to earlier French sources. Many others which are metatheatrical in nature draw on contemporary debates about opera. A final section examines selected arias from the intermezzo repertory using incongruity theory. Comic theory makes clear that the intermezzo’s musical language was not a new development. Just as librettists drew on earlier written traditions to form the literary text of the intermezzo, composers drew on existing musical practices to create humour. The intermezzo was therefore not naively comic—a portrait of the genre which is all too common—but rather a repertory which was thoroughly enmeshed within contemporary artistic practice and a wider social and cultural world.

La thèse propose une reconstruction de la pensée philosophique et scientifique de Giovan Battista della Porta (1535-1615). En particulier, le travail est consacré à la reconstruction de la notion de « secrets naturels » au cœur de la pensée philosophique de Della Porta et de son projet de réforme de la magie naturelle. Comme je l’ai montré, la rationalisation du «secret de la nature» chez Della Porta est reliée d'un côté aux problèmes de démonologie, de l'autre côté à celles de l'astrologie.La recherche est divisée en quatre parties : la première est consacrée à l’historiographie et à la réception de Della Porta. Le sens de la magie naturelle est étudié du point de vue de la réception immédiate de la pensée de Della Porta, et notamment le problème posé par le statut qu’elle accorde à l’action des démons. Il s’agit aussi de montrer comment la question reste discutée dans l’historiographie récente. La seconde partie est consacrée a la relation de la pensée de Della Porta avec le milieu de l’aristotélisme napolitain. Il s’agit de comprendre la notion de « secrets de la nature » à la lumière des débats relatifs à la connaissance du singulier et de montrer que le problème du statut de la magie naturelle rencontre à Naples les discussions autour de l’épistémologie médicale et de la conception avicennienne de la « forme spécifique ». La troisième partie est consacrée à la question de la causalité et au débat relatif à l’astrologie, ainsi qu’ au sens à donner à la sympathie par laquelle est expliqué l’influx céleste. L’un des objectifs majeurs est de montrer comment Della Porta est amené à limiter le sens que Ficin a donné à la sympathie. Della Porta réinterprète ainsi la conception des « images astrologiques » d’Albert le Grand. La quatrième partie porte sur la tension entre amitié et sympathie dans le contexte de l’astrologie, pour reprendre la question de la ressemblance au cœur des traités de physionomie de Della Porta et de sa méthode de recherche relative aux « secrets de la nature ». Cette méthode s’appuie sur la notion d’une causalité qui touche non la substance, mais les accidents, c’est-à-dire des « particularités individuelles », telles que le mouvement, la couleur, la figure etc., sur lesquelles Della Porta fait reposer la connaissance du singulier. / This thesis focuses on the scientific and philosophical though of Giovan Battista Della Porta (1535-1615). In particular, the purpose of my thesis is to analyse and “reconstruct” the notion of “secret of nature” in Della Porta’s philosophy and in his project for the reformation of natural magic.As I have shown here, Della Porta’s rationalization of the “secret of nature” is connected either with demonological issues and with astrological problems.The thesis is divided into four parts. In the first part, the historiography and reception of the philosophical thought of Della Porta are discussed. The accent is put on the meaning of natural magic with particular regard to the role he assigns to demons. Here I show that the issue is still debated in the recent historiography. The second part introduces the relationship between Della Porta’s thought and the neapolitan aristotelianism. I proposed, here, to understand the notion of “secret of nature” in light of the debates related to the knowledge of “singular”. I have shown that the matter of the statute of natural magic is related to the discussions on the medical epistemology and on the Avicennean conception of forma speciei. The third part deals with the matter of causality and the debate about astrology. Also, it analyses the meaning of the concept of “sympathy”, interpreted as celestial influence. I have shown that Della Porta reinterprets the concept of “sympathy” of Ficino as well as the notion of “astrological image” of Albert the Great. In the fourth part, I studied the relationship between the concepts of “friendship” and “sympathy” in the astrological debate. Then, I studied the principle of “similarity” in Della Porta’s phisiognomy books and in his research methodology about “secrets of nature”. I have shown that this research methodology is based on a concept of causality not concerning the substance, but the “accidents”, i.e. the “individual particularities”: the movement, the color, the figure, etc. According to Della Porta, the knowledge of the singular is based on these “individual particularities”.