This study provides background information, International Phonetic Alphabet (IPA) transcriptions and pronunciations, poetic translations, and pedagogical analyses of ten Francesco Paolo Tosti songs. Included is the connection between the rhythm and meter of the poetry and its’ influence on Tosti’s setting of the text to music. In addition, a portion is devoted to an overview of pedagogy, specifically, appoggio, registers and passaggi in the lyric tenor voice, range and, as well as chiaroscuro. This document addresses potential vocal challenges presented for the lyric tenor voice within each song, as well as the benefits. In particular, suggestions for vowel modifications in the passaggi of the lyric tenor voice in relationship with the provided IPA transcription are addressed. Finally, by gathering all of the necessary information on Aprile, Non t’amo più, Luna d’estate, Preghiera, La serenata, Ideale, A vucchella, In van preghi, L’alba sepàra dalla luce l’ombra, and L’ultima canzone, this performance guide creates a concise tool for teachers and singers in the vocal studio seeking ideal performance practice suggestions.

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Pier Paolo Pasolini is one of the most important but also most misunderstood Italian artists and intellectuals of last century, a cultural and artistic myth often understood and used in excessively sectorial or expedient ways. This dissertation defines and explores Pasolini's carefully constructed authorial apparatus, in the sense attributed to this term by Michael Foucault. It argues that Pasolini's authorial apparatus is a labyrinthine subjective construction, which functions within the gigantic interdisciplinary macro-structure of Pasolini's body of work, demanding from its audience a comprehensive reading. Pasolini's authorial apparatus is deconstructed in this dissertation while following the making of Pasolini's incredibly complex body of work, which, crossing medium and disciplinary boundaries, includes poetry, narrative, film, but also theater, essays and even painting.

Este trabalho constitui uma análise histórico-antropológica de duas obras do médico, fisiólogo e antropólogo italiano Paolo Mantegazza (1831-1910). Trata-se, principalmente, de abordar o seu trabalho de escrita sobre o Amor. Pretende-se descrever como o autor, sobretudo em seu trabalho antropológico, introduz elementos à pesquisa do campo da sexualidade que não estavam na pauta de discussão de antropólogos que trabalhavam a partir do evolucionismo cultural; bem como as maneiras como Mantegazza apresenta certos problemas que serão longamente trabalhados por sexólogos e outros cientistas no decorrer dos séculos XX e XXI. Para isso, busca-se refletir em que medida seus argumentos estavam inseridos em um campo de conhecimento dividido entre as determinações da “natureza” e aquelas da “cultura” na classificação da vida social e que elementos de diferentes “ciências” o autor mobilizou para a formulação desses argumentos. A partir dessa discussão, intenciona-se problematizar uma forma específica do fazer antropológico no século XIX e a constituição da noção de evolucionismo tanto como um conceito fronteira quanto como uma ampla teoria que, junto ao Amor, tornaram possível dissertar sobre o sexo. / This work is a historical-anthropological analysis of two books of the Italian physician, physiologist and anthropologist Paolo Mantegazza (1831-1910). It is intended to describe how the author, especially in his anthropological work, introduces elements of research in the field of sexuality that were not in the agenda of anthropologists who worked from the cultural evolution; well as the ways Mantegazza presents certain problems that are extensively worked by sexologists and other scientists over the XX and XXI centuries. For this, we seek to reflect the extent to which his arguments were entered in a field of knowledge shared between the determinations of "nature" and those of "culture" in the classification of social life and how elements of different "sciences" was mobilized for the author to the formulation of these arguments. From this discussion, it intends problematize a specific way of doing anthropology in the nineteenth century and the establishment of the notion of evolution both as a concept and as a wide border theory, next to Love, made possible speak about sex.

acase@tulane.edu / 1 / Ariel Tusa

Bibliography: leaves 209-232.

L'attività pittorica di Giovan Paolo Lomazzo è stata fino ad ora poco considerata dalla critica, che si è per lo più concentrata sull'importanza del personaggio come poeta, scrittore in volgare e in "facchinesco" (una versione caricaturale del dialetto lombardo, Rime ad imitazione dei grotteschi, 1587; Rabisch 1587) e come critico d'arte (trattato dell'arte della pittura, 1584; idea del tempio della pittura, 1590). In realtà Lomazzo fu uno degli artisti milanesi più importanti negli anni tra la fine del sesto decennio e il 1571, quando una malattia agli occhi gli impedì di continuare l'attività pittorica; oltre ad un gran numero di ritratti di facoltosi personaggi legati a Carlo V e ai governatori spagnoli, oggi quasi del tutto perduti (ad eccezione dei due autoritratti di Brera e del Kunsthistorisches Museum di Vienna), Giovan Paolo eseguì anche numerose opere per le più prestigiose chiese milanesi, come le Due Crocifissioni per San Giovanni in Conca (ora rispettivamente nella parrocchiale di Valmadrera e a Brera), le pale per San Barnaba e la Pietà per San Vittore all'Olmo (oggi all'Ospedale Marchesi di Inzago). Lomazzo fu attivo anche a Piacenza, Lodi e Caronno, dove decorò l'abside di s. Maria Nuova. / The artistic activity of Giovan Paolo Lomazzo has been very little studied. Scholars have given their preference to his written work, published as a world famous poet (in Italian and in Lombard Dialect; the Grotteschi and the Rabisch, both published in 1587) and as art theorist (above all the Trattato dell'Arte della Pittura, 1584 and the Idea del Tempio della Pittura, 1590). Lomazzo was also a very important painter, one of the most Famous in Milan between 1560 and 1571, when he was compelled to stop his activity for a sudden eyes illness, which made him almost totally blind. He executed many portraits, which are almost totally lost (except from his two autoportraits, now in Brera and at the Kunsthistorisches Museum in Wien), and many religious paintings for important churches of Milan, such as two Crucifixions for S. Giovanni in Conca (now in Valmadrera, Parish Church and at Brera Gallery), the altarpiece in San Barnaba and the Pietà for San Vittore all'Olmo (now at the Hospital Church in Inzago). He worked also in Piacenza, Lodi and Caronno, near Varese.

Thèse (M.A.)--Université Laval, 2007. / Bibliogr.: f. [113]-119. Publié aussi en version électronique dans la Collection Mémoires et thèses électroniques.

Zugl.: Tübingen, Univ., Diss., 2005

Thesis (Ph. D.)--Princeton University, 1910.