This thesis examines the role of dialogic processes in representations of conversion narratives and expressions of poetic subjectivity across the works of four poets: Guittone d’Arezzo (c.1235-1294), Guido Guinizzelli (c.1230-1276), Guido Cavalcanti (c.1255-1300) and Dante Alighieri (1265-1321). The introduction proposes a definition of ‘dialogic processes’ drawing on theoretical models of performativity and dialogism. It presents the usefulness of these approaches to the analysis of narratives of conversion and accounts of subjectivity in poetry. Chapter 1 analyses Guittone’s conversion poetics in light of these processes and seeks to complicate the teleology of his narrative of self. Chapter 2 examines the poetry of Guinizzelli and Cavalcanti, first establishing the ‘poetic conversion’ of Guinizzelli in dialogue with his own and others’ poetry. It then examines Cavalcanti’s physiological performance of a polyphonic subjectivity and how far this poetic expression partakes in the dialogic processes previously discussed in relation to religiously inflected writing. Chapters 3 and 4 will explore the manifestations of these phenomena of dialogue and performance in Dante’s oeuvre with particular focus on the Commedia as a key site for intertextual interaction both with his own earlier texts and with the texts (and figures) of the other poets under discussion. These chapters will seek to reopen the teleological closure which Dante tries to impose on his vernacular predecessors, as well as on his own works. The weight of critical engagement with Dante’s predecessors has treated them as sources or reference points for Dante’s own praxis. I aim to consider Guittone, Guinizzelli and Cavalcanti on their own terms and in dialogue with one another before approaching Dante through these poets, thus reconstructing the networks of poetic dialogue in late medieval Italy, and situating Dante firmly within a dialogic tradition of narratives of self and conversion.

After World War II in Italy the cultural scene was in need of resuscitation. Artists searched for tools with which to revifify their works. Central to this, for many key figures in the fifties and sixties, was an engagement with English-language Modernism. This phenomenon has been widely recognised, but this thesis is its first sustained analysis. I draw together the receptions of three English-language Modernist authors – T. S. Eliot, Ezra Pound and James Joyce – who, as a triad, were instrumental in the radicalisation of the arts in Italy in the fifties and sixties. I show that their works were elevated as models of an experimental approach to language that was revisited by Italian artists – most notably by poets associated with the Neoavantgarde. The specific Modernist linguistic techniques which were adopted by the Italians that we will consider here are the mingling of languages and styles, the use of citations, and the perversion and manipulation of single words and idioms. The poets considered in most depth to exemplify this phenomenon are Edoardo Sanguineti, who was a major exponent of the Neoavantgarde, and Amelia Rosselli, who was more peripherally and problematically associated with the movement. Both poets desecrated the traditional language of poetry and energised their own poetry with recourse to Modernist techniques which they consciously and deliberately adopted from Eliot, Pound and Joyce. An unpicking of the mechanics of these techniques in Sanguineti's and Rosselli's poetry reveals that their texts necessitate an active mode of reading. This aligns with the intellectual ideas propounded by Walter Benjamin, Roland Barthes and Umberto Eco, all of whom grounded their theories on readership in analyses of the linguistic experiments of Modernism. Sanguineti's and Rosselli's poetry fulfil the characteristics of Eco's “open” work, Barthes' “polysemous” work, and bring about Benjamin's “shock-effect” in the reader. These radical linguistic techniques, appropriated from the Modernists, contribute to each poets' overall poetic projects – they enact Edoardo Sanguineti's anarchic and revolutionary impulses, and stage Amelia Rosselli's thematic conflicts.

La thèse a pour but l’analyse de l’évolution récente du droit civil français et roumain de la responsabilité civile au cours de la période précontractuelle. Nous avons privilégié une approche comparative entre les deux droits nationaux à la lumière des droits européens. Au cours de la période précontractuelle les parties sont libres de négocier comme elles le veulent, mais sans causer un dommage à leur partenaire. Il y a un lien qui se crée entre les parties et qui ne peut être rompu que conformément au principe de la bonne foi. Nous avons pu constater que le fondement de la responsabilité est assez controversé et varie d’un ordre juridique à l’autre. En effet, la responsabilité civile balance entre sécurité juridique, autonomie privée et liberté contractuelle. En résumé, la phase précontractuelle a connu de profondes transformations au cours de son évolution. À l’heure de l’harmonisation européenne, voire de la globalisation, les droits français et roumain subissent des modifications afin de clarifier des règles de plus en plus compliquées et notamment celles relatives à la responsabilité civile précontractuelle. / The thesis finds its main purpose in the study of the recent evolution of French and Romanian civil law of liability during the pre-contractual period. We favored a comparative approach between national rights, in the light of European laws. During the pre-contractual period, the parties are free to negotiate as they please, as long as they do not cause damage to their partner. A bond is created between the parties and it can only be broken in accordance with the principle of good faith. We noted that the basis of liability is fairly controversial and varies from one legal system to another. Indeed, the civil liability is balances between legal security, private autonomy and freedom of contract. In summary, the pre-contractual phase has experienced profound transformations in its evolution. At the time of European harmonization, or even globalization, French and Romanian law undergo modifications in order to clarify the most complicated rules, in particular those relating to pre- contractual civil liability.

Esta dissertação consiste de um memorial do processo de construção da performance das Seis Danças Romenas de Béla Bártok por uma perspectiva da cognição corporificada. Fundamentada na proposição de objetos sônico-gestuais coarticulados de Godøy (2006; 2011) e na abordagem gestual de Pierce (2007) esta pesquisa investigou através da prática artística como gesto e som modelam-se mutuamente e de que maneira esse processo contínuo influencia a concepção da obra e as relações entre performer, música e instrumento. Considerando que as vivências do corpo não se limitam à prática pianística, foram trazidas perspectivas de experiências externas que contribuíram para a consciência corporal e que proporcionaram insights relevantes para a condução do processo artístico. A abordagem metodológica reúne a Pesquisa Artística e a Autoetnografia no que concerne desvelar o conhecimento corporificado inerente a um processo de criação artística através da narrativa pessoal. A documentação do processo compreendeu: 1) anotações em um diário das vivências, aulas de piano e sessões de estudo; 2) gravações de vídeo de sessões de estudo; 3) gravações de performances ao longo do processo; 4) comparação entre a gravação final da performance da obra e a primeira gravação realizada em momento anterior à pesquisa. Estes registros foram examinados com o propósito de compreender o processo artístico de uma perspectiva de corpo e música em constante estado de devir, identificando os momentos de insights mais significativos, e mapeando os recursos criativos elaborados pela performer ao longo do processo. As reflexões da performer acerca do processo conduziram a um reconhecimento de si mesma como sujeito corporificado, a perceber a música como fenômeno essencialmente corporal, e a transformações na concepção da obra. O processo artístico centrado no corpo acarretou mudanças significativas na interação da performer com o instrumento, o desenvolvimento de um maior repertório gestual, um incremento dos recursos expressivos, e o refinamento da percepção auditiva, promovendo o desenvolvimento da criatividade e da autonomia artística, bem como da maturidade emocional. / This dissertation is the performer’s account of the process of constructing a performance of Béla Bártok’s Romanian Folk Dances from the perspective of embodied cognition. Based on Godøy’s proposition of gestural-sonic coarticulation (2006; 2011), and Alexandra Pierce’s gestural approach to piano performance (2007), this research investigated how gesture and sound shape one another, and how this continuous process affects the conception of the work and the relations between performer, music and instrument. Considering that lived experience exceeds piano practice, perspectives from extra-musical activities were considered due to their contribution towards promoting bodily awareness and insights that were relevant to the artistic process. The methodological approach draws from Artistic Research and Autoethnography in regard to uncovering embodied knowledge ingrained in the process of artistic creation through personal narrative. The documentation of the process comprised: 1) a journal describing practice sessions, piano lessons and extra-musical experiences; 2) video recordings of practice sessions; 3) video recordings of performances along the process; 4) a comparison between the final performance and the first recording of the piece made prior to the present research. These records were examined with the purpose of comprehending the artistic process from the perspective of body and music in a constant state of becoming, identifying the most meaningful moments of insight, and mapping creative resources devised by the performer during the artistic process. The performer’s reflections upon the process lead to recognizing oneself as an embodied subject, to perceiving music as an essentially corporeal phenomenon, and to transformations in the conception of the musical work. The artistic process centered on the performer’s body promoted significant changes in the performer’s interaction with the instrument, the development of a broader gestural repertoire, an increment in expressive resources, and the refinement of aural perception, fostering the growth of creativity and artistic autonomy, as well as emotional maturation.

La Constitution de la Roumanie de 1991, élaborée au début d’une période detransition d’un système totalitaire à un système démocratique, a inévitablement dû êtrerévisée. Si elle a défini un cadre juridique démocratique contribuant à la réinstauration et à lastructuration de la démocratie, la révision constitutionnelle intervient dans un cadre deconsolidation démocratique, avec un objectif principal : l’intégration de la Roumanie dans lesstructures euro-Atlantiques.Toutes les modifications apportées par la loi de révision pourraient être interprétées etjustifiées par cet objectif principal, compte tenu du lien entre la dynamique démocratisante etl’intégration dans les structures euro-Atlantiques.Trois finalités du processus de révision se dégagent dans ce contexte : l’institution desfondements constitutionnels de l’intégration euro-Atlantique et de ses effets, l’élargissementdes garanties constitutionnelles et institutionnelles des droits et des libertés fondamentaux etl’optimisation du processus décisionnel. Si les modifications présentées dans la premièrepartie sont directement liées à l’adhésion à l’Union Européenne et à l’OTAN, indispensables,les modifications répondant aux deux autres finalités sont d’influence ou d’inspirationeuropéenne, contribuant à la consolidation de la démocratie. / The Romanian Constitution of 1991, elaborated at the beginning of a period oftransition from a totalitarian system to a democratic one, needs undoubtedly to be revised. Ifthe Constitution defined a juridical democratic frame that contributed to the democraticrevival and settlement the revision of the Constitution responds to a period of democraticconsolidation related to a main objective: the integration in the European and North Atlanticstructures.All the modifications to the law brought on by the revision could be interpreted anddefended in relation to this main objective taking into account the relation between thedynamic of the democratization process and the integration in the European and NorthAtlantic structures.This revision process of the Romanian Constitution has three motivations related directlyto this context: the introduction of constitutional fundaments for the integration into theEuropean and North Atlantic structures and consequences of that integration, broadening theconstitutional and institutional warranties for fundamental rights and liberties and finally, theoptimization of the decision making process. If the revisions introduced in the first part weredirectly connected to the accession into the European Union and NATO, and thus essential,the revisions responding to the two other ends were influenced or based on a European modeland contributed directly to the strengthening of the young Romanian democracy.

La problématique traitée. Cette étude est dédiée à l’institution de la résolution unilatérale, c’est-à-dire, à la situation quand le contrat est anéanti par la déclaration unilatérale du créancier émise à la suite de l’inexécution importante d’une obligation contractuelle par le débiteur. Cette étude concerne principalement la résolution unilatérale légale comme elle a été consacrée dans l’article 1552 du Code civil roumain et les particularités de la résolution unilatérale conventionnelle. La distinction entre la résolution judiciaire et la résolution unilatérale a comme fondement la manière de laquelle la résolution opère. Ainsi, tandis que la résolution judiciaire est disposée par le juge, la résolution unilatérale est déclarée par la partie en droit. En conséquence, à l’exception de la manière dont la résolution opère, la résolution judiciaire et celle unilatérale ont le même régime juridique. Pour ces raisons la recherche exhaustive de ce sujet a supposé une analyse des éléments communs de la résolution. De plus, en vue de la manière de la rédaction et de la position des articles qui la concerne, ainsi comme des avantages offerts par cette manière d’opérer, la résolution unilatérale est prévue comme le moyen général d’anéantissement du contrat pour l’inexécution des obligations. En conséquence, dans le contexte du Nouveau Code civil roumain, pour traiter le sujet de la résolution unilatérale, une analyse complète du régime juridique de la résolution s’impose. Bien qu’en apparence, les résolutions du Nouveau Code civil roumain concernant la résolution n’apportent pas de modifications en substance par rapport au régime juridique de l’ancien Code civil roumain inspirée par le Code civil français, une analyse systématique des dispositions regardant l’exécution des obligations contractuelles mènent à une autre solution. Pour ce motif, on a choisi de commencer cette étude par la présentation des considérations générales en ce qui concerne la résolution (la Ière Partie), cela ayant comme finalité l’essai d’identifier les traits caractéristiques de cette institution, sa nature juridique et son fondement. A la suite, on a opté d’examiner les conditions pour que le droit à la résolution, les particularités de la résolution et de la résiliation unilatérale conventionnelle (la IIème Partie) et les effets de la résolution et de la résiliation (la IIIe Partie) [...] / The object. This study is dedicated to the unilateral termination of the contract in the situation when the contract is destroyed by the unilateral declaration issued by the creditor as a result of the significant breach of a contractual obligation by the debtor. This study mainly concerns the unilateral and legal termination of contract for breach as it was enshrined in Article 1552 of the Romanian Civil Code and also the case of the conventional unilateral resolution. The distinction between judicial termination of contract for breach and unilateral resolution of contract for breach is based on how the termination operates. Thus, while judicial termination of contract for breach is declared by the judge, the unilateral termination of contract for breach is declared by the party entitled. Excepting this distinction, the judicial termination of contract for breach and the unilateral one have the same legal regime. For these reasons this analyses focuses on the common elements of the termination of contract for breach. Furthermore, we believe that in this new legal frame the unilateral termination of contract for breach is intended as a general means of destruction of a contract for breach. This is the reason why in order to address the issue of unilateral termination of contract for breach we appreciated that a comprehensive analysis of the legal regime of the termination of contract for breach is required […]

Dario Fo (Nobelpreis 1997) ist einer der herausragendsten Erneuerer des italienischen Theaters des 20. Jahrhunderts. Ein Überblick über die wichtigsten Stationen seines künstlerischen Schaffens zeugt zunächst von Fos stetem Bemühen um innovative Ansätze in Bezug auf Theaterkonzeption und –praxis: immer gilt es, sich von den Konventionen des literarischen, bürgerlichen, subventionierten, weitgehend passiv rezipierten Theaters abzugrenzen und das Theater für das Publikum wieder ganzheitlich erfahrbar zu machen. Doch nicht selten geraten er und seine Truppe dabei in Konflikt mit den herrschenden politischen und gesellschaftlichen Umständen. Dies trifft auch auf sein Stück "Morte accidentale di un anarchico" (1970) zu, dessen Analyse im Zentrum dieser Arbeit steht. Ein realhistorischer Fall, der "Fall Pinelli" (bzw. "la strage di Piazza Fontana") 1969, diente Fo als Grundlage seiner sehr zeitnah entstandenen grotesken Farce, die aufgrund ihrer politischen Brisanz für Aufruhr sorgte und die auch im Ausland bis heute immer wieder auf den Spielplänen zu finden ist. Die Arbeit geht daher nicht nur auf die Produktion, Inszenierung und Rezeption des Stücks in Italien ein, sondern nimmt auch die Adaptationen und deren Rezeption in Frankreich und Deutschland in den Blick, wobei die italienspezifische Ausrichtung von Fos Theater (Rekurs auf Traditionen des italienischen Volkstheaters, Verarbeitung (tages)politischen Geschehens etc.) eine besondere Herausforderung für die fremdsprachige Bearbeitung des Stückes und seine Inszenierung darstellt. Neben den produktions- und rezeptionsästhetischen Grundbedingungen des Textes von Dario Fo werden in diesem Zusammenhang auch Spezifika der Bühnenübersetzung beleuchtet und Alternativen hierzu aufgezeigt, die auch bereits von Fos Truppe genutzt werden. / Dario Fo (Premio Nobel 1997) è uno dei drammaturghi e capocomici più innovatori del teatro italiano del ‘900. Verranno mostrate le tappe più importanti del suo percorso artistico che attestano una ricerca incessante di approcci innovativi per la concezione e la prassi teatrali: una lotta acerrima contro le convenzioni del teatro letterario, borghese, sovvenzionato e fruito in modo passivo. Comunque, cercando di ristabilire l’evento teatrale come esperienza olistica, Fo e la sua compagnia si ritrovano spesso in pieno conflitto con la realtà socio-politica e i suoi rappresentanti. Era anche questo il caso del pezzo "Morte accidentale di un anarchico" (1970) di cui questo lavoro presenta un’analisi. Scritta poco dopo la strage di Piazza Fontana (dicembre 1969) e quindi a quell’epoca di scottante attualità politica, questa farsa grottesca fece sorgere grandi tumulti e rimane finora uno dei pezzi più rappresentati, anche all’estero. Pertanto, questo lavoro contempla non solo la produzione, l’allestimento e la ricezione del pezzo in Italia, ma tiene anche conto degli adattamenti e della loro ricezione in Francia e in Germania. Verrà mostrata la sfida per gli adattamenti stranieri che risulta dall’italianità del teatro di Fo (ricorso alla tradizione del teatro popolare italiano, trattamento di fatti socio-politici quotidiani etc.). In questo contesto verranno spiegati anche elementi specifici della traduzione per la scena e indicata qualche alternativa che anche la compagnia di Fo già utilizza.

Introduction The beggars are one the most vulnerable and stigmatized groups in the European society and are determined to live in substandard conditions, characterized by lack of sanitation and overcrowdings, and bare the harsh weather conditions to earn their living. Often, they have limited access to healthcare and their lifestyle has a great impact upon their health. However, little is known about their own perceptions of their health and their strategies to keep it. Aim The aim was to explore the Romanian beggars’ perceptions of their health prior to and during begging, the perceived consequences of begging on their health, and their coping strategies to maintain health while begging in Uppsala, Sweden. Method Data was collected from 8 semi-structured interviews in Uppsala, Sweden during March 2015. The collected data was then analysed using manifest qualitative content analysis. Findings The Romanian beggars in Uppsala perceived their health status to be affected through their activity. Physical consequences involved developing new illnesses and conditions, but also aggravating previous health conditions, and mental consequences included degrading and marginalizing effects of begging, but also harassment from passersby. Access to healthcare in Sweden was limited and determined the beggars to develop alternative strategies for health management or to return to Romania for treatment.     Conclusion The health status was found to be both negatively and positively affected through complex interactions between the individual and the surrounding levels: social network, community, institutions and society. More attention should be given to this group from all levels to improve their health status.

Teilw. zugl.: Cambridge, University, Diss., 2004.

abstract: After being awarded the Nobel Prize for Literature in 2009, Herta Müller attained great prominence around the world. Commentators, especially in English-speaking countries, seemed shocked by the decision. One of the primary concerns was that Müller was relatively unknown. This thesis seeks to address this and other concerns by looking at reviews of her works in German- and English-language publications both before and after the Nobel Prize was awarded. This thesis analyses chronologically the reception of her books beginning with Niederungen in 1982 and ending with the reception of her novel Atemschaukel in 2009. It compares the reception of the original German text to that of the English translation; therefore only works which have been translated and published in English are discussed. The study also shows that while Müller's work did not top the bestseller charts, at least before the Nobel Prize, she was hardly the completely unknown author that some in the English-language media believed. This thesis seeks to present trends in the reception as well as provide a basis for further study of the reception of Herta Müller. / Dissertation/Thesis / M.A. German 2011