Cette thèse propose la première biographie intellectuelle de Bartolomeo Carli Piccolomini,un personnage de premier plan de la culture et de la vie politique siennoise des années1525-1535. L’objectif de ce travail est d’offrir une contribution à deux questions cruciales de laculture de la Renaissance italienne : d’un côté, le développement des académies et lefonctionnement particulier de ces intellectuels collectifs ; de l’autre, les formes et les effets dedes premières lectures des oeuvres majeures de Machiavel, hors Florence, avant même leurpublication, en 1532, à Florence et à Rome. Les Annexes de la thèse proposent la premièreédition critique des textes de Bartolomeo Carli Piccolomini, chancelier de la républiquesiennoise et lecteur « immédiat » du Prince et des Discours. Par ailleurs, la thèse démontre queCarli Piccolomini n’était pas un lecteur isolé de ces oeuvres. Il y a bien une réceptionsiennoise collective, qui se distingue des autres lectures connues jusqu’à présent. / This work offers the first intellectual biography of Bartolomeo Carli Piccolomini, anoutstanding figure in cultural and political life in Siena, between 1525 and 1535. Our goal is toshed new light over two major fields of the research in Renaissance Italian Studies: on the onehand, the study of academies, their development and collective operations; on the other hand,this work is a contribution for a better understanding of the forms and the effects ofMachiavelli’s early readership outside Florence, before the Prince and the Discourses were firstprinted in 1532. The “Annexes” volume offers the first critical edition of Carli Piccolomini’stexts. Bartolomeo Carli Piccolomini was chancellor of the Siennese Republic and one ofMachiavelli’s early readers. Our study shows that he was not the only reader of Machiavelli inSiena at that time. Indeed, our work brings to light a collective Siennese readership ofMachiavelli, which is very different from the way Machiavelli was read elsewhere during the16th Century.

Cette thèse a comme objet d'étude le processus de production du tourisme œnogastronomique tel qu'il a eu cours ces cinquante dernières années sur le territoire de la commune di Montepulciano, dans la province de Sienne (Toscane, Italie). Le tourisme œnogastronomique se révèle être un système de production qui intègre les stratégies de sujets publics et de sujets privés dans la construction d' "objets d'échange " monnayables qui ont la caractéristique d'être la plupart du temps immatériels.<p>Les pratiques principales, analysées au cours de cette recherche, mettent en évidence le caractère constant et répétitif de la construction de marchés locaux éphémères (Mugnaini 1997) qui deviennent les lieux privilégiés de la circulation de produits agroalimentaires et des biens immatériels incorporés en eux.<p>À l'intérieur de cette stratégie de développement économique local, le moment de l'échange correspond à la vente de marchandises dont la valeur est déterminée par le lien reconnu entre biens aliénables (les produits agroalimentaires) et biens inaliénables (le territoire et les biens artistiques, architecturaux et les paysages qu'il recouvre) (Papa 1999, Papa-Piermattei 2004, Siniscalchi 2002). La caractéristique qui ressort de l'étude du cas particulier de Montepulciano et du secteur œnogastronomique est l'intangibilité des "objets" échangés et la propension à se répandre du processus de marchandisation de l'immatériel qui va jusqu'au monnayage de l'expérience physique de la traversée de l'espace et de la perception du goût.<p>Ce processus est étroitement subordonné à la construction d'une segmentation de marché qui permet de mettre en valeur et de transformer une vaste gamme de possibilités de jouir du territoire en de potentiels produits à introduire sur le marché du tourisme international.<p>Les campagnes publicitaires et la vitrine télématique apparaissent comme le "moyen de transport" le plus efficace pour que de tels produits soient disponibles dans un "magasin" facilement accessible au touriste. Dans cette optique le marketing territorial est un véritable processus de production de marchandises immatérielles, fruit de l'intellect et de la créativité du publicitaire. De tels produits se concrétisent et circulent à travers la production d'images et de vitrines virtuelles comme les sites internet, qui parfois semblent construits exactement comme un étalage de supermarché avec des produits à la fois coordonnés et différenciés, porteurs de la marque de l'entreprise et construits dans un "packaging visuel" selon des règles spécifiques de psychologie sociale de la consommation. <p>Le processus de production de marchandises hautement différenciées correspond à l'idéation a priori de la correspondance entre segmentation du marché et construction d'idéaltypes de consommateur. Dans le cas spécifique du tourisme œnogastronomique la valeur immatérielle des biens, créée par l'incorporation des biens inaliénables du territoire, confère à la consommation de ces biens une valeur hautement symbolique. La conscience et la capacité de reconnaître la valeur symbolique de telles marchandises correspond de la consommation culturelle des biens symboliques, à une véritable stratification sociale, marquée par les réelles possibilités d'accès à la consommation des susdites marchandises (Bourdieu 1983[1979], Douglas 1985[1982]).<p>Le territoire de Montepulciano a été choisi pour l'ancienneté historique de son processus de valorisation des produits agroalimentaires de qualité et pour l'importance qu'a eu, au niveau local, le choix stratégique du tourisme vert, déjà effectif dès la fin des années '60. La construction du tourisme œnogastronomique comme choix stratégique de développement économique local met en évidence un processus visant à l'intégration sur le marché international d' "objets " valorisés et considérés comme un facteur économique entraînant, avant même de constituer un fondement identitaire de la ville.<p>La Toscane, ainsi que l'Ombrie, fait partie des premières régions italiennes à avoir lancé un processus de protection et de sauvegarde de son propre patrimoine agroalimentaire et œnogastronomique. Montepulciano est apparu comme un terrain de recherches intéressant et fertile pour faire ressortir les contradictions entre les choix locaux et les dynamiques communautaires, entre structures productives d'entrepreneurs et mode de production paysan, entre produits agroalimentaires comme biens de luxe et produits agraires comme biens nécessaires pour survivre. <p>L'observation des actions mises en œuvre par la Strada del Vino Nobile, considérée comme une des plus actives et efficaces, a permis d'analyser le tourisme œnogastronomique déjà en place et de faire ressortir les éléments de différenciation actuels par rapport aux autres contextes dans lesquels le phénomène se développe aujourd'hui.<p>\ / Doctorat en Sciences politiques et sociales / info:eu-repo/semantics/nonPublished

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This thesis is a study of self-knowledge in the writings of Catherine of Siena. The introductory chapter clarifies the kind of self-knowledge she is describing, viz. metaphysical self-knowledge which, in the case of mystics such as Catherine, blossoms into mystical self-knowledge. Catherine is then situated within the framework of her own era. A survey of catherinian literature follows. Since her major symbol for self-knowledge is the cell, the concept of the cell in the Church tradition of the West, and its influence on Catherine, is explored. The major aspect of the enquiry is the tracing of the chronological unfolding of Catherine's doctrine of self-knowledge, working with the texts themselves. This is done under the headings of her three main symbols for self-knowledge, la eel/a (the cell), la casa (the house) and la citta dell'anima (the city of the soul). Each of these sections is concluded with an interpretation of the significance of the unfolding of that symbol within Catherine's thought and the chapter itself is rounded off by an interpretation of the three symbols for self-knowledge in their integration and interconnectedness. Catherine communicates her experience of mystical self-knowledge by means of a complex system of images and symbols, all of which fit together to form a whole. This warrants an investigation into the role of the imagination, imagery and symbol in mysticism, and explores Catherine's use of imagery and symbol. The study shows Catherine's own gradual integration of mystical experience and ministry as it takes place within her experience and in the development of her thought. What we are able to see, by studying the texts, is the formation and strengthening of the underlying unity in Catherine between the inner movement of mystical love and outgoing concern for others which is redemptive love. These two are really one. / Christian, Spirituality, Church History and Missiology / D. Th. (Religious Studies)

This thesis is a study of self-knowledge in the writings of Catherine of Siena. The introductory chapter clarifies the kind of self-knowledge she is describing, viz. metaphysical self-knowledge which, in the case of mystics such as Catherine, blossoms into mystical self-knowledge. Catherine is then situated within the framework of her own era. A survey of catherinian literature follows. Since her major symbol for self-knowledge is the cell, the concept of the cell in the Church tradition of the West, and its influence on Catherine, is explored. The major aspect of the enquiry is the tracing of the chronological unfolding of Catherine's doctrine of self-knowledge, working with the texts themselves. This is done under the headings of her three main symbols for self-knowledge, la eel/a (the cell), la casa (the house) and la citta dell'anima (the city of the soul). Each of these sections is concluded with an interpretation of the significance of the unfolding of that symbol within Catherine's thought and the chapter itself is rounded off by an interpretation of the three symbols for self-knowledge in their integration and interconnectedness. Catherine communicates her experience of mystical self-knowledge by means of a complex system of images and symbols, all of which fit together to form a whole. This warrants an investigation into the role of the imagination, imagery and symbol in mysticism, and explores Catherine's use of imagery and symbol. The study shows Catherine's own gradual integration of mystical experience and ministry as it takes place within her experience and in the development of her thought. What we are able to see, by studying the texts, is the formation and strengthening of the underlying unity in Catherine between the inner movement of mystical love and outgoing concern for others which is redemptive love. These two are really one. / Christian, Spirituality, Church History and Missiology / D. Th. (Religious Studies)

Duccio’s Maestà, made between 1308 and 1311 for the high altar of Siena Cathedral, is one of the best-known works of medieval painting. Astoundingly complex, with dozens of individual fields and several narrative cycles, it measured around 15 feet or four meters square. It was, and long remained, the largest panel painting ever made. But why did its designers reach so far outside the bounds of normal altarpieces, and why did they stretch the media of panel painting to new heights? Replacing Duccio’s Maestà within its original Trecento context demonstrates that the altarpiece cannot be explained by either earlier Cathedral images or by earlier Marian panel paintings made for monastic churches, whose imagery the Maestà appropriated but drastically expanded. Instead, the creation of Duccio’s Maestà comes into clearer focus when understood in its original setting, the civic Cathedral. Santa Maria della Assunta comprised not just its particular physical space, but a political and economic one. Duccio’s Maestà interacted with the specific, material building, especially the Cathedral’s unique hexagonal crossing and its dense green-black and white stripes; both features may have contributed to a reading of the Maestà’s central Virgin as a symbol for Ecclesia, occupying her own Temple of Solomon. But the Maestà also crucially served as the backdrop to the city’s biggest annual holiday, the Feast of the Assumption. Though generally characterized by scholars as a unifying event, the Feast was in fact a means of social control, regulated by the state, where participation was enforced by law and on point of fine, and whose main event was the legally mandated presentation of candles to the Virgin in the Cathedral. Moreover, Duccio’s high altarpiece was commissioned during a troubled period: threatened by plotting nobles, and having steered the city through a sensitive election for a new bishop, the Government of the Nine was increasingly intent on regulating the Assumption Feast and the Cathedral’s commissioning body, the Opera del Duomo, which was largely funded through the wax donated on the Assumption. Confronted by unique pressures, Duccio and his unknown potential collaborators created unique solutions, contextualizing popular Marian imagery within the Cathedral’s theological and political concerns through the use of elaborate narrative cycles. Faced with the puzzle of fitting an entire image program onto a panel painting, Duccio privileged a coherent spatial setting, drawn largely through carefully-depicted architecture, that allowed him to keep figure size constant and that therefore to create a smooth spatio-temporal reading of the altarpiece; his arragement of the narrative scenes allowed for new meanings and cross-readings; Duccio further used different perspectival constructions to direct the viewer’s reading of the altarpiece. Duccio thus turned painting’s limitation, its lack of time, into a strength, showing new ways in which images could be deployed to interpret narrative; he also spurred a long conversation among artists on the very nature of their medium and what, exactly, it could accomplish: Within 40 years, four altarpieces, occasioned again by architecture, were commissioned for the Cathedral’s patronal altars. Located near to Duccio’s high altarpiece, these altarpieces would reflect their artists’ reception of Duccio’s Maestà. These radical works by Simone Martini and Lippo Memmi, Pietro and Ambrogio Lorenzetti, and Bartolommeo Bulgarini include the first narrative altarpiece and probably the first painting to pretend it is a view through a window in Western art. Above all, the patronal altarpieces demonstrate an interest in narrative, played out in the depiction of time and an attendant depiction of commensurate pictorial space.

The purpose of this study is to introduce the ten documents, written in the Italian language, registered by Riksarkivet, Stockholm. The oldest document being written in 1346 and the last one in 1520, they all belong to the European medieval period. The study provides the texts (sometimes contracted, sometimes partly translated from Latin), the cultural backgrounds to the texts and possible reasons why they are written in Italian. An additional question concerning the existence of people in Medieval Sweden who were able to read and understand Italian texts is discussed. The importance of the extension of the Italian language in the Mediterranean area as well as in the Levant is referred to as an explanation of the use of Italian in the documents. Important motives of the fact that some of the documents are being found in the Swedish archive are the activities of the Swedish Expeditions to the Vatican library as well as the life of Bridget of Sweden, who played an outstanding role in the political, cultural and political life in Europe in the fourteenth century. A short background to the studies at the Studio of Siena of a number of Swedish students is given and also to the foundation of the University of Uppsala. The study is concluded by presenting an evaluation of the ten documents.