La thèse porte sur la poésie de Marguerite de Navarre et Vittoria Colonna. Elle se concentre sur la codification de leurs poésies spirituelles et examine comment des formes littéraires traditionnelles sont combinées avec des idées religieuses nouvelles et transformées. Pour ce faire, la partie théorique de cette thèse développe une conception du code qui est ensuite appliquée aux poèmes des deux poètes. Dans une partie historique, la thèse explore l’évangélisme en Italie. Elle examine s’il existe en Italie un code évangélique comparable au code évangélique français. La thèse examine ensuite les sonnets spirituels de Vittoria Colonna. Ces poèmes sont édités et traduits en annexe. L’étude analyse également le poème "Le Balladin" de Clément Marot. Le corpus des textes analysés de Marguerite de Navarre comprend les rondeaux, les dizains ainsi que les chansons spirituelles. La thèse se focalise sur l’analyse de la codification et de l’interdépendance de la forme littéraire et de la pensée religieuse. / The thesis deals with the poetry of Marguerite of Navarre and Vittoria Colonna. It focuses on the codification of their spiritual poetry and examines how traditional literary forms are combined with new religious ideas and how they are transformed. To do this, the theoretical part of this thesis develops a conception of code that is then applied to the poems of the two poets. In a historical part, the thesis explores evangelism in Italy. It examines whether there is an evangelical code in Italy comparable to the French evangelical code. The thesis then examines the spiritual sonnets of Vittoria Colonna. These poems are edited and translated in an appendix. The study also analyses Clément Marot's poem "Le Balladin". The corpus of texts by Marguerite of Navarre includes the rondeaux, the dizains and the chansons spirituelles. The thesis focuses on the analysis of the codification and of the interdependence of literary form and religious thought.

This work deals with the personality of the English Cistercian monk and abbot of the 12th century Aelred of Rievaulx and his work "On Spiritual Friendship" (De spirituali amicitia). It aims to analyze Aelred's work in the broader context of Aelred's life, his other works and contemporary theological-philosophical concepts and ideals. It further intends to place him in the tradition of late ancient and medieval reflections on friendship and love with an emphasis on the monastic environment. The author made a translation and analysis of De spirituali amicitia's most important passages and compared them with Aelred's sources and originals. These include among others the work of Marc Tullio Cicero Laelius de amicitia, the writings of St. Ambrose and Augustine and the Bible. The thesis is concluded with an analysis of Aelred's "individuality", which is spread throughout his work and which is interpreted using the current discourse on individuality in the Middle Ages. Therefore, the author tries to define Aelred's place "between tradition and individualism".

Da tempo la critica letteraria si interroga sulla possibilità di riconoscere nella lirica di Johann Christian Günther il primo esempio di lirica soggettiva dopo la grande stagione retorica seicentesca. Gli studi tesi ad indagare il valore innovativo della sua poesia sono stati sinora dedicati quasi esclusivamente ai suoi Liebeslieder o Klagelieder; il presente lavoro si concentra invece sull'analisi dei suoi canti spirituali. La ricerca qui condotta intende dimostrare come anche nella geistliche lyrik Günther proponga spesso una rilettura in chiave personale, se non talora autobiografica, di motivi tradizionali, per quanto sopravvivano in essa elementi tipici della poesia barocca. Se i canti giovanili rimangono per lo più ancorati all'imitazione, scarsamente originale, di modelli preesistenti, le composizioni attribuibili alla fase più matura della produzione del poeta testimoniano un'evoluzione nel suo approccio alla materia sacra; tale evoluzione, rispetto alla quale si ravvisa, in particolare, l'influenza del pietismo, prende forma nell'elaborazione sempre più consapevole ed originale di motivi e tematiche. Il lavoro prende in esame diversi gruppi di liriche: il ciclo di Perikopenlieder noti come Geistliche oden uber einige Sonn- und Festtage des sogenannten Christlichen Jahres des Herrn de Sacy verfertiget; la Bibeldichtung güntheriana, i Weihnachtslieder e i Bußlieder dell'autore slesiano. / Critical interest in the rich literary production of Johann Christian Günther has been focussing on the possibility of recognizing in his poems the first example of subjective poetry after the great rhetoric season of the 17th century. Most studies investigating the innovative value of Günther's work concentrate on his Liebeslieder or Klagelieder. The present work concentrates instead on his religious poems, and aims to demonstrate that also in his geistliche Lyrik the author is able to offer a personal, sometimes autobiographical, reading of traditional themes, despite the persistence of typical baroque elements. While his early lyrics tend to remain faithful to the scarcely original imitation of pre-existing models, his later poems show a different approach to religious material. This evolution takes the form of a personal and conscious elaboration of spiritual themes, characterized by a considerable influence of pietism. The present research examines in particular Günther's Perikopenlieder, known as Geistliche Oden uber einige Sonn- und Festtage des sogenannten Christlichen Jahres des Herrn de Sacy verfertiget, his Bibeldichtung, his Weihnachtslieder and his Bußlieder.

Il lavoro propone la traduzione annotata del poema “Pogorel'ščina“ (Terra bruciata, 1928), una delle ultime opere di Nikolaj Alekseevič Kljuev (1884-1937), inedita fino al 1954, e mai apparsa in lingua italiana. La traduzione si mantiene il più possibile aderente al testo originale, che accosta il registro basso del canto popolare e quello alto letterario, liturgico ed epico. Le note al testo illustrano gli arcaismi e i localismi, tipici del linguaggio kljueviano, e approfondiscono alcuni motivi legati al folklore e alla tradizione ortodossa così come a quella vecchio-credente e settaria. Completano il lavoro i dati relativi alla storia redazionale del poema, la cronologia della vita e delle opere dell'autore, fra i protagonisti della cosiddetta “Età d’argento” della poesia russa novecentesca, e un’appendice iconografica. / Our work offers a commented translation of the poem “Pogorel'shchina“ (The Burned Ruins, 1928), one of Nikolai Alekseevich Klyuev’s (1884-1937) last works. It was composed in 1928, remained unpublished until 1954 and was never translated into Italian. In our translation, we have endeavoured to adhere to the original lexicon and syntax of the original text, which combines the low register of the folk songs with the upper, liturgical and epic register. In our notes to the text we illustrate the archaisms and localisms that are typical of Klyuev’s language and explore motifs related to the folklore, to the Orthodox tradition as well as to the Old Believers’ and sectarian tradition. Finally, our work includes the redactional history of the poem, the chronology of the life and works of the author, one of the protagonists of the so called “Silver Age“ of XXth century Russian poetry, and an iconographic appendix.