Zugl.: Bamberg, Univ., Diss., 2008

Ce travail arpente le domaine de ce qu’Albert Thibaudet nommait « la critique des artistes » pour montrer que, au cours de la seconde moitié du XXe siècle, ce genre de critique a constitué un véritable laboratoire permettant de sortir des impasses auxquelles avait conduit la vision autotélique de l’œuvre proposée par la critique formaliste et par la néo-avant-garde. Dans la première partie de l’étude on s’interroge sur l’évolution de la critique formaliste, en envisageant le tournant linguistique des années 1960 comme l’aboutissement naturel d’une révolution culturelle qui a eu lieu à la fin du XIXe siècle. En menant une analyse comparée entre la France et l’Italie, on observe les deux critiques formalistes en-dehors de leur rapport de filiation, et on brosse un modèle transnational qui montre qu’elles partagent la même conception de la littérature postulée par la néo-avant-garde. La deuxième partie du travail est consacrée à l’analyse d’une tendance relevable dans la critique des écrivains à partir de l’après-guerre, où une étude purement intrinsèque de l’œuvre d’art est mise en discussion. On propose une analyse comparée de la critique littéraire de Georges Perec, Michel Tournier, Philippe Muray, Tommaso Landolfi, Pier Paolo Pasolini et Pier Vittorio Tondelli, afin de souligner que leur pratique critique ne s’est pas limitée à une déclaration personnelle de poétique, mais elle a ouvert une voie alternative à l’exaspération des positions théoriques formalistes, en anticipant ou en prônant le dépassement d’une vision autoréférentielle de l’œuvre qui a caractérisé la littérature de la fin du XXe siècle aussi bien en France qu’en Italie. / My dissertation covers the field of what Albert Thibaudet called “the critique of artists” in order to show that, throughout the second half of the twentieth century, this form of criticism has given readers a different perspective on literature in comparison to that of the formalists and the neo-avant-garde. In the first part of my study, I examine the evolution of formalist criticism in the twentieth century, considering the linguistic turn of the 1960s as the natural outcome of a cultural revolution which took place at the end of the nineteenth century. By conducting a comparative study between France and Italy, I attempt to outline a transnational model which shows that the two formalist critiques share the same understanding of the literature postulated by the neo-avant-garde. The second part of my thesis is devoted to the study of one of the main tendencies in the critique of the writers since the Second World War, a tendency that called into question a purely intrinsic study of the work of art. Here, I propose a comparative study of the literary critique of Georges Perec, Michel Tournier, Philippe Muray, Tommaso Landolfi, Pier Paolo Pasolini and Pier Vittorio Tondelli, in order to underline that their critical practice has not limited itself to a personal declaration of their poetic views, but it has truly opened up an alternative approach to formalist theoretical positions. They refused to speak of literature as a secluded world, and by doing so they anticipated one of the most important features of the literature of the end of the twentieth century, both in France and in Italy.

Orientador: Carlos Eduardo Ornelas Berriel / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-22T05:54:12Z (GMT). No. of bitstreams: 1 Monteiro_ReginaMariaCarpentieri_M.pdf: 4936418 bytes, checksum: 16ab7559c30a6f7835948cf638b29448 (MD5) Previous issue date: 2013 / Resumo: O objetivo deste trabalho consiste em examinar A Cidade do Sol, utopia de Tommaso Campanella, redigida em 1602, sob o prisma da Filosofia do Direito. As leis da cidade fundam-se em uma lei eterna, que exprime a arte e a sabedoria divinas. O supremo soberano, Hoh ou Metafísico, detém o poder espiritual e temporal. Ele é ao mesmo tempo governante, cientista e sacerdote. A identificação do conceito de direito em A Cidade do Sol, as fontes das leis da urbe e os princípios norteadores de seu ordenamento jurídico deu se a partir do sistema penal e processual da cidade, dos usos e costumes imaginários dos habitantes, do sistema e forma de governo, das noções de Estado e indivíduo, autoridade e livre arbítrio e propriedade e trabalho. O estudo está dividido em três capítulos. O primeiro apresenta uma breve biografia de Campanella. O segundo trata de A Cidade do Sol e, brevemente, do gênero literário utópico. O terceiro aborda a filosofia jurídica na utopia. Um apêndice é dedicado às noções de lei natural e lei positiva desde o pensamento grego até o renascentista / Abstract: The purpose of this dissertation is to examine The City of the Sun, a utopian text written in 1602, by Tommaso Campanella, which considers the Philosophy of Law. The laws of the city lie in an eternal law, which expresses the divine wisdom. A supreme sovereign, Metaphysician or Hoh, holds laic and ecclesiastical powers. He is at the same time a governor, a scientist and a priest. The legal system guiding principles identification was developed based on the solar criminal justice system, on the inhabitants habits and customs, on the system and form of government, on the notions of State and individual, on the free will versus authority, on the working principle and property. The dissertation was divided in three parts. The first chapter is about Campanella's life. The second one examines The City of the Sun and the utopian literary genre. The third chapter discusses the juridical philosophy in Campanella's utopia. An appendix is devoted to notions of natural law and positive law from Greek thought until the Renaissance / Mestrado / Teoria e Critica Literaria / Mestra em Teoria e História Literária

Montréal Trigonix inc. 2018

Montréal Trigonix inc. 2018

Diss. Universität Heidelberg, 2006.

No description available.

Tout visage est structuré selon un ordre symétrique. La thèse explore les conséquences de cette spécificité formelle du visage sur la construction du portrait dans le contexte spécifique de la Renaissance. Elle débute par une remise en cause de l’approche neuropsychologique qui fait de la dissymétrie et de la partition du visage dans le portrait la simple expression d’un donné physionomique. À travers une réflexion autour de la symétrie et de la dissymétrie dans l’ordre de la représentation, notre recherche rend compte de l’intérêt de ces catégories esthétiques pour la compréhension des enjeux formels et philosophiques propres à la construction du portrait. Elle révèle également la richesse et la complexité des significations allouées à la symétrie et à la dissymétrie dans le cosmos culturel de la Renaissance, celles-ci allant parfois à contre-courant de nos représentations contemporaines. Une dernière partie de cette recherche est consacrée au symbolisme théologique séculaire distinguant entre le côté droit et le côté gauche du visage, un côté tourné vers le céleste, l’autre vers le terrestre, et à son influence sur l’art du portrait. La démonstration est rythmée par diverses études de cas, parmi lesquelles des analyses approfondies de portrait peints par Jan Van Eyck, Giovanni Bellini, Raphaël et Albrecht Dürer. / Every face is structured in a symmetrical order. This research paper explores the consequences of this formal specificity on the construction of the portrait in the particular context of the European Renaissance. It starts with a critique of the neuropsychological approach that makes the asymmetry and the distinction between the two sides of the face in the portrait the mere expression of a particular physiognomy. Through a reflection on the aesthetic categories of symmetry and asymmetry in the order of representation, the research demonstrates the interest of these concepts for the understanding of the formal and philosophical issues specific to the construction of portraits. It also reveals the richness and complexity of meanings assigned to symmetry and asymmetry in the cultural cosmos of the Renaissance, these ones sometimes going against the grain of contemporary representations. The final section is devoted to the secular theological symbolism distinguishing between the right side and the left side of the face, one side turned to the heavenly, the other to the earthly, and the resulting influence on the art of portraiture. The demonstration is punctuated by various case studies, including an in-depth analysis of portraits painted by Jan Van Eyck, Giovanni Bellini, Raphael and Albrecht Dürer.

La tesi propone uno studio monografico sul fiorentino Giovan Battista Strozzi il Giovane detto il Cieco (1551-1634), letterato e animatore di circoli culturali dalla Firenze medicea alla Roma barberiniana, attraverso la Milano borromaica e i cenacoli capitolini degli Aldobrandini e degli Umoristi. Nel primo dei tre capitoli che scandiscono la ricerca si è appuntata l’attenzione sulla partecipazione del Giovane alle attività di due vivaci consessi della sua città natale: l’Accademia Fiorentina e l’Accademia degli Alterati. Nel secondo è stata condotta una disamina dell’opera in versi – per la maggior parte ancora inedita – che comprende decine di epistole metriche in endecasillabi sciolti, un incompiuto poema in onore di Amerigo Vespucci, nonché un ricco corpus di madrigali, la cui stesura, nell’esperienza del Cieco, procedette di conserva con la speculazione teorica intorno alla nuova fisionomia cinquecentesca di questo antico genere lirico. La terza sezione si concentra invece sul contributo dello Strozzi alle discussioni di poetica (la ‘Commedia’ dantesca, il poema eroico, le unità aristoteliche) che accesero gli ambienti letterari italiani nella seconda metà del secolo XVI. Affiancando l’esegesi dei testi alla ricostruzione biografica – condotta su un ampio numero di documenti epistolari editi e inediti –, si è cercato di restituire il giusto spessore storico a ciascuno degli scritti presi in esame, ricostruendo i differenti contesti culturali in cui furono composti e scandagliando la fitta trama di relazioni – umane e letterarie – che si profila sullo sfondo di essi. Completano il lavoro una bibliografia delle opere antiche e moderne, un indice dei manoscritti e un indice dei nomi di persona. / The thesis proposes a monographic study on the Florentine Giovan Battista Strozzi the Younger also known as the Blind (1551-1634). He was a writer with connections in cultural circles across Renaissance Italy, including Medici’s Florence, Barberini’s Rome, Borromean Milan and the Roman cenacles of the Aldobrandini and the Humorists. The thesis consists of three chapters. The first chapter focuses on the participation of Strozzi the Younger in the activities of two lively groups in his hometown: the Florentine Academy and the Alterati Academy. The second chapter discusses his poetical works – for the most part still unpublished –, including dozens of versified epistles in loose hendecasyllables, an unfinished poem in honor of Amerigo Vespucci, as well as a rich corpus of madrigals. The drafting of this last corpus proceeded together with Strozzi the Younger’s theoretical speculation around the new sixteenth-century appearance of this ancient lyrical genre. The third section considers the contribution of Strozzi the Younger to the discussions on poetics (Dante’s ‘Comedy’, the heroic poem, the Aristotelian units) that went on in Italian literary circles in the second half of the sixteenth century. In this work, we aimed to restore the appropriate historical depth to each of the writings examined, through the exegesis of texts combined with the biographical reconstruction conducted on a large number of published and unpublished epistolary documents. We also tried to reconstruct the different cultural contexts in which these writings were composed and attempted to analyze the dense network of relationships, both human and literary, that loomed in the background. The thesis is completed by a bibliography of ancient and modern works, an index of manuscripts and an index of names.

L’argomento di questa indagine è la vicenda del carmelitano bretone Thomas Connecte, vissuto nella prima metà del XV secolo. Egli fece notevole impressione sui contemporanei quale ardente predicatore contro la moda del tempo, il gioco e il malcostume del clero. Convinto sostenitore dei propri principi e infiammato di zelo, intraprese un viaggio verso Roma per riformare i cardinali e lo stesso Papa. Giuntovi venne però processato per eresia e arso sul rogo durante i primi anni del turbolento pontificato di Eugenio IV. Il presente elaborato ha voluto ricostruire la figura storica di questo predicatore , utilizzando tutte le fonti, gli studi e le conoscenze disponibili attualmente, non perdendo di vista il processo di “mitizzazione” cui va incontro il suo personaggio dopo la morte. Il lavoro aggiunge alcune acquisizioni importanti che fanno luce sulla sua vicenda storica, quali il vero motivo della condanna, la data e il luogo dell’esecuzione. Emerge chiaramente dalle fonti come egli appartenga al gruppo di quelli che vengono definiti dagli storici “predicatori profetici e carismatici”. Egli scende in Italia al fine di riformare non solo l’Ordine, ritenuto corrotto, ma anche la Chiesa e gli stessi cardinali. Catturato, imprigionato e torturato viene giudicato eretico; accusato di aver celebrato messa e predicato pubblicamente senza essere sacerdote, e forse neppure carmelitano, viene bruciato al rogo. I superiori dell’Ordine sembrano appoggiare la condanna e fra i testimoni compaiono anche alcuni confratelli. Probabilmente l’Ordine temeva che il movimento di riforma da lui fondato creasse una spaccatura interna, come poi è effettivamente accaduto con la nascita della Congregazione mantovana. È proprio all’interno della Congregazione che la memoria del Connecte viene tramandata e “beatificata”. Durante gli anni di disputa con l’Ordine, sarà invece creata la figura leggendaria del “Beato Francesco Tommaso Dremellio di Francia”, che ben poco ha in comune col predicatore bretone, tranne alcuni particolari riconoscibili solo ai membri più vecchi della Congregazione. La memoria di Connecte trova eco anche all’interno della Riforma protestante, grazie ai carmelitani che vi avevano aderito, tra cui l’inglese John Bale. Anche qui lentamente si creerà la figura leggendaria di “Thomas Rhedon”, testimone della verità e precursore di Lutero e che acquisirà negli anni lo status di protestante ante litteram a scapito della sua reale figura storica. Il presente lavoro non ha la pretesa di aver trattato esaustivamente tutti gli aspetti emersi, ma ha cercato di aggiungere nuove acquisizioni agli studi finora condotti e di indicare nuove piste di ricerca interessanti. Chiude il tutto l’analisi di alcune fonti iconografiche che ritraggono il predicatore bretone e mostrano bene il passaggio dalla figura storica a quella leggendaria. / The subject of this research is the case of the Breton Carmelite Thomas Connecte, who lived in the first half of the 15th century. He made a strong impression on his contemporaries as a fervent preacher against the fashion of his time, against gambling and the immorality of the clergy. Firm upholder of his principles and inflamed with zeal, he set out on a journey to Rome to reform cardinals and even the Pope. But once he got there, he was tried for heresy and sent to the stake, during the first years of the turbulent papacy of Eugene IV. This paper was meant to reconstruct the historical figure of this preacher. For this purpose, all the sources, the studies and the knowledge currently available have been used, without losing sight of the “mythicization” process his character met after his death. This work adds some important acquisitions, which shed light on his historical vicissitudes, such as the real justification of his sentence and the date and the place of his execution. It is clear from the sources that he belonged to those called “prophetic and charismatic preachers” by the historians. He went down to Italy in order to reform not only the Order that he considered corrupted but also the Church and even cardinals. Captured, imprisoned and tortured, he was judged heretical; he was accused of celebrating Mass without being priest, and maybe not even being Carmelite, and he was sent to the stake. The Superiors of his Order seemed to support the sentence and among the witnesses there were also some of his brothers. Probably, the Order feared that the reform movement he had founded could create an internal rift, as it actually occurred with the birth of the Mantuan Congregation. And it was right inside the Congregation that the memory of Connecte was handed on and “beatified”. On the contrary, during the years of his dispute with the Order, it was created the legendary figure of the “Beatified Francesco Tommaso Dremellius from France”, who had little to do with the Breton preacher, out of some characteristics, that only the oldest members of the Congregation could recognize. The memory of Connecte was also echoed in the Protestant Reformation, thanks to Carmelites who adhered to it, like John Bale. Here also was slowly created the legendary figure of “Thomas Rhedon”, witness of the truth and forerunner of Luther, who acquired, in the years, the status of protestant ahead of his time, at the expense of his real historical figure. This work doesn’t mean to have dealt comprehensively with all the emerged details, but it has tried to add new acquisitions to the studies that have been carried out so far and it tries to suggest new interesting research tracks. The analysis of some iconographic sources close this paper. They portrayed the preacher and show clearly the passage from the historical to the legendary figure.