Dissertations / Theses on the topic 'Jean-Dominique'

Une œuvre de Watteau retrouvée par un particulier. Le récit de la découverte d'une peinture, et le long cheminement de son attribution : expertises scientifiques et analyses comparatives avec deux autres tableaux du maitre "l'enseigne de Gersaint" et "la danse". L'estampe "pour garder l'honneur d'une belle" de Cochin reproduit le tableau, mais d'évidentes différences entre les deux images témoignent des modifications qu'eut à subir l'œuvre peinte : réduction du format initial et suppression d'un des personnages. Ces changements paraissent avoir été effectués par l'artiste lui-même sur la recommandation pressante d'une autorité supérieure. La composition représente une scène de commedia dell'arte ou se mêlent des comédiens du théâtre de foire avec deux des plus célèbres acteurs de la Comédie-Française, tandis que Watteau parait en pierrot. L'œuvre avait un pendant. Par ses deux tableaux, exposes un seul jour, le 22 juillet 1713 au cours de la comédie foraine de Dominique "arlequin fille malgré lui", le peintre suggérait la réconciliation des quatre théâtres parisiens l'année de la paix des nations (Utrecht). Cependant Louis XIV vit encore : la comédie-italienne poursuit son exil depuis 1697, et l'idée même d'un rapprochement entre théâtres officiels et théâtres forains demeure répréhensible<br>A work of art by watteau rediscovered by a private individual. The account of the discovery and attribution of a painting : scientific appraisal and comparative analyses with two other paintings by a master "l'enseigne de Gersaint" and "La danse". The painting is reproduced in Cochin's engraving "pour garder l'honneur d'une belle", but obvious differences between the two works show that the painting has undergone a number of modifications : reduction in the initial size and elimination of one of the figures. These changes appear to have been carried out by the artist himself on the insistence of some higher authority. The composition represents a scene from the commedia dell'arte where actors from the theatre de foire mingle with two famous actors from the comedie francaise, while Watteau appears as a Pierrot. The work had a matching piece. With these two paintings, both exhibited on july 22, 1713 during the "comédie foraine" - "Arlequin fille malgre lui" by dominique, the artist is suggesting the reconciliation of the four parisian theatres in the year of the peace of nations (Utrecht). However Louis XIV is still alive : the comédie italienne has been in exile since 1697 and the very idea of a reconciliation between the official theatre and theatre de foire is still unthinkable

Cette étude porte sur la représentation de la déformation du corps humain, afin de défendre l’idée que ces exemples de corps déformés ont fini par engendrer de nouvelles recherches et des transgressions artistiques qui caractérisent le XIXe siècle français. Les œuvres de Hugo et de Ingres ont été choisies en raison de la richesse symbolique qu'y acquiert la déformation du corps humain, au confluent de plusieurs traditions mythologiques. Pour l’étude des corps déformés et de leur rôle dans la cosmogonie hugolienne, nous nous servirons d’une cosmogonie analogue : celle de Dante Alighieri qui a pu nourrir l’imaginaire hugolien auquel nous ajoutons le labyrinthe existentiel. Méthodologiquement, cette analyse sera faite à partir de la lecture de l’espace proposée par Greimas. Les axes orthogonaux y sont marqués par les personnages en établissant des emplacements spécifiques qui indiquent un langage à déchiffrer. Dans l’œuvre d’Ingres, notre but sera de mettre en relief la déformation du corps en tant que travail esthétique pour la révélation de la beauté plastique. La déformation anatomique caractérise déjà ses premiers personnages masculins et marque davantage ses figures féminines que nous étudierons plus en détail. Pour affiner cette démarche nous avons établi certaines relations avec d’autres peintres tels que son maître David, ou bien avec des sculpteurs comme son ami Lorenzo Bartolini, James Pradier et des écrivains comme Théophile Gautier et Hugo. Cette recherche s’appuiera sur plusieurs supports théoriques, indispensables pour s’orienter dans cet univers riche de références à l’Antique, au mythologique, au religieux, au sacré, au politique, au social, à l’artistique, au fantastique et au fantasmagorique. C’est pourquoi Phidias, Vitruve, Jean-Jacques Rousseau, Jorge Luis Borges, Mircea Eliade, Claude Lévi-Strauss, Michel Foucault, Umberto Eco entre autres sont évoqués pour aider à la compréhension de notre étude<br>This study focuses on the representation of the deformation of the human body, arguing that these examples of physical deformity have eventually engendered new research and artistic transgressions that characterise nineteenth century France.The works of Hugo and Ingres are focused upon on account of the symbolic richness derived from them with regard to the deformation of the human body, and the confluence of several mythological traditions. For the study of deformed bodies and their role in Hugo's cosmogony, we will use a similar analogous cosmogony: that of Dante Alighieri, which was able to feed the Hugolian imagination and to which we add the existential labyrinth. Methodologically, this analysis will be made by reading the space proposed by Greimas. Orthogonal axes are marked by characters in establishing specific locations that indicate a language to decipher. Regarding the work of Ingres, our goal is to highlight the deformation of the body as a work of aesthetics for the revelation of plastic beauty. Anatomical deformation already characterises his first masculine characters and mark still further his female figures which we have studied in more detail. To refine this approach we have established some relationships with other painters such as David, Ingres' Master, and with his friends the sculptors Lorenzo Bartolini, James Pradier and also with writers such as Théophile Gautier and Hugo. This research is based on several theoretical sources, they are essential to orient this rich universe of references to the Antique, the mythological, the religious, the sacred, the political, the social, the arts, and fantasy. This is why Phidias, Vitruvius, Jean-Jacques Rousseau, Jorge Luis Borges, Mircea Eliade, Lévi-Strauss, Michel Foucault, Umberto Eco among others are also discussed to help the understanding of our study

In contemporary, French phenomenology, a debate has arisen concerning whether phenomenology can allow for a certain kind of “theological” consideration. In particular, Jean-Luc Marion argues that the potential of the reduction has not been fully explored and that a full reduction to pure givenness in fact allows one to give an account of the paradoxical experience of the impossible beyond experience, which is described as a phenomenon of revelation and may include a Revelation of God. Marion’s claims have been considered contentious. As I interpret it, the debate plays out between 1) those who also admit that phenomenology can occasion a form of “theological” consideration, but maintain, unlike Marion, that it remains a more existential affirmation of the impossible beyond experience, represented by Jacques Derrida and John Caputo, and 2) those who refuse any role for this impossible beyond experience within phenomenology (and perhaps more generally), and insist that phenomenology be preserved as an essentialist science of the appearances, represented by Dominique Janicaud. I take the positions of Derrida and Caputo, on the one hand, and Janicaud, on the other, to each entail extreme consequences that ought to be avoided—the former resulting in a form of irrationalism and the latter converting phenomenology into a form of pragmatism. Furthermore, I find Marion’s basic claim, that the impossible beyond experience ought to have a role in shaping finite experience, to be worth investigating further. However, Marion concedes too much to the deconstructive position of Derrida and Caputo at the outset, and so I find that the philosophy of Hans-Georg Gadamer provides an opportunity to correct some of the deficiencies in Marion’s position, but also argue to a similar end as he does. I find that Gadamer’s position incorporates an implicit analogical structure between rational experience and the impossible, thereby permitting one to maintain the impossible as impossible, but also affirm a certain possibility for understanding it.

Deux cent soixante-quinze années se sont écoulées depuis la parution du conte « La Belle et la Bête » (1740), écrit par Mme de Villeneuve, qui a été repris par Mme Leprince de Beaumont en 1756. La notoriété de ce conte ne s’est jamais démentie. Au début du XXIe siècle, quatre auteurs de langue française ont proposé des réécritures de « La Belle et la Bête ». Dans le cadre de cette thèse, nous analysons ce corpus formé de deux romans (Le Roman de la Belle et la Bête de Bernard Simonay et Là où la mer commence de Dominique Demers), une pièce de théâtre (La Belle et la Bête de Laurent Péan) et deux albums pour enfants (Annabel et la Bête de Dominique Demers et Lisebelle & la Bête de Jean-Pierre Kerloc’h). Nous cherchons à montrer comment ces œuvres ont réactualisé l’histoire de « La Belle et la Bête » en développant les trois grands thèmes qui sont au cœur de ce conte : le monstrueux, le merveilleux et l’intrigue amoureuse.

Deux types de collections qualifient aujourd'hui le Muséum d'histoire naturelle de Grenoble, ses collections alpines et ses collections exotiques, laissant ainsi entrevoir les deux principaux domaines dans lesquels s'est inscrite une tradition : celle du domaine montagnard et les collections issues des voyages maritimes. Cette double orientation des collections nous a conduit à nous interroger sur d'autres origines pour le Muséum que le seul cabinet de minéralogie alpine connu à ce jour. Depuis les cabinets de curiosités dauphinois et grenoblois dont a hérité le Cabinet d'histoire naturelle de Grenoble à sa création en 1773, en passant par les travaux des frères Champollion dans les années 1810 jusqu'à l'arrivée massive des collections des navigateurs dauphinois dès 1839, dont celles de Clot-Bey, c'est toute la question du dessein construit, poursuivi de longue date, opposé au simple hasard, que nous posons. La période prise en considération va de 1773, date de la naissance effective du Cabinet d'histoire naturelle de Grenoble, à 1855, date de l'ouverture du Muséum de Grenoble. Notre travail comprend deux parties, s'organisant autour de deux périodes différentes : 1773-1808 : l'âge des fondateurs, inspirés par les Lumières. Cette première partie correspond à la mise en place du Cabinet d'histoire naturelle de Grenoble et montre le rôle central du savant Dominique Villars ; 1808-1855 : période qui voit, avec l'arrivée des Champollion au Cabinet se dessiner les prémices de la réflexion conduisant à l'avènement du Muséum. Cette deuxième partie est consacrée aux combats qu'eut à affronter le Cabinet d'histoire naturelle de Grenoble pour se transformer en Muséum<br>The Natural history museum of Grenoble is currently composed of two different types of collections: the alpine and the exotic collections. It highlights a real tradition in Grenoble: collecting specimens from the mountains but also from the sea. The double orientation of the collections allowed us to find out other origins and ancestors to the Museum, proving that it is more than a simple cabinet of alpine mineralogy. From the cabinets of curiosities of the province of Dauphiné and of Grenoble, through the works of the Champollion brothers around 1810, till the massive arrival of sailors' collections from 1839 such as Clot-Bey's, our purpose is to demonstrate the existence of a constant design which has nothing to do with chance. On the contrary, it corresponds to a deep interest of the naturalists in Grenoble, from the origins in the 18th century to the creation of the Natural history museum in the 19th century. The period we study goes from 1773, when the Natural history cabinet of Grenoble was born, to 1855 with the opening of the Natural history museum of Grenoble. This work is divided into two parts corresponding to the two main periods: 1773-1808: the age of the founders, inspired from the Enlightenment. This first part corresponds to the setting up of the Natural history cabinet of Grenoble and puts the spotlight on the core role of the naturalist Dominique Villars. ; 1808-1855: with the arrival of the brothers Champollion at the head of the cabinet, the reflection which led to the birth of the Museum began. Thus, this second part is devoted to the struggles the Natural history cabinet of Grenoble had to face in order to be transformed into a Museum

En 1667, commence la construction de l’Observatoire à Paris. Dès son origine, c’est un projet qui représente une rupture dans l’Europe des savoirs. On le conçoit comme un magnifique palais installé dans un vaste parc au milieu d’autres constructions plus légères. Idéalement, les savants de la nouvelle Académie des sciences, fondée dans un même geste, pourront y loger, s’y réunir et y trouver toutes facilités pour se livrer à la pratique savante. Pour le roi, il s’agit avant tout de développer les connaissances astronomiques et géographiques : l’Observatoire est le réservoir de cette expertise cruciale et le symbole de son pouvoir et de son rayonnement.Au carrefour des sciences studies, de l’histoire des pratiques d’observation astronomique et des études sur les correspondances savantes à l’âge classique, cette thèse a pour objet de revenir sur l’histoire de l’Observatoire, en interrogeant à nouveaux frais les contours précis du projet initial et les modalités de sa mise en œuvre dans le Grand Siècle, qui correspond aux premières décennies de son existence. Revisitant les travaux classiques des historiens des sciences, notre étude se structure autour d’un ensemble considérable de lettres et de notes inédites de Giovanni Domenico Cassini et de ses correspondants. Professeur d’astronomie à Bologne jusqu’en 1669, astronome royal et premier savant courtisan de Louis XIV par la suite, Cassini est appelé en France pour donner un avis sur le bâtiment en construction. Il y vivra et travaillera pendant tout le Grand Siècle : ses manuscrits constituent une source particulièrement riche pour étudier cette institution, réinterroger les choix fondamentaux la concernant et suivre l’évolution de son dessein.De cet examen, nous concluons que bien que d’autres lieux d’observation céleste aient existé auparavant, Cassini invente une nouvelle forme d’organisation de la pratique savante. Fonctionnant sans règles explicites, l’Observatoire innove cependant grandement dans l’organisation du travail collectif au sein d’un établissement dédié à la pratique astronomique et dans la constitution de réseaux d’observateurs aux quatre coins du monde travaillant de manière coordonnée à la poursuite d’un projet commun au service de la monarchie. Nous montrons que le savant organise l’Observatoire autour d’un concept qui provient de son travail sur les méridiennes italiennes, l’esattezza des mesures et de l’écart entre terre et le ciel. Les techniques de l’Observatoire se répandront ainsi grâce à lui : les réseaux de sociabilité de l’Italien conditionneront le fonctionnement quotidien de l’établissement et la circulation des savoirs dans la ville et dans le monde entier<br>In 1667, the construction of the Observatoire de Paris began. From the very beginning, it was a project that represented a breakthrough in the Europe of knowledge. It was conceived as a magnificent palace set in a vast park in the middle of other lighter constructions. Ideally, the savants of the new Académie des sciences, founded in a single act, will be able to stay, meet and find all the facilities to engage in scholarly practice. For the king, it is above all a question of developing astronomical and geographical knowledge: the Observatoire is the reservoir of this crucial expertise and the symbol of its power and influence.At the crossroads of the science science, the history of astronomical observation practices and the studies on correspondence in the classical age, the aim of this thesis is to return to the history of the Observatoire, questioning once again the precise outlines of the initial project and the methods of its implementation in the Grand Siècle, which corresponds to the first decades of its existence. Revisiting the classic works of historians of science, our study is structured around a considerable number of letters and unpublished notes by Giovanni Domenico Cassini and his correspondents. Professor of astronomy in Bologna until 1669, royal astronomer and first courtier of Louis XIV thereafter, Cassini was called to France to give an opinion on the building under construction. He lived and worked there throughout the Great Century: his manuscripts constitute a particularly rich source for studying this institution, questioning the fundamental choices concerning it and following the evolution of its purpose.From this examination, we conclude that although other celestial observation sites have existed before, Cassini invented a new kind of organisation of pratique savante. Functioning without explicit rules, the Observatoire nevertheless greatly innovates in the organisation of collective work within an establishment dedicated to astronomical practice and in the constitution of networks of observers around the world working in a coordinated manner in pursuit of a common project at the service of the monarchy. In the thesis we show that the savant organises the Observatory around a concept that comes from his work on the Italian meridians, the esattezza of measurements and the gap between Earth and Sky. The techniques of the Observatoire will spread thanks to him: the networks of sociability of the Italian will condition the daily functioning of the establishment and the circulation of knowledge in the city and throughout the world

Non contente de décliner le corps déchu en diverses dramaturgies, l'expérience tragique de l'humain se manifeste, chez des artistes tels que Géricault, par un morcellement systématique des formes. Une telle problématique au XIXe siècle fait advenir la question du fragment dans l'économie d'une remarquable subversion. Le fragment est la manifestation d'un ordre corrompu, la trace d'une distorsion dans la dialectique du tout et de la partie. Les fragments et les têtes de suppliciés revendiquent le désordre de l'image du corps, la dislocation à valoir en soi et pour soi. Faire entrer des fragments dans la cohérence d'un univers imaginaire selon un ordre qui défie celui de la vie elle-même, met clairement en lumière une esthétique novatrice. Avant d'analyser ce drame collectif que fut le Radeau de la Méduse, nous avons mis en parallèle la technique du clair-obscur chez Géricault et celle utilisée par quelques-uns de ses contemporains : Prud'hon, Girodet et Guérin. L'expérience a sans aucun doute donné aux artistes en question l'opportunité de réaliser d'admirables morceaux de peinture. Mais elle fut toujours traitée à travers le prisme déformant d'un idéal du corps qui donne finalement un portrait affadi du statut dramatique du sujet. Le Radeau relève également d'une esthétique du fragment. Dans ce chef-d’œuvre, il nous est apparu qu'à l'origine se trouvent des forces qui agissent très fortement dans le sens d'une faillite. Je veux signifier qu'à l'épreuve du réel, l'artiste est mis en difficulté. Le morcellement semble avoir été la solution à ce problème qui signe son œuvre d'un bout à l'autre. Fragmentation et espace iconique chez Ingres et Delacroix semblent avoir partie liée au même titre que ceux de Géricault et paraissent rencontrer des difficultés identiques. La "fin de siècle" n'a pas éclipsé la violence des propos picturaux mais elle l'a prise en charge par le biais de la représentation d'une forme théâtrale poussée a l'extrême : le mélodrame.<br>It not only explored the fallen body through various dramatic arts but the tragical experience also expressed itself in the works of artists like Géricault with the systematic splitting up - of shapes and figures. Such a problematic rises the problem of the fragment in the general organization of a remarkable subversion. The fragment is the expression of a corrupted order as well as the feature of a distortion in the dialectics of the whole and the bits and pieces. The fragments and the tetes de supplicies claim the disorder of the body image, a dismemberment with its own value. Having fragments being a part of the coherence of an imaginary world according to an order defying the one of life itself reveals an innovative aesthetic. Before analyzing the Radeau de la Méduse, I set a parallel between Géricault's chiaroscuro technique and the one used by some of his contemporaries like Prud'hon, Girodet and Guérin. The experience gave artists the opportunity to create master works but it was always dealt with through the distorting mirror of an ideal body which renders a somewhat dull portrait of the dramatic status of the subject. The vision is like lined up with a veil that hides all its depth and its extent. It's not enough to present characters whose fate is sealed to see the tragic consequences of the human appear. Le Radeau de la Méduse belongs to the aesthetic of the fragment whose amazing modernity i already tried to highlight. It became apparent that there are forces at work tending toward a feeling of failure. The parcelling Géricault uses sems to have been the solution to that problem. Delacroix and Ingres's fragmentation the body and iconic space seem to be related like Géricault's and appears to come across the same difficulties. This leads us now to show that we do not deal with fates but with real dramatic arts of degeneration. The end of the century overshadowed violence with similar destructive forces but acknowledge through theatre - melodrama

The thesis is devoted to the work of the French writer and philosopher Donatien Alphonse François de Sade and three female 20th-century French novelists Laure, Pauline Réage and Jeanne de Berg, whose work draws inspiration from Sade's. In the first part of the thesis we focus on the Marquis de Sade. First, we recount the key events in Sade's adolescence and family life, his sexual indulgences and particularly his lengthy imprisonment, as these had profound influence on his work. Next we highlight the relevant historical incidents of his time and discuss the position of his work within the so- called libertin literary movement. Then we proceed to analyze the themes and motifs of Sade's three pivotal books: 120 Days of Sodom (Les Cent Vingt Journées de Sodome), Justine (Justine ou les Malheurs de la vertu), and Juliette (Histoire de Juliette). Our analysis points out a deeper philosophical message that can be found behind erotic themes of Sade's work. In the final sections we describe the fate of Sade's legacy in the 19th century and also his rehabilitation in the 20th century, when his writings have finally been critically studied and his collective works published. The second part of the thesis concentrates on Sade's female followers in the 20th century: Collette Peignot alias Laure (Laure: Écrits),...

Tese de doutoramento, Belas-Artes (Desenho), Universidade de Lisboa, Faculdade de Belas-Artes, 2012<br>Partindo da ideia enraizada da semelhança como critério de figuração, recupera-se o debate entre o que há de convencional, de natural, de inato e de cultural nas representações tendo como eixo director o desenho enquanto disciplina primordial nas artes visuais. O estudo centra-se nos paradigmas da figuração e de semelhança que têm vigorado na tradição pictórica ocidental, sobretudo balizados entre dois marcos históricos fundamentais: da invenção da perspectiva à invenção da fotografia. O enfoque explora com particular relevância as relações entre a praxis do desenho e os modelos de representação assentes na ideia seminal de projecção. Destaca-se o arquétipo da imagem projectada, consubstanciada nas visões da perspectiva e da óptica, pela sua relevância enquanto paradigma de representação que acabaria por vigorar na nossa cultura visual. Neste contexto, elege-se a relação entre desenho e dispositivos ópticos, nomeadamente a câmara obscura e a câmara lúcida, enquanto modelo paradigmático do desejo de verosimilhança, legitimada pela ideia neutral de “olho artificial”. A investigação das ligações entre arte e óptica passa em revista certos aspectos do debate levantado por David Hockney (2001), discutindo e sublinhando pontos ainda não explorados. Abordando as questões da vista e do retratar, os dois casos de estudo de fundo, centrados nos desenhos de Antonio Canaletto e de Jean-Auguste-Dominique Ingres, são sintomáticos das flutuações da semelhança entre aquilo que designamos por “visão objectiva” e “olhar subjectivo”. Do confronto entre conceitos de ponto de vista, conformidade, precisão ou invenção, consequentes da relação entre imagem óptica e desenho de observação, a tese procura demonstrar a relatividade e os paradoxos da semelhança na representação, nas suas dimensões de verdade, credibilidade, fidelidade, ilusão, imitação, informação ou inculcação. Este confronto é explorado com o complemento de trabalho prático aplicado no desenho com dispositivos ópticos, disponibilizando dados de pesquisa originais e material de reflexão inédito<br>Starting from the deep-rooted idea of resemblance as a criterion for the figure, we recall the debate between what is conventional, natural, innate and cultural in representations, taking drawing as a primary discipline in the visual arts. The study focuses on the paradigms of figuration and likeness that have prevailed in the Western pictorial tradition, particularly marked out between two key milestones: from the invention of perspective to the invention of photography. The approach exploits with particular relevance the relations between the praxis of drawing and the models of depiction based on the seminal idea of projection. We emphasize the archetype of the projected image, embodied in the views of perspective and optics, as a relevant paradigm of representation witch becomes a standard in our visual culture. In this frame view, we elect the relationship between drawing and optical devices, specifically the camera obscura and the camera lucida, as paradigmatic models for the ambition of verisimilitude, legitimized by the idea of a neutral "artificial eye". Research on the basis of art and optics review certain aspects of the debate raised by David Hockney (2001), discussing and highlighting some cases that have not yet been explored. Putting in question the subject of view and portraiture, the two main case studies, focused on the drawings of Antonio Canaletto and Jean-Auguste-Dominique Ingres, are symptomatic of the balance on the similarity between what we call "objective view" and "subjective look." From the confrontation between the possible concepts of conformity, point of view, accuracy or invention, arising from the relationship between optical image and drawing from observation, the thesis seeks to demonstrate the paradoxes and the relativity of similarity in depiction, in its dimensions of truth, credibility, fidelity, imitation, illusion, information or inculcation. This confrontation is explored with the complement of a practical fieldwork applied in the drawing with optical devices, providing original research data and new material for reflection<br>Fundação para a Ciência e a Tecnologia (FCT)

This investigation searches for a better understanding of what really occurs in a session of Philosophy with Children, how it develops regarding the nature of the object in discussion (written text or work of art) and how the connivance of the space where it occurs manifests. From the understanding of the resulting phenomena, this research anticipates the possibility os re-defining the approach to Philosophy with Children established by Matthew Lipman (1922-2010), in order to integrate the same qualities that emerge from that John Dewey (1859-1952) understand by aesthetic experience. In order to achieve this investigação, the participation of children with traits that would positively responde to the needs of this research were considered, meaning children having a structured linguistc knowledge and for whom a philosophical discussion did not constitute a novelty to wich they would have to adapt to. We proceed organising sessions of Philosophy with Children, starting with discussion of written work in their regular classroom, wich allowed us to establish a baseline; and sessions debating art work in several museums (or culturl venues), in order to observe how the Philosophy with Children adapts accordingly with the nature of a sensible object. The importance of participation of children in a discussion of an art work allows them an enrichment resulting from the aesthetic experience, not as a separated activity from the educational context, but as something integrated and integrator of ideas and stimuli, in a cared for perspective of other languages and meanings. In this context, the observing child’s perception will invoke the construction of a visual thought process that will reveal itself in individual shared narratives and re-integrated in a context wich is identical to the one they have been practice on, meaning, a research community. Therefor, Philosophy with Children with discussion of art works, not only promotes a thougt that is intended to be a superior order, but also can be educational for citizenship which, in the context designed by this investigation, will signify the effective education of an aesthetic human beign

Lo scopo della presente tesi è di ricostruire e di analizzare la percezione delle feste patronali in Sicilia da parte dei viaggiatori stranieri sulla base delle loro relazioni, cercando, dove possibile, di provare che le suddette celebrazioni, oltre a rappresentare un semplice elemento del folklore, sono state riconosciute dai forestieri come un fenomeno straordinario e complesso, elemento immutabile ed inscindibile della vita privata e pubblica in Sicilia. Sulla base dei prescelti odeporici cercherò di dimostrare che per i viaggiatori stranieri che secondo me dimostravano una buona conoscenza dell’Isola e della sua storia, le celebrazioni costituiscano un elemento importante della cultura siciliana, e che la loro descrizione sia indispensabile per fornire un’immagine completa della Sicilia. La mia analisi dei testi segue l’ordine cronologico dei viaggi e spazia dagli anni Settanta del Settecento fino a metà Novecento. Lo studio parte dal Settecento, il secolo delle grandi scoperte, delle esplorazioni e del nascente interesse per l’antropologia. Il secolo in cui l’invenzione seicentesca del fenomeno del Grand Tour, cresce in maniera esponenziale e in cui finalmente il viaggio in Sicilia comincia a rappresentare un altro ramo di esso. L’immagine della Sicilia come terra lontana e ignota cambia decisamente insieme alla diffusione di A Tour Through Sicily and Malta in a series of letters to William Beckford, Esq. Of Somerly in Suffolk; from P. Brydone F.R.S. [Viaggio in Sicilia e a Malta, 1773], prima relazione sottoposta all’esame nella presente dissertazione. Pubblicata nel 1773 è l’esito del viaggio compiuto da Patrick Brydone (1736 ‒ 1818) nel 1770. Lo studio delle rappresentazioni delle feste patronali nei testi odeporici si conclude con l’opera di Roger Peyrefitte (1907-2000) Du Vésuve à l'Etna [Dal Vesuvio all’Etna, 1952] in cui viene descritta la Sicilia nel periodo del secondo dopoguerra. La ricerca si ferma a metà del Novecento perché il dinamico sviluppo dei mezzi di trasporto e la diffusione allargata del benessere trasformano la “fisionomia” e il significato del viaggio. La dissertazione è suddivisa in due parti: quella teorica che comprende i primi due capitoli e quella analitica suddivisa in tre capitoli che corrispondono alle epoche: Settecento, Ottocento, Novecento. Tale sistema convenzionale mira a delineare cronologicamente l’immagine delle feste patronali, tenendo conto delle diverse tendenze nella letteratura del viaggio e delle trasformazioni politiche e sociali, il che facilita anche la comprensione di affinità e divergenze nel modo di rappresentare le feste nei vari secoli e rileva varie evoluzioni. Il bagaglio culturale dei viaggiatori, così come gli stereotipi esercitano un importante ruolo nella percezione della cultura del luogo di arrivo, dunque in primis si analizza fino a che punto i preconcetti persistono a confronto con la realtà; inoltre è stato analizzato il ruolo che i luoghi comuni svolgono nella descrizione del mondo. Dopo aver presentato le opinioni dei 2 sociologi sull’argomento, vengono esposte le idee degli studiosi del viaggio nonché dei viaggiatori stessi, presi in esame nella dissertazione. È un excursus storico sulla formazione della consapevolezza del viaggiatore di essere estraneo e della tolleranza verso il nuovo che spesso tende a risultare incomprensibile o addirittura inaccettabile. In questa parte viene presentata l’autocritica di alcuni viaggiatori e il senso di responsabilità per la formazione delle opinioni sulla nazione trattata. Successivamente la relazione di viaggio viene rappresentata nel contesto letterario. In primo luogo si parla dello sviluppo del genere odeporico in senso lato per poi individuare gli elementi che legano questo tipo di scrittura alla letteratura autobiografica. Inoltre, nella tesi vengono trattati gli sviluppi storici del culto dei santi e delle feste patronali in Sicilia, parallelamente all’attività della Chiesa cattolica. Analizzando il tema strettamente legato alle ricerche sul folklore sarebbe inopportuno omettere Giuseppe Pitrè il quale nei suoi studi sulle feste patronali sfruttò le relazioni degli stranieri come le fonti. L’analisi dei seguenti testi si svolge cronologicamente e visto che le origini dei viaggiatori e i fatti della loro vita incidono in modo significativo sulla rappresentazione del mondo, si riteneva giusto introdurre ogni viaggiatore con un ampio profilo biografico. In seguito le relazioni odeporiche vengono sottoposte ad un’analisi che mira ad individuare il significato delle feste patronali per la cultura siciliana, il significato che vi attribuivano i viaggiatori e i fattori che influenzarono la loro ottica, per poi ricostruire nelle conclusioni l’immagine delle feste patronali in Sicilia dalla prospettiva dei viaggiatori stranieri e indicare le affinità e le divergenze nel modo di rappresentarle e la loro valutazione.<br>Celem rozprawy jest przeprowadzenie analizy pozwalającej prześledzić i zinterpretować postrzeganie sycylijskich świąt patronalnych przez zagranicznych podróżników na podstawie relacji z podróży. Teza zakłada, że niniejsze uroczystości były przedstawiane nie tylko jako jeden z wielu przejawów folkloru sycylijskiego, ale odbierano je jako niezwykłe, a przy tym złożone zjawisko, charakterystyczne dla kultury sycylijskiej, jak również nieodzowny element życia prywatnego i publicznego mieszkańców wyspy. Na podstawie wybranej literatury podróżniczej wykazuję, że święta patronalne zdaniem cudzoziemców stanowiły ważny element sycylijskości [sicilianità – termin w języku włoskim, który określa zbiór cech i zachowań, które są typowe dla mieszkańców Sycylii], a pominięcie tego zjawiska w opisach z podróży zubożyłoby w znaczący sposób obraz Sycylii i Sycylijczyków. Analiza tekstów kieruje się porządkiem chronologicznym, co ułatwia prześledzenie sposobu postrzegania tych świąt i religijności ludowej na przestrzeni od końca XVIII do połowy XX wieku. Badanie rozpoczyna się od analizy dzieła Patricka Brydone (1736 ‒ 1818) A Tour Through Sicily and Malta: In a Series of Letters to William Beckford, Esq. Of Somerly in Suffolk; from P. Brydone F.R.S. (1773. Badanie zamyka analiza dzieła Du Vésuve à l'Etna (1952), francuskiego pisarza Rogera Peyrefitta (1907-2000), w którym zostają zawarte wrażenia z licznych pobytów na Sycylii z okresu po drugiej wojnie światowej. Dyskurs zamyka się na połowie XX wieku ze względu na dynamiczne przemiany, które przeobraziły oblicze podróży czyniąc z niej zjawisko masowe. Szerokie spektrum odniesień, nie tylko historyczno-literackich, ale także historycznokulturowych czy społecznych, w jakim teksty są odczytywane, zdeterminowały podjęcie w rozdziale I rozważań teoretycznych na temat wpływu stereotypów na odbiór kultury odwiedzanego miejsca przez podróżników, a następnie, w kolejnym podrozdziale, zostały przedstawione refleksje samych autorów analizowanych tekstów traktujące o granicach poznania i zrozumienia kultury, z którą ma się przelotny kontakt. W dalszej części pracy zostają poruszone kwestie dużego zróżnicowania i specyfiki literatury podróżniczej, jak również zostaje przedstawione spojrzenie na wspomnienia z peregrynacji w świetle badań nad literaturą autobiograficzną. Święta patronalne nie mogą być analizowane jako element kultury sycylijskiej abstrahując od historii tej wyspy, jej regionu a także historii Kościoła, dlatego też praca zawiera excursus historyczny, który przedstawia rozwój kultu świętych na Sycylii oraz ukazuje znaczenie tych świąt dla Sycylijczyków. W pracy poświęcono również jeden podrozdział Giuseppemu Pitrèmu, badaczowi folkloru, uważanego za prekursora badań etnograficznych na gruncie Italii. Opracowania Sycylijskiego etnografa dotyczące świąt patronalnych częściowo bazowały na relacjach osiemnastowiecznych podróżników, a jego osiągnięcia spotykały się z wyrazami uznania w dziewiętnastowiecznych relacjach, dlatego też wspomnienie tej postaci jest kluczowe, aby uwypuklić wartość dokumentalną opisów z podróży oraz aby wyeksponować zainteresowanie, jakim obcokrajowcy otaczali sycylijską kulturę ludową na przełomie XIX i XX wieku. Główny nacisk w dyskursie został położony na to jak wielowarstwowy filtr rodzimej kultury poszczególnych podróżników wpływał na percepcję wspomnianego zjawiska oraz jak się to przekładało na przekazywany przez nich obraz tych obchodów i religijności ludowej Sycylijczyków. Z przedstawień świąt patronalnych zagranicznych podróżników, czyli zewnętrznych obserwatorów życia sycylijskiego, wynika, że w tym zjawisku kulturowym zamyka się sycylijski system wyobrażeń o świecie, a także są one wyrazem skomplikowanej historii wyspy, jej uwarunkowań klimatycznych czy też charakteru Sycylijczyków. Pomimo burzliwych wydarzeń politycznych, przemian społecznych, jakie zaszły na przestrzeni badanych wieków z opisów obcokrajowców wynika, iż nie straciły one swojego znaczenia oraz swojej roli dla lokalnej społeczności. Spojrzenie cudzoziemców na święta patronalne dostarczyło, więc nową perspektywę, zgoła odmienną od sycylijskiej, a także zasugerowało nowe interpretacje tego zjawiska kulturowego.<br>The aim of the dissertation is to analyze the perception of Sicilian patronal festivals by foreign travellers on the basis of travel journals. The thesis assumes that these ceremonies were depicted not only as a "normal" element of Sicilian folklore, but were also perceived by foreigners as an extraordinary and at the same time complex phenomenon, characteristic of Sicilian culture, an essential element of private and public life of inhabitants of the island. On the basis of selected travel literature, it is shown that patron festivals were an important element of Sicilian heritage [sicilianità] in the eyes of the authors, hence the omission of such a phenomenon in their travel descriptions would significantly impoverish the image of Sicily and Sicilians. The analysis of the texts follows a chronological order (according to the travel period, not the dates of publication of works), which importantly facilitates the tracing of how these festivals and folk religions had been perceived since the end of the eighteenth to the midtwentieth century. The study begins with an analysis of Patrick Brydone’s work (1736-1818). A Tour Through Sicily and Malta: In a Series of Letters to William Beckford, Esq. Of Somerly in Suffolk; from P. Brydone F.R.S. (1773), which at that time contributed remarkably to the growing interest in Sicily among foreigners all over Europe, including the curiosity of their patron saints. An extremely detailed and colourful account of the celebration in honour of Saint Rozalia, the patron of Palermo, after the publication of Brydone’s work became a contribution to its European fame, which attracted people from various corners of the Old Continent, and the references to the description of Brydone echoed in travel literature even in the following centuries. The study ends with an analysis of the work of a French writer Roger Peyrefitt (1907- 2000) Du Vésuve à l'Etna (1952), covering the impressions of his numerous stays in Sicily from the period after the Second World War. The discourse closes in the mid-twentieth century due to dynamic changes on many areas that had transformed the face of travel, travelling and travellers themselves. A broad spectrum of references, not only historical and literary, but also sociocultural, in which I read texts, determined the theoretical considerations on the impact of stereotypes on the traveller’s perception of the culture of the place visited in Chapter I, which then were confronted in the next subchapter with the perception of this phenomenon by the authors of the analyzed texts themselves. Next, the accounts were presented in the light of the autobiographical literature studies. Since patron saints can not be analysed as part of the Sicilian culture isolated from the history of the island, its region and the history of the Church, Chapter II presents historical excursus, which presents the cult of saints in Sicily and shows the significance of these holidays for Sicilians. The next chapter was devoted to Giuseppe Pitrè, a researcher of folklore considered to be the precursor of ethnographic research on the grounds of Italy. The works of the Sicilian ethnographer concerning saint patrons were based partially on the relations of eighteenth-century travellers, and his achievements met with appreciation in the nineteenthcentury travel journals, therefore mentioning this figure is crucial to understand the documentary value of travel descriptions and to expose the interest that foreigners surrounded the folk culture of the Sicilians at the turn of the 19th and 20th centuries. The main emphasis in the discourse was put on the following factors; which is how the cultural heritage of individual travellers influenced the perception of patron saints and how it translated into the image of these celebrations and religiosity of Sicilians conveyed by them. As an interpretative key to the analysis of selected works, the following categories were used: stereotype, linking trends in descriptions with micro and macro-history, historical truth, myth and antimony, and viewpoints. From the presented picture of patronal holidays seen by foreign travellers, an external observers of Sicilian life, it appears that this cultural phenomenon encloses the Sicilian system of ideas about the world paradigm, and they are also an expression of the complicated history of the Island, the climatic conditions or the nature of the Sicilians.. Despite the turbulent political events, social changes that took place on the Island over the centuries it results from travelers’ descriptions that they have not lost their importance and their role for the local community. Looking from an outside point of view, the foreigners provided a new perspective on saint patron festivals, quite different from the Sicilian one, and also suggested new interpretations of this cultural phenomenon. On the basis of the analysis, the conclusion is also drawn that these holidays were an element of Sicilianity [sicilianità] for the travelers of different eras and nationalities The annex to the work is an analysis of the text of the researcher of folk religion John Jems Blunt (1794 – 1855) Vestiges of Ancient Manners and Customs discoverable in Modern Italy and Sicily (1823).