http://interfas.univ-tlse2.fr/lineaeditoriale fr http://interfas.univ-tlse2.fr/lineaeditoriale/2781 In Francia, tra il XVI e il XVIII secolo, il riferimento all'Italia – alla sua lingua, alla sua musica, ai suoi costumi – si rivela indispensabile per definire la lingua e la musica francesi, e questo riferimento implica molto spesso il femminile o l'effeminatezza. Mi interrogo su questa interdipendenza tra italiano e femminile sulla base di cinque casi ben identificabili e mi interrogo sulle prospettive critiche che consentono di analizzarne le implicazioni. In France, between the 16th and 18th centuries, references to Italy – its language, music and customs – proved indispensable in defining the French language and music, and these references very often involved femininity or effeminacy. I examine this interdependence between Italian and femininity on the basis of five clearly identifiable cases, and I consider the critical perspectives that can be used to analyse the issues at stake. ven., 06 mars 2026 00:00:00 +0100 http://interfas.univ-tlse2.fr/lineaeditoriale/2781 http://interfas.univ-tlse2.fr/lineaeditoriale/2738 Luigi Martellini pubblica presso le edizioni ETS Curzio Malaparte. L’Opera (primavera 2025), un’analisi molto dettagliata dell’opera omnia del controverso scrittore e editore pratese. Luigi Martellini publishes Curzio Malaparte. L’Opera (spring 2025) with ETS, a highly detailed analysis of the complete works of the controversial writer and publisher from Prato. jeu., 05 févr. 2026 00:00:00 +0100 http://interfas.univ-tlse2.fr/lineaeditoriale/2738 http://interfas.univ-tlse2.fr/lineaeditoriale/2710 Dans la Venise de la Renaissance, la question du devenir des enfants de prostituées préoccupe les moralistes et a de notables influences légales et professionnelles sur les premières concernées. L’initiation à la profession par la mère de la jeune fille est aussi bien une pratique courante qu’un topos littéraire. À travers l’étude d’un cas conservé dans les archives de l’Avogaria di Comun, cet article cherche à reconstruire le parcours d’une courtisane, Giulia, pour montrer de quelle manière sa carrière s’insère dans un réseau exclusivement féminin qui peut se heurter au pouvoir de ses clients patriciens. In Renaissance Venice, the question of what should happen to the children of prostitutes preoccupied moralists and had a significant legal and professional impact on the women first involved. Initiation into the profession by the young girl’s mother was both a common practice and a literary topos. By studying a case preserved in the archives of the Avogaria di Comun, this article seeks to reconstruct the career of a courtesan, Giulia, to show how her career became part of an all-female network that came up against the power of her patrician clients. jeu., 06 nov. 2025 00:00:00 +0100 http://interfas.univ-tlse2.fr/lineaeditoriale/2710 http://interfas.univ-tlse2.fr/lineaeditoriale/73 Direzione delle pubblicazioni dell’Università Toulouse Jean Jaurès : Emmanuelle Garnier, Rettrice. I comitati della rivista sono costituiti per quadrienni, rinnovabili. Direzione della rivista Direttore : Jean-Luc Nardone / mail : jean-luc.nardone[at]univ-tlse2.frCo-direttore : Fabien Coletti / mail : fabien.coletti[at]univ-tlse2.fr Comitato di redazione Cécile Berger Antonella CapraFabien ColettiJean Nimis Comitato scientifico Perle Abbrugiati, ord. Université de Provence Aix-Marseille I (Francia)Danielle Boillet, ord. Université Paris 3-Sorbonne Nouvelle (Francia)Francesco Guardiani, ord. Università di Toronto (Canada)Claudio Magris, ord. Università di Trieste (Italia)Helmut Meter, ord. Università di Klagenfurt (Austria)Matteo Palumbo, ord. Università Federico II di Napoli (Italia)Michael Wyatt, ord. Università di Stanford (Stati Uniti)Francesco Zambon, ord. Università di Trento (Italia) Editoria elettronica, pubblicazione Jean Nimis / Fabien Coletti Indirizzo Université Toulouse Jean Jaurès - UFR Langues (bâtiment Erasme)5 allées Antonio Machado / F-31058 Toulouse cedex 9 Pagina aggiornata il 10 settembre 2025. sam., 13 sept. 2025 00:00:00 +0200 http://interfas.univ-tlse2.fr/lineaeditoriale/73 http://interfas.univ-tlse2.fr/lineaeditoriale/2320 Direction des publications de l’Université Toulouse Jean Jaurès : Emmanuelle Garnier, Présidente de l’Université. Les comités de la revue sont constitués pour un mandat de quatre ans, renouvelable. Direction de la revue : Directeur : Jean-Luc Nardone / mail : jean-luc.nardone[at]univ-tlse2.frCo-directeur : Fabien Coletti / mail : fabien.coletti[at]univ-tlse2.fr Comité de rédaction Cécile Berger Antonella CapraFabien ColettiJean Nimis Comité scientifique Perle Abbrugiati, PU, Université de Provence Aix-Marseille I (France)Danielle Boillet, PU, Université Paris 3-Sorbonne Nouvelle (France)Francesco Guardiani, PU, Université de Toronto (Canada)Claudio Magris, PU, Université de Trieste (Italie)Helmut Meter, PU, Università de Klagenfurt (Autriche)Matteo Palumbo, PU, Université Federico II di Napoli (Italia)Michael Wyatt, PU, Université de Stanford (États-Unis)Francesco Zambon, PU, Université de Trento (Italie) Édition électronique, publication Jean Nimis / Fabien Coletti Adresse Université Toulouse Jean Jaurès - UFR Langues (bâtiment Erasme)5 allées Antonio Machado / F-31058 Toulouse cedex 9 Cette page est mise à jour le 10/09/2025. sam., 13 sept. 2025 00:00:00 +0200 http://interfas.univ-tlse2.fr/lineaeditoriale/2320 http://interfas.univ-tlse2.fr/lineaeditoriale/2380 Au XIXe siècle, hors des sentiers battus des réseaux officiels, s’affirme une modalité de découverte et de diffusion de la Divine Comédie entre l’Italie et la France : les relations interpersonnelles (pédagogiques, amicales ou amoureuses). On découvre ou on approfondit sa connaissance de Dante au détour d’une lettre et d’une conversation, et cette approche, loin d’être isolée et atypique, contourne, construit ou nourrit les réseaux préétablis de réception. L’étude de ces interactions hors-réseaux pourrait enfin permettre de faire émerger dans des recherches ultérieures des figures marginalisées voire invisibilisées par les groupes dominants de la réception dantesque, telles que les femmes. In the 19th century, out of the ordinary paths of formal networks, a new approach consists in discovering and spreading the Divine Comedy between Italy and France through interpersonal relationships. One discovers and deepens its knowledge of Dante in a letter or in a conversation, and this approach – far from being isolated or atypical – contributes to build or fuel preestablished networks of reception. The study of these off-grid relations could eventually allow to bring out in further research individuals that have been ignored by dominant groups in the reception of Dante. Nell’Ottocento, fuori dai sentieri battuti delle reti ufficiali, si afferma una modalità di scoperta e di diffusione della Divina Commedia tra Italia e Francia, cioè attraverso le relazioni interpersonali (pedagogiche, amicali o amorose). Si scopre o si approfondisce casualmente la conoscenza di Dante tramite una lettera o una conversazione, e questo approccio, lungi dall’essere isolato e atipico, costruisce o nutre le reti prestabilite della ricezione. Lo studio di queste interazioni fuori dalle reti consuete potrebbe inoltre permettere di far emergere delle figure marginalizzate, se non rese invisibili, dai gruppi dominanti nella ricezione dantesca, quali le donne. ven., 06 juin 2025 00:00:00 +0200 http://interfas.univ-tlse2.fr/lineaeditoriale/2380 http://interfas.univ-tlse2.fr/lineaeditoriale/2421 Première étude complète consacrée au recueil poétique méconnu Le Parnasse divin de M. de Clermont (Toulouse, 1653), cet article l’explore à la lumière des stratégies que l’auteur déploie pour se signaler à l’élite locale toulousaine de la réforme catholique, mais aussi pour plaire à un public mondain, aristocrate et bourgeois. Loin de se limiter à une veine catéchisante, Clermont fait œuvre d’écrivain en versifiant les merveilles de la nature qui fascinent alors dans les cabinets de curiosité, ce qui lui permet finalement de proposer à ses lecteurs un véritable itinéraire spirituel, voire mystique. Being the first complete study devoted to the little-known Parnasse divin, a collection of poems by M. de Clermont (Toulouse, 1653), this article unveils the strategies that the author uses to signal himself to the local elite of the Catholic Reform in Toulouse, but also reveal his ways to please a mondaine audience, both aristocratic and bourgeois. Far from limiting himself to a catechizing vein, Clermont epitomizes as a poet the wonders of nature that fascinated his contemporaries in the cabinets of curiosities, which ultimately enables him to offer his readers a true spiritual itinerary, tainted with mysticism. ven., 06 juin 2025 00:00:00 +0200 http://interfas.univ-tlse2.fr/lineaeditoriale/2421 http://interfas.univ-tlse2.fr/lineaeditoriale/2448 Questo studio si propone di esplorare le dinamiche degli scambi culturali tra Italia e Francia che hanno influito sullo sviluppo del teatro nei due paesi durante il XIX secolo. In particolare, l’analisi coinvolge l’opera del drammaturgo francese Eugène Scribe, la cui produzione teatrale è stata oggetto di numerosi adattamenti per il repertorio italiano, soprattutto negli anni ’30. Il processo di adattamento, che riguardava interventi linguistici e strutturali, portava a versioni spesso profondamente diverse dagli originali, pur mantenendo la capacità di coinvolgere il pubblico italiano. Attraverso uno studio comparato dei manoscritti tradotti dall’attrice Gaetana Rosa e dei testi originali di Scribe, l’autrice intende indagare le modalità informali con cui queste opere sono giunte in Italia, cercando di comprendere le ragioni del loro incredibile successo.  The author of this study aims to explore the cultural exchanges between Italy and France that influenced the development of theater in both countries during the 19th century. The focus is specifically on the work of the French playwright Eugène Scribe, whose plays were widely adapted for Italian repertories, particularly in the 1830s. The adaptation process involved significant linguistic and structural changes, resulting in versions that were often quite different from the originals, yet still able of engaging the Italian audience. By conducting a comparative study of the manuscripts translated by the actress Gaetana Rosa and Scribe’s original texts, the author seeks to investigate the informal ways in which these works were introduced to Italy and to understand the reasons behind their remarkable success.  ven., 06 juin 2025 00:00:00 +0200 http://interfas.univ-tlse2.fr/lineaeditoriale/2448 http://interfas.univ-tlse2.fr/lineaeditoriale/2467 The importation of the French serial novel into Italy in the 19th century is a significant phenomenon that highlights the substantial influence of French literature on the Italian literary scene. Italy, considered a “literary periphery”, imported many French works, often translated at a lower cost compared to local production. Italian publishers, such as Sonzogno, saw this as an economic opportunity. The serial novel, published in installments in newspapers, democratized reading and built reader loyalty. Italian authors like Francesco Mastriani and Carolina Invernizio were inspired by French models, adapting them to the Italian reality and contributing to the genre’s spread. L’importazione del romanzo d’appendice francese in Italia nel XIX secolo è un fenomeno significativo che evidenzia la grande influenza della letteratura francese sulla scena letteraria italiana. L’Italia, considerata una “periferia letteraria”, importava molte opere francesi, spesso tradotte a basso costo rispetto alla produzione locale. Gli editori italiani, come Sonzogno, vedevano in questo un’opportunità economica. Il romanzo d’appendice, pubblicato a puntate nei giornali, democratizzava la lettura e fidelizzava i lettori. Autori italiani come Francesco Mastriani e Carolina Invernizio si ispirarono ai modelli francesi, adattandoli alla realtà italiana e contribuendo alla diffusione del genere. ven., 06 juin 2025 00:00:00 +0200 http://interfas.univ-tlse2.fr/lineaeditoriale/2467 http://interfas.univ-tlse2.fr/lineaeditoriale/2603 Dès 1608, Jacques de Fonteny, érudit et membre influent des Confrères de la Passion, « soi-disant contrôleur des comédiens » à l’Hôtel de Bourgogne, traduit les Bravure del Capitan Spavento du comédien geloso Francesco Andreini (Venise, 1607). Opportuniste habile, il utilise cette traduction pour flatter Charles d’Angennes, espérant obtenir protection et privilèges, dont une loge à l’Hôtel de Bourgogne. Sa traduction paraît s’inscrire dans une stratégie politique et personnelle, au cœur de la controverse de 1608 entre les Accesi d’Austoni et la confrérie parisienne. La période explorée court de 1600 à 1629, dernière date où De Fonteny est actif au sein de la Confrérie. In 1608, Jacques de Fonteny, a scholar and influential member of the Confrères de la Passion, “soi-disant contrôleur des comédiens” at the Hôtel de Bourgogne Theatre, translated the just published Bravure del Capitan Spavento by the Gelosi actor Francesco Andreini (Venice, 1607). As a shrewd opportunist, he used this translation to get Charles d’Angennes’s protection and privileges, including a reserved theatre box at the Hôtel de Bourgogne. His translation appears to be part of a political and personal strategy, at the heart of the 1608 controversy between Austoni’s Accesi troupe and the Parisian confraternity. The article examines the periode from 1600 to 1629, the last year De Fonteny was active within the Confraternity. ven., 06 juin 2025 00:00:00 +0200 http://interfas.univ-tlse2.fr/lineaeditoriale/2603