Preservation of Abandoned Historic Centres — The Case of Poggioreale antica (Sicily)

Among the fourteen towns most damaged by the earthquake that struck western Sicily in 1968, Poggioreale was subjected to total relocation a few kilometres away, and to the transfer of its whole population. More than half a century later, the damaged settlement is still largely recognisable and has been experiencing a new season of interest for some years now, both from the local community and various kinds of outsiders who imagine economic spin-offs of an uncertain nature in its enhancement. The research we present questions the chance of survival for the settlement, forgotten for decades, in the context of interventions aimed at its reuse. Alternative strategies are discussed: on the one hand, that of bringing the ancient centre back to life, even in part, with a limited inclusion of collective functions and without claiming to inhabit it again; on the other hand, and in the authors’ opinion, more likely, that of reusing the ruins as an archaeological area preserving their memory in a different form. In either case, the kinds of operations to be carried out on the body of the ancient buildings for their physical preservation play a key role. These issues are addressed as a whole through the canonical procedure of correlating the phases of knowledge, interpretation, and definition of minimal and compatible intervention criteria

Néo-classicisme et théâtre révolutionnaire : retour au passé ou ouverture sur l'avenir ?

Carocci Renata. Néo-classicisme et théâtre révolutionnaire : retour au passé ou ouverture sur l'avenir ?. In: Cahiers de l'Association internationale des études francaises, 1998, n°50. pp. 121-138

Teresa Di Scanno, La vision du monde de Le Clézio. Cinq études sur l'œuvre, 1983

Carocci Renata. Teresa Di Scanno, La vision du monde de Le Clézio. Cinq études sur l'œuvre, 1983. In: Littératures 11, automne 1984. pp. 138-139

Teresa Di Scanno, La vision du monde de Le Clézio. Cinq études sur l'œuvre, 1983

Carocci Renata. Teresa Di Scanno, La vision du monde de Le Clézio. Cinq études sur l'œuvre, 1983. In: Littératures 11, automne 1984. pp. 138-139

Le Nouveau Monde ou Christophe Colomb de Le Suire entre deux poétiques

La première édition du Nouveau Monde de Robert Martin Le Suire est de 1781 ; elle a été suivie de deux autres : l’une, à Paris, en l’an VIII (1800), fidèle dans le texte, mais modifiée dans le titre avec Le Nouveau Monde ou Christophe Colomb. Ce titre sera encore adopté dans la troisième de l’an X (1802), qui a subi des changements et des corrections de la part de l’auteur. C’est cette dernière qui fera l’objet de nos observations par rapport à la première. Entre 1781 et 1802 plus de ..

L'Italie dans l'œuvre d'André Chénier : un bilan

Carocci Renata. L'Italie dans l'œuvre d'André Chénier : un bilan. In: Cahiers de l'Association internationale des études francaises, 1990, n°42. pp. 205-220

"The so-called ‘Palazzetto’ in the Palazzo di Venezia Complex: a small construction history among the huge transformation events of the Rome centre in the early twentieth century"

The paper illustrates the events relating to the translation of the so-called “Palazzetto di Venezia” from the site where it had been built in 1464 – at the behest of Pope Paolo II – to its current position not far from the previous one. The Viridarium, so the earliest palazzetto was called, had been conceived as the pope’s private garden, accessible directly from the piano nobile of his residence (the current palazzo Venezia) by means of a private passage and connected to the adjacent Capitoline hill by a raised walkway supported by arches. In the framework of the great urban transformations related to the construction of the monument dedicated to Vittorio Emanuele II (first monarch of the new unified Italy) on the northern slope of the Capitoline Hill, in the early twentieth century the Viridarium was demolished and rebuilt – according to the pre-existent building’s architectural language – in a position which still allowed the connection with Palazzo Venezia without interfering with the organisation of the new great plaza realised in place of the historical urban fabric. These consecutive building sites – demolition before, reconstruction then – lasted from 1908 to 1911 and involved a series of interventions on Palazzo Venezia’s masonry structure itself, aimed at strengthening the tower to which the Viridarium was previously adjacent and at modifying the wing of the palace which the new Palazzetto had to join with. Simultaneous to the overall transformations involving the palazzo Venezia were the events directly connected to the construction of the new Palazzetto. After a brief description of the general context, the core of the paper aims to clarify restrictions that the design had to face to as well as the choice of the construction techniques. These issues are here investigated through the analysis of the archive documents – partially preserved in Rome, partially in Wien (being the building complex at that time still property of the Austro-Hungarian government) – and information coming from the on-site investigations executed on the building body. What emerges is a quite precise picture that describes the building as the product of a contemporary constructive site which is still characterised by the persistence of a masonry conception of the building organism, implemented, however, using the materials of industrial production such us bricks and metal beams. The contemporary materials employed in the construction conflict with the building’s traditional appearance which is simulated by the decorative apparatus (coffered wooden ceilings and vaulted spaces) overlapped on the real structural framework. However, the building incorporates parts of the earliest Viridarium such as the stone elements of the cloister now clearly recognizable in the current Palazzetto’s portico and loggia

L'éveil des Muses

L’Éveil des Muses : le titre du volume de mélanges offert au professeur Édouard Guitton et qui paraît dans la collection « Interférences » des Presses universitaires de Rennes indique clairement qu’il y est question de poésie – et pour l’essentiel, compte tenu de l’époque à laquelle le destinataire a consacré ses recherches, de la poésie des Lumières. Une bonne trentaine de contributions réunissent les plus grands noms du temps : Voltaire, Chénier, Roucher, Parny, Delille… non sans regarder à l’occasion en amont et en aval. Elles laissent aussi place à des écrivains moins attendus (Laclos en versificateur, Rousseau et sa « poésie du cœur »), et à nombre de minores, jusqu’à cet abbé Beuf inconnu du catalogue de la BnF. Car le XVIIIe siècle fut un siècle de poètes, il n’y a pas si longtemps qu’on en est assuré, tout particulièrement grâce aux travaux d’Édouard Guitton. Comme le donnent à comprendre les titres des trois sections du volume, « Figures », « Poétiques », « Enjeux », plusieurs approches et méthodes ont été employées, de l’analyse très attentive des textes, aux études théoriques et à l’histoire littéraire. Elles interviennent ici, non en compétition, mais dans une féconde complémentarité : livre d’amis pour un ami, cet Éveil des Muses est un livre savant, qui enrichira aussi bien notre connaissance du XVIIIe siècle que celle du genre auquel il est consacré