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The paper deals with the preliminary results of the investigations conducted in the south sector of insula I 16 of Pompeii, in the scope of the Franco-Italian research project “Modes d’habiter à Pompéi à l’époque républicaine: la maison à atrium testudinatum”. This project is dedicated to the atrium testudinatum house, a type of dwelling very common in Pompeii in III and II c. B.C. Among the contexts analyzed, are two atrium testudinantum houses (5 and 6), situated in the south sector of insu- la I 16. In the first part of the paper the discovery and the first investigations conducted in these houses are discussed; in the second, the results of excavations carried out in summer 2022. International audience

International audience; The church of Sant’Agata, a building of great historical, cultural and scientific value, bears witness to construction activity and seismic activity in the Mugello area. The building was the subject of an initial (but brief ) study of its construction history, as part of a project entitled “The archaeology of architecture and seismic risk in Mugello”, conducted in the years 2010-2013. Following a new international project involving the church in 2018-19, a detailed analysis of the church’s construction history was carried out, adding information of great interest as regards its history and construction, and archaeoseismological factors. This allowed an understanding of the effects of historical earthquakes on the building, and on the complex reconstructions that followed these events.

International audience; When, in 1938, Mies began teaching in the Department of Architecture at the Armour Institute (later the Illinois Institute of Technology), he defined a programme that would make technical and industrial developments in the United States problematic and theoretical. Students attending the Department of Architecture, in which Hilberseimer and Peterhans also teach, are confronted with questions of the most basic geometric form of the framework, with the expressive essence of materials, and experiment with the use of overlapping planes, assembled to reveal a sense of space, through models, technical drawings and collages. Some of the exercises concern the relationship between painting, sculpture and architecture, and are transformed into museum or art centre projects. In the essay, the projects for exhibition spaces drawn up by Brenner, Jansone and Lippert for the Master of Science in Architecture are analysed from archive documents. The spatial, structural and material characteristics of these projects are reconstructed, as well as their relationships to the programmes of the Department of Architecture, to the design processes suggested by Mies, to Le Corbusier’s projects for museums and to the Museum for a Small City designed by Mies together with Danforth.The theses of Brenner, Jansone and Lippert, united by the choice of a museum system that transfigures Le Corbusier’s model in the light of Mies’s vision, appear to be decisive documents not only for understanding the Department of Architecture’s didactic orientations, but also for accessing Mies’s unspeakable art of tracing and arranging lines and planes in space.

After a brief preface dedicated to the history of research, our paper focuses on the Bronze Age of Liguria and of the culturally related neighboring regions, namely Provence, South Piedmont and Aemilian western Apennines. The first part of the paper introduces the landscape and the main economic activities. The most recent archaeobotanic data attest the cultivation of different species of cereals and archaeozoological assemblages from lowland settlements show the exploitation of domestic species (cattle, pigs and ovicaprine) with a significant higher percentage of ovicaprine at high altitudes. Particular attention is devoted to mining and metallurgy, in relation to local cupriferous resources and their exploitation. With regard to metallic artifacts, Liguria appears to become more and more incorporated into the metallurgical province of the western Alps, although in the Late Bronze Age the production of peculiar metallic objects between Piedmont and western Liguria shows a more autonomous regional character. The second part discusses the evolution of settlements, burials and material culture during the four traditional periods of Italian Bronze age ("antico" i.e early, "medio" i.e. middle, "recente" i.e. late and "finale" i.e. final). Dry stones for housing structures, terraces and fortifications are in use since the Early Bronze Age; Early Bronze Age pottery denotes domestic production and high heterogeneity, showing a certain affinity with the Rhone culture and central Italy. In the Middle Bronze Age it is possible to outline a north-western cultural area, extended from Provence to the Aemilian Apennines and well differentiated from the Terremare aspects. During the Late Bronze Age we clearly observe an increase in standardized productions, with the development of specialized handicrafts; differentiated cultural groups are now well established in restricted territorial areas. Finally, some considerations on the exchange routes through which tin could be conveyed in the region are proposed. The connections held to obtain this resource - necessary for metallurgical technology - became probably a determining factor in orienting cultural affinities to central Italy and to the north-western Alpine region.

International audience; Novels of invention and non-fiction unexpectedly go in the same direction, making the narrative evolve in the exact opposite direction to those extreme positions that claim that history and novel are nothing more than two interchangeable types of narratives. In every novel, the dividing line between the true and the invented is variable and jagged. The studies collected here on the novels of Valerio Evangelisti, Antonio Moresco, Antonio Scurati and Umberto Eco are examples of how writers know how to question our relationship with the past and with truth. The mixture of genres - narrative, enquiry, political essay, attempt at historical reconstruction - that has given shape to non-fiction and the literature of memory is also based on a narrative of the past imbued with the voice of the subject. And it enters into an unwritten pact with its reader, who stipulates that the tale narrates events that have taken place. The works of Corrado Stajano and the special issues of the Diario della Settimana Memoria bear witness to this.However, neither novels nor non-fiction rewrite history: they interrogate it, they tell stories from transversal and unprecedented points of view. And in the most experimental cases, such as Il cimitero di Praga, the fake that is concentrated in the novel paradoxically serves the understanding of the true of the dynamics of History. In both cases, our ability to know what happened, and to establish the existence of a clear-cut distinction between truth and falsehood, is then not weakened, but strengthened.; Romanzi di invenzione e non fiction vanno inaspettatamente nella stessa direzione, facendo evolvere la narrazione in direzione esatta e contraria a quelle posizioni estreme che sostengono che storia e romanzo non siano altro che due tipi di racconti intercambiabili. In ogni romanzo, la linea di discrimine fra il vero e l’inventato è variabile e frastagliata. Gli studi qui raccolti sui romanzi di Valerio Evangelisti, Antonio Moresco, Antonio Scurati e Umberto Eco, sono altrettanti esempi di come gli scrittori sappiano interrogare il nostro rapporto col passato e con la verità. La mescolanza di generi – narrazione, inchiesta, saggio politico, tentativo di ricostruzione storica - che ha dato forma alla non fiction e alla letteratura della memoria si fonda anch’essa su un racconto del passato intriso della voce del soggetto. E stringe un patto non scritto col suo lettore, che stipula che il racconto narri fatti avvenuti. Le opere di Corrado Stajano e dei numeri speciali sulla Memoria del Diario della Settimana ne sono una testimonianza.Però, né romanzi e né non fiction riscrivono la Storia: la interrogano, raccontano storie da punti di vista trasversali e inediti. E nei casi più sperimentali, come Il cimitero di Praga, il falso che si concentra nel romanzo serve paradossalmente alla comprensione del vero delle dinamiche della Storia. In entrambi i casi, la nostra capacità di conoscere i fatti avvenuti, e di stabilire l’esistenza di un netto discrimine fra verità e menzogna, ne esce allora non indebolita, ma rafforzata.

Florimont et Troie numériques. Textualité médiévale et textualité numérique

Les cardinaux tentent au Quattrocento de s’approprier, selon des modalités diverses, un palais qui doit leur servir de résidence. Ils investissent par conséquent dans des travaux de construction, de reconstruction ou de restauration. Néanmoins, les porporati ne sont généralement pas les propriétaires de ces palais. Par ailleurs, les souverains pontifes ont un droit de spoliation qui leur permet en théorie de faire main basse sur l’héritage des cardinaux à leur mort. Les sénateurs de l’Église du XVe siècle tentent alors de contourner ces contraintes pour que leurs efforts immobiliers puissent profiter à leurs parents après leur mort. Reti Medievali Rivista, Vol 23 No 1 (2022)

The aim of this thesis is to present an Italian translation of the speech On the peace with Sparta by the Athenian orator Andocides, with an historical and literary commentary. The introduction consists of five parts: the first is dedicated to a summary of the content of the speech, the second to the author's life, the third to the historical context and the problem of dating the On the Peace, which is related to the other sources testifying to the negotiations of 392, namely Xenophon's Hellenics and a fragment of Philochorus (FGrHist III B 328 F 149). The fourth part is devoted to a discussion of Andocides' overall use of history, comparing it to the use of history by other Attic orators of the classical period. Finally, one section is devoted to a summary of the problem of the On the Peace’s authenticity, which is subject of debate because it has been questioned by contemporary scholars.; La thèse vise à présenter une traduction en italien du discours Sur la paix avec les Lacédémoniens de l’orateur athènien Andocide, avec un commentaire historique et littéraire. L'introduction est composée de cinq parties : la première est dediée à un résumé du contenu du discours, la deuxième à la vie de l'auteur, la troisième au contexte historique et au problème de la datation du Sur la paix, qui est mis en rapport avec les autres sources témoignant des négociations de 392, à savoir les Helléniques de Xénophon et un fragment de Philochorus (FGrHist III B 328 F 149). La quatrième partie est consacrée à une discussion de l'utilisation globale de l'Histoire par Andocide, en la comparant à l'utilisation de l'Histoire faite par les autres orateurs attiques de la période classique. Enfin, une partie est dédiée à un résumé de la question de l'authenticité du Sur la paix laquelle a suscité un débat puisque remise en question par des chercheurs contemporains.

The objective of this thesis is to study the editorial activity of Natalia Ginzburg at Einaudi publishing house, in particular as an editorial reader of contemporary narrative works, from her arrival to the temporary interruption of the collaboration (1944-1964). We analyse her contribution to decision-making processes, to the construction of the identity and of the catalogue of the publishing house and, more generally, to the definition of the literary culture of her time. Our objective is, moreover, to define the literary models proposed by Natalia Ginzburg to Einaudi’s readers, the way in which her work was part of the intellectual laboratory of Einaudi and in which her idea of literature harmonized with market issues, the relationship that existed between her opinions on the economic and literary viability of a work and the historical-political context, the method and criteria she used to evaluate a book, the relationship that existed between her choices as a publisher and her poetics as an author.More specifically, our thesis aims to analyse the reading reports concerning contemporary narrative works, which represent a fundamental step in the decision-making process that leads to the publication of a work and therefore to the construction of the catalogue of a publishing house. Through these documents, the books to be printed were selected. Reading reports therefore embodied cultural models that need to be interpreted according to a specific historical and cultural context. Concerning the processing of these documents, a database for the inventory of sources has been designed with IT support. This database makes it possible to efficiently account for sources by gathering the fundamental information for the description of the corpus in a structured way. The documents were indeed transcribed and encoded according to a model developed in XML TEI, able to highlight the different types of documents (letters, structured reading reports, minutes, etc.), their structure and the existing relationships between them.The modelling activity had an important methodological and heuristic impact to our work. The tool that was created shows the complexity of the corpus of sources, by highlighting paths that are not immediately evident in a linear analysis of documents, by allowing query and by enhancing their intertextuality and their multiautoriality.The examination of her reading reports, mostly unpublished, provides the basis for a critical reflection on Ginzburg’s editorial activity, a reflection which is rooted in the belief that editorial writing represents a complex critical genre that deserves to be investigated by specific methods.; L’objectif ce travail de thèse est d’étudier l’activité éditoriale de Natalia Ginzburg chez Einaudi, notamment en tant que lectrice d’œuvres narratives contemporaines, de son arrivée dans la maison d’édition à l’interruption temporaire de sa collaboration (1944-1964). Nous analysons son rôle dans les processus décisionnels, dans la construction de l’identité et du catalogue de la maison d’édition et, plus généralement, dans la définition de la culture de son temps. Notre objectif est également de définir les modèles littéraires proposés par Natalia Ginzburg aux lecteurs d’Einaudi, la manière dont son travail s’est inséré dans le laboratoire intellectuel de cet éditeur et dont son idée de la littérature s’est harmonisée avec les besoins du marché, les relations qui existaient entre ses avis sur la « publiabilité » d’une œuvre et le contexte historico-politique, ainsi que la méthode et les critères qu’elle utilisait pour évaluer un livre ou encore la relation qui existait entre ses choix en tant qu’éditrice et sa poétique en tant qu’auteure.De manière plus spécifique, notre travail vise à analyser les rapports de lecture consacrés aux œuvres narratives contemporaines, dans la mesure où elles représentent un passage fondamental dans le processus décisionnel qui conduit à la publication d’une œuvre et donc à la construction du catalogue d’une maison d’édition. À travers ces documents, les lecteurs éditoriaux ont sélectionné les livres à publier et, par conséquent, ont proposé des modèles qui doivent être interprétés selon un horizon historique et culturel précis. En ce qui concerne le traitement de ces documents, une base de données pour l’inventaire des sources a été conçue avec un support informatique : elle collecte de manière structurée les informations fondamentales pour la description du corpus et les documents encodés. Ces derniers ont été en effet transcrits et encodés selon un modèle développé en XML TEI pour mettre en évidence les différents types de documents (lettres, fiches, comptes-rendus de réunions, etc.), leur structure et les relations existantes entre eux.L’activité de modélisation a eu un apport méthodologique et heuristique important dans notre travail, tout comme l’utilisation et l’interrogation des modèles créés. En effet, l’outil qui a été élaboré met en évidence la complexité du corpus, en mettant en lumière des parcours qui ne sont pas immédiatement évidents lors d’une analyse linéaire, en permettant une interrogation transversale et en valorisant leur intertextualité et leur multi-autorialité.L’étude du corpus, pour la plupart encore inédit, a fourni les bases d’une réflexion sur l’activité éditoriale de Natalia Ginzburg, notamment en tant que lectrice professionnelle, mais aussi sur les rapports de lecture en tant que genre critique particulier et complexe, qui mérite d’être étudié par des méthodes spécifiques.