Dissertations / Theses on the topic 'Romanesque ages'

Les mythes comme aussi les personnages qui les peuplent, les héros, ont exercé au fil du temps, un charme sur les sociétés. Les hommes du Moyen Age, à leur tour, se tournaient vers eux chaque fois qu’ils éprouvaient le besoin. D’abord, personne ne peut contredire ou rejeter ces récits. Il s’agit des auctoritas que personne ne peut rejeter. Les écrivains de cette époque, pas soucieux de créer, se chargent donc de les transmettre aux illiterrati. Par ailleurs, les personnages jouent un rôle modélisant ; ils constituent des modèles archétypaux que personne ne peut contredire. Les écrivains se réfèrent à ceux-ci afin de mieux définir leur comportement ou adopter, plus généralement, une attitude propice à leur origine, à leur sexe et à leur âge. Par ailleurs, le recours à certains épisodes de leur vie se fait aussi afin d’instruire les hommes ou bien de les rebuter en leur montrant les résultats néfastes d’un comportement incompatible aux lois de la société ou de la nature. A la fin, on se réfère à certains épisodes car ils voient que c’est la meilleure façon pour passer leur message. Certes, le fait de promouvoir le modèle du chef parfait aide aussi la classe noble à se consolider dans une époque où celle-ci se sent menacée par une nouvelle classe qui voit le jour, la bourgeoise. En outre, les écrivains de cette époque trouvent l’occasion de faire passer leurs propres aspirations visant une meilleure société. Plus précisément, d’après eux, le bon chef doit être en réalité large, sage et instruit, capable de gérer intelligemment son fief de sorte que ses sujets puissent vivre harmonieusement. En outre, ils démontrent leur apport à la formation de la société. Même s’ils ne font pas partie de la classe qui fait la guerre, ils contribuent eux aussi à son bon fonctionnement à travers leurs connaissances
Myths, as well as their dominant figures, heroes, have attracted people throughout time. Since their first days of existence, people turned to them whenever they were needed. Medieval people were an eloquent example. Therefore, references to those narrations which managed to survive through time, as well as to those heroes were frequent. At first, those references existed simply because nobody was able to object to or turn down these references. They were auctoritas which referred to real events. The authors of this era were not asked to create, but to pass them on to the illiterate. Furthermore, they possess a formating role. They constitute questioneless archetypal models. Medieval people also resort to those narrations so that they are able to determine their behavior or adapt an attitude appropriate to their origin, their gender and their age. In addition, reference to particular incidents intends to instruct them or prevent them by means of exposing the harmful results of an incompatible behavior with the laws of society or nature.Finally, writers refer to stories regarding ancient heroes because they realize that it is the optimal way to get through their message.The fact that they promote the model of the perfect leader, contributes to consolidation of aristocracy at a time when the class seems to be threatened by a new rising class, the bourgeoisie. Furthermore, they take the opportunity of inculcating their aspirations in an effort to form a better society. So according to them, the perfect lord should be generous, wise and educated, able to handle his fief wisely, in harmony. On the other hand, we acknowledge the authors’ contribution to the formation of society. Even if they are not members of the class of knights, they also contribute to the suitable management of society by the means of their knowledge

La pâleur des témoignages distillés par une Antiquité tardive et un haut Moyen Âge roussillonnais, pourtant florissant, a jeté un voile nous privant pour longtemps de toute la richesse chromatique d’une longue période, qui n’a d’obscure que les a priori que l’on s’en fait. Opérer une introspection sur la genèse du vocabulaire formel chrétien est inévitable pour en comprendre les raccourcis, ceux souvent initiés par une vision monofocale n’offrant que trop peu souvent la possibilité d’envisager le bâtiment ecclésial selon sa polysémie : tout à la fois lieux de l’accomplissement du culte, de rassemblement des fidèles, mais aussi lieux d’expression techniques et artistiques. Un condensé, en somme, au cœur d’une société en mutation, où les différents acteurs politiques n’ont eu, en réalité, qu’un impact modéré.Les modestes églises rurales anté-romanes, par leurs structures et leurs modes de construction, sont finalement révélatrices d’un héritage et d’une continuité, jusque là minimisés, voire insoupçonnés. En choisissant de ne pas dissocier l’évolution des techniques de celle des formes, tout en prenant en compte les nouvelles perspectives soulevées par l’archéologie médiévale, pour d’autres territoires, les postulats chronologiques s’étiolent, se faisant moins relatifs et plus impartiaux. Entre relecture et reformulation, il convient maintenant d’envisager une mise à l’épreuve de l’architecture préromane
The scarcity of evidence trickled down from the late Antiquity and the Roussillon Early Middle Ages, although quite flourishing, has casta veil depriving us for quitea while of all the chromatic richness of a long era, obscure only because of the a priori one has about it. Carrying out an introspection into the genesis of the formal Christian vocabulary is an absolute must to understand its shortcuts, those being often brought about by a monofocal vision too rarely offering the opportunity to consider the church building according to its polysemy: worshipping and congregating places for the believers as well as places where their craftmanship and art could be expressed. A summary, all in all,in the midst of a mutating society where the various political actors have only had in fact a moderate impact.The humbleante-Romanesque rural churches, by their structures and their method of building are eventually revealing of a legacy and a continuity played downuntil now, unsuspectedindeed. By choosing not to dissociate the evolution of techniques from that of the forms while factoring in the new prospects brought up by medieval archaeology, for other areas, the chronological postulates weaken, becoming less relative and more unbiased. Between rereading and rewording, it is now advisable to consider putting to the test pre-Romanesque architecture

O claustro do mosteiro beneditino de Sant Benet de Bages, na Catalunha espanhola, é caracterizado pela grande quantidade e diversidade de elementos ornamentais esculpidos em seus capitéis, o que é um importante indício de como a ornamentação se constituía em tanto que instância fundamental para a estética medieval. No entanto, até hoje poucas pesquisas foram realizadas sobre este claustro, o que é revelador da pouca atenção dada pela historiografia da arte tradicional ao tema da ornamentação. De modo geral, as imagens medievais mais valorizadas enquanto objeto de estudo são as historiadas. Isso em muito se deve à supervalorização da ideia de Bíblia dos iletrados, em detrimento de uma análise mais profunda sobre a presença estrutural e da complexidade dos diversos elementos que compõem as imagens, dentre os quais, os elementos ornamentais. Os trabalhos existentes sobre o tema da ornamentação e sua presença nas imagens medievais são, com poucas exceções, superficiais, procurando categorizações estilísticas e raízes filológicas. Uma das exceções é a obra do medievalista e teórico da arte francês Jean-Claude Bonne, principal marco teórico de nossa pesquisa, e que cunhou os conceitos de ornamental e ornamentalidade. A partir destas noções é que nos dedicamos ao estudo do claustro de Sant Benet de Bages, considerando os papéis estruturantes da ornamentação na economia imagética medieval e a diversidade de funções que ela pode adquirir, relacionando-a ao contexto sócio-histórico onde foi produzida.
The cloister of the Benedictine monastery of Sant Benet de Bages, in the Spanish Catalonia, has a large number and diversity of ornamental elements in its capitals, what sets us a fertile field of study. The few studies on this cloister indicate little attention by art historians to ornamentation, generally engaged in studying the historiated images. This is greatly due to the overemphasis of the idea of images as a \"Bible of the illiterate\", at the expense of a deeper analysis on the structural presence and complexity of the various elements that compose the images, among which, the ornamental elements. The existing papers on the subject of ornamentation and its presence in medieval images are generally superficial, limited to studies for stylistic categorizations, occupying a marginal place because they are supposed to be additional and unnecessary elements. At Sant Benet de Bages, like some other Romanesque cloisters, the amount of ornamental capitals exceeds that of historiated, which reveals the possibility of ornamentation to constitute a critical field to the aesthetic functioning of medieval art. This research aims to study such elements present in the cloister considering their structuring aspects in medieval imagetic economy, and the diversity of functions that can carry the concepts of \"ornemental\" and \"ornementalité\", proposed by the medievalist and French art theorist Jean-Claude Bonne, opening new possibilities for their study.

Au Sud de la Bourgogne, le Brionnais peut de loin apparaître comme une génération spontanée du XII° siècle. De fait, ce n’est ni une région physique naturelle, ni une division ecclésiastique. En un temps où une frontière vient séparer la France et la Bourgogne, puis l’Empire, une sorte de hasard va faire de ce territoire disparate, en marge, dirait-on, une marche, vouée à se définir. Le Brionnais va se former, bénéficiant d’une politique volontaire, due à la présence active de deux seigneuries féodales, incarnées par les familles de Semur et Le Blanc : autour d’elles, par le jeu des alliances, voire des rivalités, par les prestigieuses carrières ecclésiastiques de certains de leurs membres, les seigneurs du Brionnais tissent des liens avec les grandes familles des territoires voisins. Au résultat, solidité au dedans,ouverture au dehors sur les régions limitrophes, les lieux de culte, églises et monastères, fleurissent en peu de décennies, pour en dessiner un paysage monumental spécifique. Il sera précisément marqué par une originalité assez sûre d’elle-même pour chercher, adopter, interpréter et faire fructifier les influences. En somme, réseau politique, réseau artistique, les édifices religieux vont former un ensemble animé de riches interactions. Ce point de vue nous a permis de renouveler le regard porté jusqu’ici sur ce domaine original, le paradoxe étant que cet ensemble n’est pas parvenu jusqu’au XXIe siècle sans pertes ni modifications, et que, sous des apparences romanes, le paysage actuel est avant tout une construction du XIXe siècle ! Il a donc fallu procéder tout d’abord à une analyse régressive, de décapage dans le temps, et de reconstitution prudemment guidée par les traces et la documentation. En parcourant à reculons le patrimoine religieux contemporain et moderne, nous avons pu remonter jusqu’au IX° siècle, jusqu’ici ignoré de la recherche : elle ne s’était intéressée qu’aux églises conservées en élévation, alors que plus de la moitié des églises construites entre le IX° siècle et le XII° avaient disparu de la surface observable. Le premier résultat est d’importance : l’on peut maintenant suivre la genèse du tissu paroissial, comme un glissement du découpage en agri et villæ vers un maillage de parrochiæ. Une fois restitués la géographie politique et ecclésiastique et le patrimoine, il s’est révélé que le contexte particulier du Brionnais avait donné naissance à une architecture religieuse particulière, grâce à l’étude de la morphologie des bâtiments, de leur style, à une attention spéciale portée à la pierre à bâtir depuis son approvisionnement jusqu’à l’ouvrage. L’architecture du Brionnais offre de fait un profil totalement original. Le détail des analyses montre une invention, née de la capacité des bâtisseurs à puiser formes et techniques à des répertoires variés pour composer des créations inédites. Naturellement, comme l’historiographie du Brionnais roman est abondante (en particulier concernant le décor sculpté), notre travail a croisé les sources de réflexion, les bâtiments, les textes et les images, associant archéologie du bâti, histoire de l’art, géologie, histoire. Pour revenir au côté paradoxal, nous avons gardé le souci de favoriser autour de notre XII° siècle le temps long de l’Histoire, et l’époque Moderne, par exemple, nous a beaucoup parlé du Brionnais roman
Located in South Burgundy, France, the region known as the Brionnais appears, at first glance, to be a 12th Century spontaneous by-product. It is indeed neither a natural region, nor is it of ecclesiastical division. However, in a time where frontiers separated France and Burgundy, and later the Empire, a sort of contingency will mend this disparate and marginal territory into a singularly defined region. The Brionnais will form itself through willful policies thanks to the active presence of the Semur and Le Blanc lordships. The lords of the Brionnais will form connections with neighboring lords through games of alliances and rivalries, as well as through the ecclesiastical careers of certain of their members. The result: an inland solidity, an openness to the adjacent regions; places of worship, churches and monasteries flourish in mere decades in order to construct a singular landscape of religious monuments. The latter will precisely be marked by an originality sure of itself in order to seek, adopt, interpret and make bear fruit of its influences. In all, political and artistic network as well as the religious fabrics will create an ensemble of truly rich interactions. This allowed us to renew our view on this original domain, the paradox being that the latter didn’t survive up to the 12th Century without any loss or modification, and that, under Romanesque appearances, the present Brionnais landscape was actually mainly constructed in the 19th Century! Guided by traces and documentation, I proceeded through a regressive analysis, scouring through time, in order to carefully reconstruct the history of theRomanesque Brionnais religious monuments. Going back through the contemporary and modern religious heritage, I was able go as far back as the 9th Century, thus far ignored by research: indeed, until now, research only concentrated on churches conserved above ground, whereas more than half of the churches built between the 9th and 12th Century disappeared from the observable surface. The first result is of paramount importance: we can now follow the parochial structure genesis, like a shift from an agri and villae division to a parochiae network. Once the heritage and political and ecclesiastical geography reproduced, it appeared that the particular context of the Brionnais region gave birth to a particular religiousn architecture, notably thanks to the study of the monuments’ morphology, its style, and tothe attention given to the stone used, from its provision to the work and result itself. Hence, the original profile of the Brionnais architecture. The detail of the analysis show true invention, hatched from the builders’ ability to draw formes and techniques from various repertoires to give birth to unprecedented creations.Naturally, considering the abundant Brionnais Romanesque historiography (notably the sculptured decor), I cross-checked sources of reflection, monuments, textes and images, associating construction archeology, art history, geology and history. Coming back to the paradoxical aspect, I kept the interest of favoring the 12th Century the time of History, and the Modern era, for example, spoke quite a lot about of the Romanesque Brionnais

La pratique de la peinture murale aux âges romans a bénéficié, depuis sa “redécouverte“ au XIXe siècle, d’une longue tradition d’études en France et en Europe. Cette historiographie s’établit dans les développements d’un champ d’études plutôt récent mais s’est enrichie des évolutions épistémologiques des disciplines connexes, comme l’histoire et plus généralement les sciences sociales. Dans la continuité des recherches récentes portant sur les acteurs de la création artistique, en particulier dans le domaine de la peinture murale, notre thèse s’intéresse à un acteur essentiel de la production désigné traditionnellement sous le terme de “commanditaire“. Sur la base d’un corpus de 30 ensembles conservés dans le Midi de la France, datés pour la majorité du XIIe siècle et face à un silence des sources historiques, nous nous sommes confrontée à la question de la “commande“. La démarche historiographique permet de mettre en perspective certains acquis sur le sujet et de proposer une nouvelle vision de la création artistique
Since its 'rediscovery' in the 19th century, the practice of wall painting in the Romanesqueages has benefited from a long tradition of study in France and Europe. This historiography is based on developments in a fairly recent field of study, but has been enriched by epistemological developments in related disciplines, such as history and the social sciences more generally. Following on from recent research into the players involved in artistic creation, particularly in the field of mural painting, our thesis focuses on an essential player in production traditionally referred to as the 'patrons'. On the basis of a corpus of 30 ensembles preserved in the South of France, most of which date from the twelfth century, and faced with a silence in the historical sources, we have confronted the question of 'commissioning'. The historiographical approach enables us to put into perspective certain knowledge we have gained on the subject, and to propose a new vision of artistic creation

Cette recherche d'archéologie médiévale a pour objet l'incidence des pouvoirs locaux et régionaux sur l'occupation du territoire du pays de Forcalquier et sur son architecture. Nous nous sommes proposé d'éclairer les évolutions de l'occupation de ce territoire sur une séquence chronologique allant du IXe au XIIIe siècle. Cette période permet d'appréhender les implications des pouvoirs locaux tant politiques que religieux et de percevoir les mutations sociales, culturelles et matérielles communes à l'Occident médiéval. Les espaces religieux et les espaces politiques ont formé autour de Forcalquier une véritable mosaïque de terroirs dont la diversité de l'institution qui la dominait apparaît par le biais du vestige matériel. L'étude souhaite apporter sa contribution à une meilleure connaissance de la Provence médiévale.

La tesi è rivolta allo studio comparativo delle tecniche costruttive datate tra tardo antico e romanico (fine IV-XII secolo), con particolare attinenza agli edifici di culto milanesi. L'obiettivo principale è stato quello di delineare le linee evolutive delle tecniche costruttive e identificare la presenza di caratteri tecnici particolari che avessero valore di indicatore cronotipologico. Il quadro complesso e articolato degli studi pregressi sulle più note basiliche medievali milanesi ha reso necessaria l'indagine, per la presenza di ipotesi interpretative contraddittorie e la frequente carenza di indagini aggiornate sotto il profilo metodologico. Per questa ragione, la prima parte del lavoro è stata rivolta alla definizione della storia degli studi editi riguardanti temi di carattere archeologico e architettonico, che hanno costituito la base di riferimento per l'individuazione delle campionature murarie da analizzare. Nell'ambito di questa stessa sezione si è resa poi indispensabile la stesura di una parte destinata alla trattazione del metodo utilizzato che, per quanto riguarda l'analisi del materiale da costruzione in laterizio, ha previsto l'applicazione, in via sperimentale su un raggio di indagine così esteso, del metodo mensiocronologico al materiale di recupero. La seconda parte della tesi ha riguardato l'analisi dei principali contesti architettonici esaminati (S. Giovanni alle Fonti, S. Tecla, S. Simpliciano, S. Nazaro Maggiore, S. Ambrogio, S. Eustorgio), affrontata con schede apposite destinate all'inquadramento dei dati storico-archeologici pregressi, delle campionature murarie esaminate, in pietra e laterizio, e dei risultati delle analisi metriche. Ogni fase costruttiva individuata è stata poi approfondita in sezioni specifiche nelle quali sono confluiti i risultati raggiunti. La terza ed ultima parte del lavoro, è stata infine rivolta alla trattazione delle cronotipologie dei tipi costruttivi elaborate (in opus latericium, opus latericium spicatum e opera di spolia), a quella dei principali indicatori cronotipologici individuati e alle loro modalità di trasformazione nel tempo. Il lavoro di ricerca ha aperto molteplici prospettive di approfondimento, relative ai singoli monumenti trattati ma anche a problematiche di più ampio respiro nel settore dell'edilizia medievale, che sono state trattate nel capitolo conclusivo.
The thesis is dedicated to the comparative study of construction techniques dating from late antiquity and Romanesque (end of 4th-12th century), with particular attention to the religious buildings in Milan. The main objective was to represent the evolutionary lines of the construction techniques and to identify the presence of technical characteristics that have a specific age-typology meaning. The contradictory interpretative hypotheses and the lack of up-to date - in terms of methodology - investigations within the complex and extensive literature on the most known medieval basilicas in Milan has inspired this investigation. For this reason, the first part of the work treats the definition of the history of the published studies on the archaeological and architectural subjects, which have represented the reference for the identification of the masonry samples to be analyzed. As part of this section it was necessary the drafting of a description of the method used. With regard to the analysis of structural clay material, such process provided for the application - on an experimental basis on a so extensive investigation - of the metric-age analysis method to the recovered material. The second part of the thesis concerned the analysis of the main architectural complexes examined (S. Giovanni alle Fonti, S. Tecla, S. Simpliciano, S. Nazario Maggiore, St. Ambrose, St. Eustorgio), performed through dedicated files for the classification of former historic-archaeological data, of the masonry and the stone and brick samples tested, and of the results of the metric analysis. Each identified construction phase was then further investigated in specific sections where the results are gathered. The third and final part of the work concerns the discussion of the developed age-typologies of the construction materials (opus latericium, opus spicatum latericium and works in spolia), the main age-typology indicators identified and the different ways they changed over time. The research has opened up many scenarios for further studies, in relation to the individual monuments treated but also to broader issues in the sector of the Middle Ages building activity, as discussed in the final section.

La tesi è rivolta allo studio comparativo delle tecniche costruttive datate tra tardo antico e romanico (fine IV-XII secolo), con particolare attinenza agli edifici di culto milanesi. L'obiettivo principale è stato quello di delineare le linee evolutive delle tecniche costruttive e identificare la presenza di caratteri tecnici particolari che avessero valore di indicatore cronotipologico. Il quadro complesso e articolato degli studi pregressi sulle più note basiliche medievali milanesi ha reso necessaria l'indagine, per la presenza di ipotesi interpretative contraddittorie e la frequente carenza di indagini aggiornate sotto il profilo metodologico. Per questa ragione, la prima parte del lavoro è stata rivolta alla definizione della storia degli studi editi riguardanti temi di carattere archeologico e architettonico, che hanno costituito la base di riferimento per l'individuazione delle campionature murarie da analizzare. Nell'ambito di questa stessa sezione si è resa poi indispensabile la stesura di una parte destinata alla trattazione del metodo utilizzato che, per quanto riguarda l'analisi del materiale da costruzione in laterizio, ha previsto l'applicazione, in via sperimentale su un raggio di indagine così esteso, del metodo mensiocronologico al materiale di recupero. La seconda parte della tesi ha riguardato l'analisi dei principali contesti architettonici esaminati (S. Giovanni alle Fonti, S. Tecla, S. Simpliciano, S. Nazaro Maggiore, S. Ambrogio, S. Eustorgio), affrontata con schede apposite destinate all'inquadramento dei dati storico-archeologici pregressi, delle campionature murarie esaminate, in pietra e laterizio, e dei risultati delle analisi metriche. Ogni fase costruttiva individuata è stata poi approfondita in sezioni specifiche nelle quali sono confluiti i risultati raggiunti. La terza ed ultima parte del lavoro, è stata infine rivolta alla trattazione delle cronotipologie dei tipi costruttivi elaborate (in opus latericium, opus latericium spicatum e opera di spolia), a quella dei principali indicatori cronotipologici individuati e alle loro modalità di trasformazione nel tempo. Il lavoro di ricerca ha aperto molteplici prospettive di approfondimento, relative ai singoli monumenti trattati ma anche a problematiche di più ampio respiro nel settore dell'edilizia medievale, che sono state trattate nel capitolo conclusivo.
The thesis is dedicated to the comparative study of construction techniques dating from late antiquity and Romanesque (end of 4th-12th century), with particular attention to the religious buildings in Milan. The main objective was to represent the evolutionary lines of the construction techniques and to identify the presence of technical characteristics that have a specific age-typology meaning. The contradictory interpretative hypotheses and the lack of up-to date - in terms of methodology - investigations within the complex and extensive literature on the most known medieval basilicas in Milan has inspired this investigation. For this reason, the first part of the work treats the definition of the history of the published studies on the archaeological and architectural subjects, which have represented the reference for the identification of the masonry samples to be analyzed. As part of this section it was necessary the drafting of a description of the method used. With regard to the analysis of structural clay material, such process provided for the application - on an experimental basis on a so extensive investigation - of the metric-age analysis method to the recovered material. The second part of the thesis concerned the analysis of the main architectural complexes examined (S. Giovanni alle Fonti, S. Tecla, S. Simpliciano, S. Nazario Maggiore, St. Ambrose, St. Eustorgio), performed through dedicated files for the classification of former historic-archaeological data, of the masonry and the stone and brick samples tested, and of the results of the metric analysis. Each identified construction phase was then further investigated in specific sections where the results are gathered. The third and final part of the work concerns the discussion of the developed age-typologies of the construction materials (opus latericium, opus spicatum latericium and works in spolia), the main age-typology indicators identified and the different ways they changed over time. The research has opened up many scenarios for further studies, in relation to the individual monuments treated but also to broader issues in the sector of the Middle Ages building activity, as discussed in the final section.

L’engouement du Moyen-Âge pour le mythe troyen se traduit tout particulièrement à travers sa figure centrale, Hector. Benoît de Sainte-Maure, qui s’appuie sur la tradition homérique telle que l’a transmise la littérature latine tardive (Ilias latina, Éphéméride de la guerre de Troie de Dictys de Crète, Histoire de la destruction de Troie de Darès le Phrygien), fait du fils de Priam le héros incontesté de son œuvre, le Roman de Troie, et glorifie les exploits de ce guerrier à la prouesse exemplaire. Ce texte constitue le jalon majeur de la construction du mythe d’Hector à l’époque médiévale, dont témoignent les réécritures en prose ou en vers, même si, parallèlement, l’histoire de Troie continue d’être transmise par le texte latin de Darès ou sa traduction. À ces deux traditions s’ajoute celle qui naît de l’œuvre de l’Italien Guido delle Colonne, l’Historia destructionis Troiae, réécriture latine du roman de Benoît au XIIIe siècle. Cependant la notoriété de la figure d’Hector s’exprime aussi dans des œuvres où le personnage tend à se dissocier du destin de sa cité et apparaît seul ou associé à d’autres héros, troyens ou non, pour servir de référence en terme de bravoure, ce qui lui vaut de figurer parmi les Neuf Preux. C’est pourquoi le personnage va continuer d’évoluer indépendamment du roman de Benoît et de ses réécritures directes, ce qui se perçoit aussi bien dans la chanson de geste que dans les récits arthuriens. Les valeurs qu’il incarne intéressent aussi bien l’auteur de l’Ovide moralisé que Christine de Pizan. Figure exemplaire, presque archétypale, Hector est aussi un personnage protéiforme dont l’histoire ne cesse d’être réécrite par la tradition médiévale
In the Middle Ages, the interest in the Trojan myth focuses particularly on its main character, Hector.Using the Homeric tradition inherited from the late Latin literature ( Ilias latina, Ephemeridos belli troiani by Dictys of Crete, De Excidio Troiae historia by Dares the Phrygian) as a basis to his work, Benoît de Sainte Maure makes Priam’s son the uncontested hero of his novel, The Roman de Troie, in which he praises the feats of this exceptional warrior.This text greatly contributes to the construction of Hector’s myth during the Middle Ages, as shown by its rewritings in prose or verse, although the story of Troy was also transmitted via Dares’ Latin text or its translation.In addition to these two traditions, another one appeared in the 13th century with the Italian Guido delle Colonne whose Historia Destructionis Troiae is a Latin rewriting of Benoît’s novel.However, Hector’s fame also asserts itself in other works in which the character tends to dissociate himself from his city’s destiny and appears alone or associated to other heroes, Trojan or not, to serve as a reference in terms of bravery, which earned him his place among the Nine Worthies.That is why this character continues to evolve independently from Benoit’s novel and its rewritings, as can be seen through epic poetry and Arthurian tales.Both Christine de Pizan and the author of Ovide moralisé take an interest in the values he embodies.Hector is a model, almost an archetypal figure as well as a character whose story never ceased being rewritten by Medieval tradition

En el contexto del siglo XII europeo, se impone la iconografía del Cristo Luz aureolado por una almendra mística, sosteniendo un libro abierto con inscripciones alusivas a una teología de la luz.

La proliferación de la iconografía de la Maiestas Domini se produce en el contexto histórico de la reforma litúrgica canóniga agustiniana, cuyo origen se encuentra en san Rufo de Avignon y san Víctor de Marsella. Cataluña, se hace depositaria de la Regla se san Agustín, que propugna un ideal renovado de belleza mística neoplatónica.

La llegada al Principado de manuscritos de la Homilía al Prólogo de Juan, escrita por Juan Escoto Eriúgena, es una prueba, en pleno siglo XII, de la relación entre una iconografía teológica de la luz y una tradición neoplatónica originada en el siglo IX en la corte carolingia.

El texto de la Vox spiritualis aquilae representa la recepción de la teología de la luz en la iconografía de la Maiestas Domini y, con ella, una nueva forma de representar a Dios, al hombre y al mundo en el arte.
In the 12th century European context, predominates the iconography of Christ placed in a light mystic mandorla holding an open book containing inscriptions concerning a special theology of light.

The Maiestas Domini iconography strongly arises together with the historical fact of the agustinian liturgical movement. The so called agustinian canonigas were originally born in saint Ruph of Avignon and saint Victor of Marseille holding the spirituality of the Rule written by saint Agustin himself and later moved into Cataluña renewing his original idea of neoplatonic mystical beauty.

The arrival of collections of manuscripts into Catalonia containing the Homily to the Prologus of saint John by Scotus Eriugena is enough to proof the relationship between the theology of light iconography and the neoplatonic traditions originated in the 9th century Carolingian Court.

The text of the Vox Spiritualis Aquilae involves a reception of the Theology of light within the Maiestas Domini iconography. It is a new way of representing God, man and world in art.

L’objectif de cette recherche est de caractériser les aspects topographiques, fonctionnels et architecturaux de l’abbaye bénédictine de Cormery établie en Touraine, par la communauté de Saint-Martin de Tours en 791 et restée en fonction jusqu’à la Révolution française. Cette approche multi-scalaire du monastère s’appuie sur les sources textuelles et les nombreux vestiges en élévation qui incluent les bâtiments claustraux. La première partie de ce travail s’attache à analyser le contexte de fondation du monastère dans la vallée de l’Indre et tout particulièrement le lien avec la rivière. Dans un deuxième temps, une étude archéologique a été menée sur les vestiges de l’église abbatiale et de la tour-clocher de l’époque romane à partir de relevés réalisés en lasergrammétrie et photogrammétrie. Enfin, l’analyse de l’organisation spatiale de l’établissement monastique et de sa périphérie où s’est formé un bourg conclut ce travail
The purpose of this research is to characterize the topographic, functional and architectural aspects of the benedictin abbey of Cormery, founded in Touraine by the community of St Martin in 791 and which was in use until the French Revolution. This multi-scalar approach of the monastery is based on written sources and standing architectural remains which include the monastic buildings. The first part of this work is dedicated to analyze the foundation process of the monastery in the Indre Valley, especially the link with the river. Secondly, the architectural study of the remains of the abbey church and the still-standing Romanesque western tower was carried out with photogrammetric and lasergrammetric recording. Finally, we conclude this work with the analysis of the spatial organization of the monastic settlement and its periphery where a medieval market town developed

Trois romans arthuriens écrits au XIVème siècle, Le Petit Artus de Bretagne, Meliador, Ysaïe le Triste, constituent le miroir d'une prise de conscience du fait littéraire dans sa dimension écrite, réflexive et figurative, à la fin du Moyen Age. La première partie s'attache à l'étude des scènes de réception : la réévaluation de l'écrit, du sacré à l'artisanat humain, s'accompagne d'une modification des pratiques de lecture, qui évoluent insensiblement d'une réception collective, oralisée, à une réception individuelle, silencieuse et méditative. La deuxième partie explore ces romans arthuriens comme réception des traditions, du point de vue de la topique, comme du point de vue des références voilées à l'actualité, et définit le romanesque comme un jeu virtuose d'allusions intertextuelles et contextuelles. La dernière partie s'intéresse à la mise en page et en image des manuscrits et imprimés, et expose un contrat de lecture mouvant : au XIVème siècle, les manuscrits révèlent une connivence entre l'écrivain virtuose et son public attentif au jeu sur les traditions ; aux XVème et XVIème siècles, les manuscrits et imprimés deviennent le support d'une réflexion instructive
Three Arthurian novels written in the 14th century, Le Petit Artus de Bretagne, Meliador, and Ysaïe le Triste, demonstrate clearly the growing awareness of literary creation and its written, reflective and figurative aspects which occurred at the end of the Middle Ages. The first part examines how written and illustrated works were received in the novels. A re-evaluation of writing, whether sacred or profane, was accompanied by changes in reading practices, which moved gradually from a collective oral tradition to an individual, silent and meditative practice. The second part explores the three Arthurian novels as a receptacle for traditions, and defines the novel as a skilled symphony of contextual and inter-textual references. The third and final part focuses on the layout and illustration of manuscripts and printed works, and shows how the relationship between the reader and writer changes : in the 14th century, the manuscripts reveal a complicity between a skilled writer and his audience, who are very aware of his playful manipulation of traditions ; in the 15th and 16th centuries, the manuscripts and printed works can be seen as a tool for instructive and reflective reading

Cette thèse aborde, sous un angle comparatif, l’impact du Nouveau Roman français sur la littérature persane. Nous circonscrirons notre étude à la période contemporaine, les années 1340-1350 (1960-1970), en nous penchant sur l'apport des médias comme Djong-e Esfahan, en 1344 (1965) et de la traduction, qui contribuent à transmettre les nouveautés littéraires aux nouveaux romanciers de la Perse. Cette étude se penche sur l’apparition du Nouveau Roman comme bouleversement des codes et conventions traditionnelles littéraires. Dorénavant, le refus du pastiche et de l'imitation encourage les nouveaux romanciers à développer, dans le champ romanesque, une nouvelle esthétique de l’écriture. Nous nous concentrerons principalement sur le parallèle entre l'écriture de Golshiri, et celle de Robbe-Grillet, dont le premier s'est relativement inspiré.A cet égard, nous considérons quelques pistes romanesques de ces pionniers du Nouveau Roman, comme support à notre étude comparative. Leur transformation de la lecture passive traditionnelle, en une activité plus dynamique que jamais, nous mène à évaluer le nouveau statut du lecteur contemporain, piégé dans l’aventure de l’écriture. Les œuvres littéraires étudiées dans cette thèse se situent à la croisée d’une étude esthétique sur la forme narrative du texte et la prédominance de l’écriture sur le sens. Nous analyserons les procédés de mise en valeur du langage utilisés, et les modifications subies par ces nouveaux apports techniques du texte littéraire. Grâce à l’étude des œuvres du corpus, nous analyserons, de manière comparative, les enjeux qui existent entre les notions de réel et de fictif, d’Ancien et de Moderne, de genre et de mouvement littéraire
This thesis aims to study, through a comparative approach, the impact of New French Novel on Persian literature. This study is circumscribed to a contemporary period, from 1340 until 1350 (1960-1970), and underscores the relationship between the Iranian media such as Djong-e Esfahan produced in 1344 (1965) and translation, which contributed to the transfer of the literary novelties to the new Persian novelists. This research will demonstrate the existing contrast between the traditional conventions of the literary genres and their subversion provoked by literary movements such as New Novel. From now on, the refusal of pastiche and mimesis encourages the new novelists to develop, in the field of fiction, a new aesthetic of writing. The major problematic of this study concentrates on drawing the parallels between the works of Golshiri and those of Robbe-Grillet, which was a real source of inspiration for the first one. In this regard, selected fictions of the pioneers of the New Novel are considered in order to support our comparative study. The dramatic change from a traditionally passive reading to an active reading leads us to assess the new status of the contemporary reader, tripped in the adventure of writing. The literary works studied in this thesis are situated in the crossroad of an aesthetic study on narrative form of the text and the superiority of writing over meaning. We will analyse the process of the development of language, the modifications it has undergone through the new technological relationship of the literary text. Thanks to the study of these works, we will analyse, from a comparative point of view, the existing challenges between the notions of real and fictive, of ancient and modern, of literary genre and literary movement

Qu’ils mettent en avant une figure historique ou un personnage fictif, les Mémoires de Courtilz de Sandras, publiés entre 1687 et 1758, marquent l’essor d’une forme romanesque fondée sur le simulacre de l’écriture mémorialiste. Ces romans empruntent l’aspect de mémoires dont les signataires fictifs sont des acteurs du règne de Louis XIII ou des contemporains parfois célèbres de Courtilz ; cependant, loin d’induire en erreur le lectorat, l’origine fictive de ces récits, qui justifie le qualificatif d’apocryphes, n’a pas empêché les critiques des XVIIe et XVIIIe siècles de déceler derrière les auteurs supposés la présence d’un romancier anonyme. Entre illusion et vérité, ces pseudo-mémoires à la première personne, qui mêlent véracité biographique, exactitude historique et invention romanesque, invitent à redéfinir les notions d’authenticité et de fiction, à la lumière du pacte tacite qui s’établit entre l’auteur et le lecteur, unis dans une conscience commune du simulacre. L’examen des rapports complexes que ces textes entretiennent avec les mémoires et l’histoire permet de les situer dans l’évolution des formes romanesques à l’âge classique. Enfin, la fiction de l’écriture mémorialiste autorise un brouillage des voix dont l’analyse révèle la pluralité des discours mis en œuvre par Courtilz : à la voix du mémorialiste fictif se superpose et souvent s’oppose la voix du romancier, qui, à travers les faits du récit, formule en filigrane un discours satirique sur le monde, incompatible avec celui des personnages. Véritable instrument polémique, la rencontre de ces discours contradictoires participe d’un univers romanesque pessimiste où transparaît l’échec existentiel des héros
Whether they highlight a historical figure or a fictional character, the Memoirs of Courtilz de Sandras, published between 1687 and 1758, mark the emergence of a type of fiction based upon the pretence of memorialist writing. These novelistic works assume the form of memoirs whose fictitious authors are individuals from the reign of Louis XIII or well-known contemporaries of Courtilz. Far from misleading the readers, the fictional origin of these narratives, which justifies their being called apocryphal, did not prevent the literary critics of the seventeenth and eighteenth centuries from detecting behind the purported authors an anonymous novelist. Between illusion and truth, these so-called memoirs written in the first person, mixing biographical veracity, historical accuracy and fictional invention, urge to redefine the notions of authenticity and fiction, in the light of the tacit pact between the writer and the reader, united in a common awareness of pretence. Studying the complex relationship that these novels share with authentic memoirs and history permits to situate them in the evolution of the works of fiction in the French classical age. The fiction of memorialist writing allows the mixing of the voices, which reveals the plurality of the discourses used by Courtilz: to the voice of the fictitious memorialist, the voice of the novelist is superimposed if not opposed. Through the narrative, the novelist implicitly expresses a satirical speech about the world, irrelevant with the one of the characters. A real instrument of controversy, the interweaving of the two discourses partakes of a pessimistic fictional world which emphasizes the existential failure of the heroes

Cette thèse tend à mettre en lumière l'émergence de l'architecture romane et de ses formes, dès le XIe siècle, ainsi que les mutations qui sont intervenues au tournant du siècle suivant, dans les anciens diocèses de Bordeaux et de Bazas. Ces recherches s'inscrivent dans le cadre d'un programme plus vaste, qui englobe la partie méridionale de l'ancienne Aquitaine. Il s'agit de mettre en exergue les transformations ayant eu lieu lors de cette période charnière, à savoir le passage de formes parfois dites « archaïques » à celles qui témoignent d'un art roman épanoui, en essayant de comprendre les choix des bâtisseurs de ce temps, ainsi que les influences ayant présidé à leurs réalisations. Cette approche considère à la fois une série d'édifices modestes qui ont permis de réaliser un corpus de référence, dans lequel s'inscrivent aussi les monuments bordelais de plus grande importance, tels que les églises Saint-Seurin et Sainte-Croix ou la cathédrale Saint-André. Nous tentons de porter un regard nouveau sur les édifices inventoriés dans la région, en nous intéressant non seulement au style mais aussi aux techniques, afin d'en renouveler l'approche. A cet effet, les matériaux et leur mise en œuvre ont été pris en considération et quelques méthodes propres à l’archéologie du bâti ont été employées afin d’apporter des éléments supplémentaires à l’analyse. Plusieurs études régionales ont fait l'objet de recherches aux finalités similaires ces dernières années et nous nous inscrivons pleinement dans cette démarche. Nous espérons ainsi développer notre connaissance de la production architecturale romane en Gironde et contribuer à une vision d'ensemble des manifestations de la création au sein de la partie méridionale de l'ancienne Aquitaine
This thesis aims to highlight the emergence of romanesque architecture in its various forms. It started in the XIth century, as well as the transformations which occurred during the beginning of the XIIth century, in the former dioceses of Bordeaux and Bazas. Our work is part of a larger research program that includes the southern part of the former Aquitaine area. It consists in highlighting the changes that happened during this pivotal period, that is to say the transition from the so-called “archaic” architectural forms to those that exemplify romanesque art in all its glory. We will try to understand the choices made by the builders at the time and the influences that guided these choices. Our approach will consider a set of modest buildings which will allow us to form a reference corpus, but also some of Bordeaux’s greatest monuments like the churches of Saint-Seurin and Sainte-Croix, and obviously the cathedral of Saint-André. We will try to take a fresh look on the buildings listed, by taking into consideration not only the style but also the building techniques employed, in order to renew the approach, thanks to an analysis grid of buildings. For this purpose, materials have been taken into consideration. Several regional studies have been the subject of similar research in the last few years, and we are fully involved in this approach. We hope, therefore, to improve our knowledge of romanesque architecture in Gironde, and to contribute to an overview of this type of construction in the southern part of the former Aquitaine area

L’étude présentée ici a pour but d’analyser la manière d’utiliser l’arc outrepassé, en plan et en élévation, et l’arc en retrait sur ses piliers, dans une région et dans un temps pragmatiquement défini du monde méditerranéen particulièrement riche en éléments architecturaux de ce type. L’arc en retrait n’est pas inconnu dans la recherche mais, faute d’identification précise et donc de terminologie adaptée, il a été confondu avec l’arc outrepassé sous des dénominations différentes. Faisant l’objet de diverses théories dans l’historiographie, ces deux types d’arcs ont été utilisés comme arguments majeurs dans la datation et dans la filiation stylistique des édifices dans lesquels ils se trouvent. L’objectif de cette approche consiste à confronter ces courants historiographiques, inscrivant un monument donné comme relevant du monde wisigothique, mozarabe ou carolingienne, à l’analyse des monuments in situ dans les régions catalano-roussillonnaises et languedociennes où ces formes présentent une concentration considérable. Dans ces théories tenaces, souvent assimilables à des idées reçues sans discernement, l’abbaye de Saint-Michel de Cuxa a occupé une place particulière de sorte que son attribution s’est répercutée sur de nombreux édifices, surtout des chapelles rurales, gravitant dans son orbite. Les monuments situés sur les deux versants des Pyrénées possédant ces formes en élévation ou dans la planimétrie constituent un corpus de 98 édifices. Ils ne révèlent pas seulement une certaine uniformité pour l’ensemble du territoire mais, au-delà, permettent également de définir des microrégions homogènes. L’étude de ce territoire est intégrée dans une analyse historiographique plus vaste de ces deux types d’arcs qui cherche la réponse à leur origine, à leur propagation géographique au fil de temps et présente les différentes réflexions sur la raison d’être de leur emploi. A côté des théories pragmatiques qui considèrent ces formes comme des procédés techniques offrant des avantages constructifs et des mesures techniques qui cherchent à établir une typologie séparant les arcs de différentes époques et de différentes aires géographiques, une attention particulière est apportée aux dimensions idéologiques, liturgiques et symboliques liées à ces tracés
This study focusses, in façade and in plan, on the horseshoe arch, the hallmark of architecture in the first flowering of the Middle Ages, and on the recessed arch on piers, its more or less unrecognised contemporary. The geographical extent of the occurrence of these two types of arch has been defined by the periodic enlargement of the area where they are really concentrated: Spanish Catalonia and French Languedoc-Roussillon. Applied often to dating a building, and becoming involved as a result in a stylistic epistemology, as well as being the targets of the entrenched dogmas of a vast historiography, these pieces of evidence are here studied on the ground in their architectural context so as to juxtapose fieldwork with the theories on their deployment developed a century ago. Given the spread of developed mediaeval arches, this work endeavours to place their corpus in a wider general study which clearly cannot depend on an exhaustive survey, but which is able to suggest, nevertheless, that the realm of the Moorish arch transcends the territorial and chronological limits of Visigothic, Mozarabic, Carolingian or Islamic culture. The origin of the recessed arch on its piers, for which we propose the term «mushroom shape» displays an undeniable origin in antiquity. Its diffusion in time and space coincides with the horse-shoe throughout the vast Mediterranean ambit. The corpus of the area studied brings together 98 buildings which preserve in their structure the Moorish arch and/or the recessed arch on piers. An analysis of arch assembly, incorporated in the overall study of a building’s construction, confirms that the Moorish design or that of the recessed arch on piers concerned not only arches but was inherent in a general building process observable in the raising of the vault, or of any transverse arches or in openings, doorways or windows. The endurance of these same building procedures for centuries, for minor works such as small country chapels, as for the great abbey church of Saint- Michel de Cuxa, testifies to a conservative art associated with basic techniques

Die Kirche von San Isidoro in León besitzt einen der umfangreichsten und ambitioniertesten Kirchenschätze, der sich – aus einem Stiftungszusammenhang stammend – über die Wirren der Jahrhunderte in Europa erhalten hat. Als kulturelles Erbe des christlichen Königreiches Spanien wird der Schatz in unzähligen Beiträgen erwähnt. Wiederholt hervorgehoben wird seine Bedeutung für die Einführung und Ausbreitung des romanischen Stils auf der Iberischen Halbinsel und die damit verbundene Europäisierung der spanischen Königreiche. Aus welchen Quellen die neu eingeführten Stilmittel schöpften, wird in der Wissenschaft konträr diskutiert. Sowohl Frankreich als auch England, Byzanz und die arabische Welt werden als Vorbilder in Betracht gezogen. In den 1920er und 1930er Jahren nahmen Arthur Kingsley Porter und Manuel Gómez-Moreno erstmals an, dass die visuelle Ursprünge auch in der ottonische Kunst zu finden seien. Das Ziel der vorliegenden Dissertation ist es, dieser vor rund 100 Jahren formulierten und immer wieder aufgegriffenen Vermutung erstmalig in vertiefenden Studien kritisch nachzugehen. Die nordspanischen Könige, so die These, rezitierten die ottonisch-frühsalische Herrschaftspräsentation, um den eigenen imperialen Machtanspruch auf der Iberischen Halbinsel zu manifestieren. Mit den neuen ikonographischen Formen zog analog dazu ein neuer künstlerischer Stil ein.
The Church of San Isidoro in León has one of the most extensive and ambitious ecclesiastical treasures, which - based on a foundation context - has survived the turmoil of the centuries in Europe. Being a cultural heritage of the Christian Kingdom of Spain, the treasure is mentioned in countless articles. Its importance for the introduction and spread of the Romanesque style on the Iberian Peninsula and the associated Europeanization of the Spanish kingdoms is repeatedly emphasized. It is contrarily discussed in science from which sources the newly introduced stylistic devices drew. Both France and England, Byzantium and the Arab world are considered role models. In the 1920s and 1930s, Arthur Kingsley Porter and Manuel Gómez-Moreno first assumed that the visual origins were also to be found in Ottonian art. The aim of the present dissertation is to critically investigate the assumption, which was formulated around 100 years ago and has been repeatedly taken up, in-depth studies for the first time. According to the thesis, the Northern Spanish kings recited the Ottonian-early Salian rule presentation to manifest their own imperial claim to power on the Iberian Peninsula. Analogous to this, a new artistic style was introduced with the new iconographic forms.

This project explores the intersection of art, religion, and community within the historical context of the Middle Ages, where architecture acts as an expression of the experience of urban life, as well as an affecting locus of social interaction. It focuses on medieval Verona, where the immense architectural renovations of the eleventh and twelfth centuries were an integral response to a period of intense social and religious transformation. Here, the churches are examined as an ensemble, as a network of interconnected buildings that were produced under similar social circumstances. Instead of focusing on defining a Veronese architectural style through a number of decorative features, however, this dissertation explores difference as being an important factor in defining the look of each Veronese church, focusing on the Romanesque churches' relationships to the city, floorplans, and elevations as evocations of a period of considerable creativity. This variation is considered in terms of the experiences of the communities and individuals who commissioned them, and how the buildings' historical and cultic associations were identified within the larger urban context.

The first part of the thesis deals with Romanesque rotundas. These are introduced and set in historical and cultural context of the early Middle Ages to understand the cause of their origin. A substantial part is devoted to formal analysis of individual rotundas located in Prague and its close surroundings, their function in various interpretations of Czech researchers. The next part of the thesis is dedicated to the work itself where the original parts of the individual rotundas are drawn. The theoretical principles are applied in the last part of the thesis, where they are united with a/r/tography research. It is described and used for subsequent methodical series of art education, which were taught at the first grade of primary school.

La ricerca si propone di analizzare il riuso di elementi scultorei altomedievali e il recupero del loro linguaggio formale in Toscana e Abruzzo tra XI e XIV secolo. L’ampia casistica oggetto di questo studio può essere suddivisa in tre grandi categorie di riferimento: casi di autentico spoglio, pseudospolia ed episodi arcaizzanti. In alcuni casi, nuovi cantieri architettonici, infatti, impiegano elementi di spoglio provenienti da arredi liturgici realizzati tra VIII e IX secolo. Accanto a episodi di vero e proprio riuso, è possibile riconoscere casi di pseudospolia, cioè sculture che si fingono elementi di recupero tentando di apparire più antiche di quello che sono e parte di un insieme scomposto in realtà mai esistito. Oltre all’esibizione di spolia autentici o solo apparenti, incontriamo infine sculture e decorazioni architettoniche vivacemente arcaizzanti che recuperano retrospettivamente stilemi e soluzioni altomedievali, rielaborandoli con grande libertà e fantasia.

This dissertation studies a local manifestation of ecclesiastical reform in the medieval county of Savoy: the twelfth-century transformation of secular canons into Augustinian regular canons at the church of Sts. Peter and Ursus in the alpine town of Aosta (now Italy). I argue that textual sources, material culture, and the practice of place together express how the newly reformed canons established their identity, shaped their material environment, and managed their relationship with the unreformed secular canons at the cathedral. The pattern of regularization in Aosta—instigated by a new bishop influenced by ideas of canonical reform—is only one among several models for implementing reform in medieval Savoy. This study asserts the importance of this medieval county as a center for reforming efforts among a regional network of churchmen, laymen, and noblemen, including the count of Savoy, Amadeus III (d. 1148). After a prologue and introduction, chapter 1 draws on traditional textual evidence to recount the history of reform in medieval Savoy. Chapters 2 through 4 focus on the twelfth-century sculpted capitals in the cloister built to accommodate the common life of the new regular canons. Several of the historiated capitals portray the biblical siblings, Martha and Mary, and Leah and Rachel, as material metaphors that reflect and reinforce the active and contemplative lives of the Augustinian canons. Other capitals represent the regular canons’ assertion of their precedence over the cathedral canons and suggest tensions between the two communities. The final chapter examines thirteenth-century conflicts over bell-ringing and ecclesiastical processions in the urban topography of Aosta to illustrate how the regular and secular canons continued to negotiate their relationship. Appendices include an English translation of a vita of St. Ursus (BHL 8453). The dissertation as a whole reconstructs the places and material culture of medieval Aosta to convey the complexities of religious and institutional life during a time of reform and beyond.
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This dissertation focuses on the constructing and architectonic development of Premonstratensian monastery and the church of St. Giles of Milevsko in the Middle Ages. The work is based on the older art historical literature and it evaluates the archaeological researches' findings in the locality as well as construction and historic researches of particular buildings, which were carried on with connection to the restitution of the site to the Premonstratensian order in the 1990s. The work demonstrates the Milevsko grounds picture and its construction as well as architectonic development from the establishment of the pre- monastery era in the eighth century until the Hussite's wars. The dissertation provides study of court with a church with apsis, stone Romanesque house and the basilica. It characterises the George of Milevsko personality as well as the significance of the abbot Jarloch. It analyses in detail the Roman architecture of St. Giles Church and attempts to interpret the procedure of its construction. Furthermore, it deals with the shape of the monastery's basilica and the description of Romanesque monastic buildings while comparing the premises to other monastic sites in this country. This dissertation also describes the architectonic boom of abbeys in the era of early Gothics as well as...