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Abida, Dorra. "Le mensonge, son expression dans la littérature médiévale (XIIe – XIIIe siècles)". Paris 4, 2008. http://www.theses.fr/2008PA040173.
Pełny tekst źródłaWhen we evoke "lying", it is very difficult to deviate from the attitude inspired by religion. Lying is categorically forbidden by the Biblical text as well as by the men of the church. Nevertheless, in the medieval literature, falsehood is presented as the heroes' privilege. Though lying as they breathe, the latter win the narrator's favour. In spite of the gravity of this sin, lying is constantly present in the life of these heroes through multiple shapes. The truth, then, becomes transformed, distorted, and concealed. The heroes seem to be talented in the art of speaking and are magnified thanks to a portrait that turns them into some exceptional beings. The choice of terms is very revealing. Such terms as "mentir" and "mençoigne" are generally replaced by others that attenuate them and give them a certain legitimacy. But how can we talk about legitimacy in a world guided by religion ? The narrator vainly tries to applaud the heroes' cunning ; but he cannot forget that liars have to be penalised for their lies. Falsehood, thus, benefits from a status that makes it advocated and devalued at the same time. Devalued since it does not go with a society severely impregnated with a religious tonality. And privileged because it reflects a certain degree of intelligence and a limitless know-how. Constructing his arguments coherently, watching his style, finding the appropriate figures and an apt turn of phrase, speaking distinctly and lively is the mission of the liar who seeks not to be just but rather effective
Besnardeau, Wilfrid. "Représentations littéraires de l'étranger au XIIe siècle : des chansons de geste aux premières mises en roman". Versailles-St Quentin en Yvelines, 2004. http://www.theses.fr/2004VERS027S.
Pełny tekst źródłaOur thesis examines how some literary works of the twelfth century depict strangers. The chanson de geste set up a series of stereotypes in such a way that the audience is seldom surprised by the protrait given of the strangers, which as a matter of fact must fulfil some expectations. However, throughout the century, the idea of the stranger becomes more complicated because of a two-fold movement of inclusion and exclusion: it outlines strangers in the process of being integrated and natives in the process of being outcast. This happens at the same time as the birth of a new literary genre: the novel in which every character is a stranger. They appear to some extent as strangers of epics but, as forerunners of the medieval chivalry in which the public claims to have its roots, they turn out to be particularly ambivalent individuals, some of whom being really praised
Evdokimova, Ludmilla. "Livre et roman : l'opposition de la forme-vers et de la forme-prose au XIIIe siècle". Paris 4, 1998. http://www.theses.fr/1997PA040126.
Pełny tekst źródłaI study peculiar language of French prose of the 13th century by comparing literary works similar as to their content and the date of appearance but different in form (either prosaic or poetic). I compare several pairs of texts in order to reveal artistic means characteristic of prose and then to form an idea of language of prose and the semantics of prosaic form. In the course of this analysis the opposition of prose and poetry is illuminated, i. E. Various parameters determining the opposition of prosaic and poetic texts to each other are revealed. I study manifestations of this opposition on different levels of the text, as well as changes caused by the +translation; of the text from the prosaic to the poetic language or vice versa. Close similarity of the texts under comparison makes it possible to specify the minimal set of differences between a prosaic and poetic text possessing the same plot or the same source. The following texts were selected for the comparison: 1) “Joseph” by Robert de Boron and its prosaic version; 2) various lives of saint Mary of Egypt; 3)several chronicles; 4) bestiaries by Guillaume le Clerc and Pierre de Beauvais; 5)”Bestiary of love” by Richard de Fournival and its poetic versions. My thesis comprises two parts, the first part discusses in what way various topics were developed into prosaic or poetic texts and what styles were adopted. The second part of the thesis discusses the composition of texts under comparison. Here i look at the position of lettrines in manuscripts of literary works. My researches includes: 1) analysis of the position of lettrines characteristic of the family of manuscripts of a literary work; 2) comparison of different manuscript traditions; 3) comparison of structures of prosaic and poetic texts; 4) general conclusions about types of structural components and functions of lettrines characteristic of various textual forms
Obry, Vanessa. "Désigner, construire : le personnage dans les romans en vers des XIIe et XIIIe siècles". Aix-Marseille 1, 2010. http://www.theses.fr/2010AIX10080.
Pełny tekst źródłaGomes, C. Antunes Maria de Fatima. "Le "Roman de Flamenca" : humour, religion et sensualité". Bordeaux 3, 1987. http://www.theses.fr/1987BOR30072.
Pełny tekst źródłaThis is a study of the various aspects of the religious commitment in the central core of the novel, of the reversal of religious and moral values and their replacement by the theories of "fin'amor". This deals with their impact on the imaginative contents of the novel : the imagery, the symbolism, the formulas and rituals, which proceed from two imaginative fields. The religious and the erotic cut across each other in a bold and clever confrontation, fraught both with solemnity and simplicity. The expression of the narrator and the sensuous inclination for wordly society (seen through the five senses) reinforce an original vision of the sacred with regard to courtly love and chevaleresque
Bartosz, Antoni. "Le sens et la représentation du geste dans le roman français des XIIème et XIIIème siècles". Paris 4, 1994. http://www.theses.fr/1994PA040125.
Pełny tekst źródłaMedieval romance is a network of signs which are specified and organized in a signifying structure. Gesture is one of its original elements and what is brings about is interesting in many respects. On the one hand, it lies beneath the relationship between text and picture in appealing to the reader's eye by way of miniatures. On the other hand, it takes on echoes of its own within the represented world. In fact, romance means above all a rewriting of the real in its figurative and creative projection, and French romance acquired such autonomy and power in the middle of the 12th century. What is more, gesture not only activates - or even signifies action, and shapes the characters' psychology, it is also inserted into the temporality of the text or into the thickness of the textual world. These components sometimes appeal directly to the attention of the reader who is offered texts whose narrative modes invite him to reflect. Consequently, a study of gesture in romance means a reflexion on the genesis and literary status of the genre in relationship with the aspect of an active reader, a criterion which is too often overlooked
Plet, Florence. "Les noms propres dans le roman de Tristan en prose". Paris 10, 2000. http://www.theses.fr/2000PA100058.
Pełny tekst źródłaPoublan-Couste, Emmanuelle. "L'eau comme élément romanesque dans le "Lancelot-Graal"". Bordeaux 3, 1992. http://www.theses.fr/1992BOR30036.
Pełny tekst źródłaThe aquatic element plays a prominant part in the whole lancelot-graal, a thirteenth ncentury novel in prose relating arthur's legend and the feats of the hero lancelot. Participating in the everyday life of the knight or the saint, this elment structures the romantic space as well, giving it its limits and its landmarks. The economic stake representated by water is also important. The hero is sensitive to the aquatic forms which he subjectively describes revealing his admiration or his fear. Each appearance of water is highly connoted. The aquatic element serves the didactic and religious discourse and illustrates the fairy enchantment. It gives its symbolism to the elements which are associated to it : isle, ship, tree, tower, hillok, well, swamp. It enlightens the novel and constitutes the magic place of the mystic ordeal. Tightly linked to the verb and to the narrative, water exalts and gives impulse to the adventures that often arise on its banks. In the novel its function of demiurge brings out aquatic kingdoms and characters, often fairylike
Ferreira, Maria do Céu Mendes. "Le thème de l'absence dans la lyrique amoureuse profane galicienne-portugaise : contribution à l'étude de l'unité et de la diversité des littératures romanes médiévales". Toulouse 2, 1999. http://www.theses.fr/1999TOU20099.
Pełny tekst źródłaChung, Kyung-Nam. "Vertus chevaleresques et monde arthurien dans le roman de "Tristan en prose"". Reims, 1997. http://www.theses.fr/1997REIML009.
Pełny tekst źródłaAll through the 13th century, romance writers were still inspired by arthurian material and offered a new analysis of the history and destiny of the kingdom of king Arthur and his knights. The novel tristan en prose, presumably written during the first third of the 3rd century, constitutes a really original landmark amidst these romances : a large synthesis in which are gathered not only the essential elements on which the story of king Arthur is based but also those people who told of the unhappy love of Tristan and yseut. The project of the alleged author, luce del gat, was to bring these two tales born in brittany, but which until then had parallel destinies. He imagined how the end of arthurian times concurred with the disappearance of a knight such as tristan. The link between these two tales is explicated very simply : the author tells us how tristan, exiled from the kingdom of Cornouailles, blends with the arthurian world thanks to his value as a knight. Still the literary tradition in which novels from the 12th and 13th century are based isn't changed : the story of the arthurian kingdom cannot be altered and the world in which king Arthur rules is doomed despite the coming of a new knight such as Tristan however prestigious and valuable he may have been
Le, Nan Frédérique. "Du lexique au motif du secret dans la littérature arthurienne (1150-1250)". Montpellier 3, 1996. http://www.theses.fr/1996MON30008.
Pełny tekst źródłaGrecu, Veronica. "Transparence et ambiguïté de la "semblance" : interpréter et traduire les figures du déguisement au Moyen âge". Poitiers, 2006. http://www.theses.fr/2006POIT5010.
Pełny tekst źródłaLe, Ribeuz-Koenig Anne-Cécile. "Ecriture et lecture du romanesque à la fin du Moyen Age : Le Petit Artus de Bretagne, Méliador, Ysaïe le Triste". Paris 4, 2005. http://www.theses.fr/2005PA040117.
Pełny tekst źródłaThree 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
Stufferin, Christine. "Le nom, une clé de lecture : (dans la littérature en vers et en prose de Chrétien de Troyes au Perlesvaus)". Rennes 2, 2000. http://www.theses.fr/2000REN20063.
Pełny tekst źródłaA name is, just like its use, revelatory in all respects. This study proposes to highlight the importance and especially the significance of Dames in some Old French verse and prose romances in langue d'oi͏̈l from the 12th and 13th centuries and particularly in this case from the Arthurian literature. Chrétien's poems (Erec et Enide, Cligès, Yvain ou le Chevalier au Lion, Le Chevalier de la Charrette and Le Conte du Graal (Perceval)), the Lais by Marie de France, the Folies Tristan of Berne and of Oxford, the Bel Inconnu by Renaut de Beaujeu, the Atre périlleux, the Continuations of Le Conte du Graal, Le Roman de l'Estoire dou Graal by Robert de Boron and his prose version, the three principal parts of the Lancelot-Grail cycle and the Perlesvaus are the subject of this analysis concerning the use of a name and its different aspects such as anonymity, name changing, renaming, the loss of a name, the late revelation of a name or his discovery, the absence of a name and the quest for a name (and sometimes even his conquest). A name, which is irrevocably linked to identity, is an excellent tool of knowledge. It holds and at the same time explains a lot of information and this is what is being presented in this study. The three names "Biel Fils", Bel Innconnu and Guinglain for example are not in fact owing to fate but they mark the evolutionary stages of a character
Botero, García Mario Martín. "La couronne et l'épée : figures du roi dans le Roman de Tristan en prose". Paris 3, 2004. http://www.theses.fr/2004PA030031.
Pełny tekst źródłaThe XIIIth century Prose Tristan contains a very important number of royalty figures. Our aim is to deal with properties and fonctions of the king in a romance that sets up the knight as a model to follow. The royal characters come from very different " matières " and appear in the romance performing sometimes new roles. They are moreover presented as support of the knight. Besides, the kings become a guarantee of justice and chivalry whose practice is one of their most important functions in the romance. Thus, Arthur becomes sometimes an active king, near of the ideal image of him given by the chronicles ; whereas Mark, outline of a modern character, represents a symbol of the rewriting aesthetic, in other words the innovation of the Prose Tristan
Simonnet, Emile Jean. "Édition critique du Roman de Notre-Dame de Lagrasse". Paris 4, 1987. http://www.theses.fr/1988PA040023.
Pełny tekst źródłaThis is a critical edition of a monastic chronicle written in old Provençal and dated back in the 13 the century. The chronicle, known as well by the name of Philomena, is probably a translation of the "gesta karoli magni ad carcassonam et narbonam"; it relates, as a legend, and in the style of an epic novel the foundation by Charlemagne of the abbey of Notre Dame de Lagrasse (Aude). This edition, following up-to-date principles, is an attempt to transcribe the manuscript B of London with as few emendations as possible. Linguistic annotations give details of the working out of the text and a critical apparatus points out the various readings of the manuscript p of Paris. A translation into French is joined to the text; it aims to help the reading. Historical and literary notes, a selective glossary presenting words of philological interest and an index of the characters' names are also to be found. A short study replaces the work in its background and suggests a few clues for a deeper textual analysis
Ferroul, Yves. "La réflexion sur l'amour dans les romans d'aventure en vers des XIIe et XIIIe siècles : l'exemple de "Sone de Nansay"". Paris 3, 2000. http://www.theses.fr/2000PA030179.
Pełny tekst źródłaMasse, Marie-Sophie. "La description dans les récits d'Antiquité allemands (fin du XIIe-milieu du XIIIe siècle)". Amiens, 2001. http://www.theses.fr/2001AMIEA011.
Pełny tekst źródłaHardoy, Maitena. "Femmes en fuite : la dame errante dans la littérature médiévale (XIIe-XVe siècles)". Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30050.
Pełny tekst źródłaIn medieval adventure novels, the theme of escape is not treated in an balanced manner but depends on the gender of the main character. The man who flees is a dishonored coward while the fleeing woman represents a new prototype of heroin. It appears that being on the run involves wandering into an unknown world full of territories which are not always domesticated by men and which are largely unexplored by women, because, traditionally, this outer space represents a male hunting territory. Their changing identities betrayed by the disguise and by the instability of their names, laborious steps marked by the need to earn a living, and sometimes a virility in every challenge, this is what defines these young women who go across the countries as seekers of themselves The feminine at flight which implies an admitted and spoken rebellion, is the only defense against suicide. Thus, giving voice to women in proven narrative patterns, making them coexist alongside the errant knights, it is a perfect way which allows them to settle, or to rediscover, the basis of their identity. Even though they are sometimes assisted in their brutal steps, henceforth they assume the responsibility upon themselves, and gradually acquire an independence which, hitherto, was impossible within the walls of their androcentric fortress. Fleeing gives them also a completely new control of themselves. The women running in the novels of the Middle Ages represents a challenge not only from a narrative aspect but also from a social, private, and human view point. At the time of the rediscovery of the great adventurers of the nineteenth and twentieth centuries, the emphasis falls on a new mobility of women. Our thesis looks further away and examines nomadic women in medieval romance fiction. This unifying pattern is likely to bring together some known topoi from ancient mythological sources, retrieved by the literature of the Middle Ages. Our aim is to decrypt the architecture of this pattern in order to determine its origins as well
Wingler, Clément. "Un passeport pour le prince de Byzance : territoire, nom et appartenance ethnique du dignitaire grec dans la littérature de croisade française et allemande (fin du XIe - fin du XIIIe siècle)". Paris, EHESS, 2013. http://www.theses.fr/2013EHES0026.
Pełny tekst źródłaThe period between 1095 and 1204 can be considered a pivotal point in time for understanding clearly the image of « Others », whether Christian (in accordance with the laws of Rome), Muslim, or Christian (in accordance with Oriental or South-East European traditions). The present work sets out to observe in what form this image of « Others », focused here around the emblematic figure of the Prince of Byzantium, ruler of the Greeks, came in to existence at the time, and spread throughout one of the areas reknowned for French and German literature on the Crusades: that of the aristocracy of princes and feudal chiefs. A transversal approach has been adopted, which is freed from the classification of literary « genres » which mark works of historiography and works of supposed entertainment such as “chansons de geste”, “epopees” and novels. In fact, these works participate collectively in an awareness of the « Other » that is also (and more particularly) an awareness of Onesself and one’s expectations, translated of course by «historical events», but also by an imaginary thread that is just as significant for understanding the period. The image of the Greek dignitary is thus examined by way of key « passport » details: his name, his origin(s) as determined by geographical clues – including ideas on territory and communities — and his ethnic roots. The four main sections of the thesis address in turn the notion of Romania found in German and French texts, the lands and people of Alexios Komnenós 1st at the time of the First Crusade, then in the 12th century, and finally the name and personification of the Greek prince in the 12th and beginning of the 13th centuries
Clément-Royer, Myriam. "Contes d'arbres, d'herbes et d'épée : approches du végétal dans le roman arthurien des XIIe et XIIIe siècles". Rennes 2, 2008. http://www.theses.fr/2008REN20004.
Pełny tekst źródłaThe use in the legend of King Arthur of particuliar trees and herbs reflect a deliberat estetik choice, and shows a volonty of diegetic insertion which creates, from litterary's traditions and reality's suggestions, some typicals developpements. The fiction makes necessary a dynamic of fight at the tree which keeps links with the history ofmedieval acts ofwar and diplomacy. The identification ofthe "chivalry tree" is not left toéhance. The eviction of the oak tree and the selection of the pille tree narrative refers to a ï6manesc distribution of the tree's names. The arthurian's herbs are essentially mecine herbs. The gestures of the practitioner will be different whether the design is used to cure injuries, as an antidote or for para-pharmaceutical reasons. But the realism is limited to this specialisation of the gesture. Because the storyteller remains indifferent, except for the spices case, to the suggestions of time nomenclatures. The tale cultives principally the generic term erbes. The integration of the plant's life is also the subject of these works. The thematic of the gaste, which opens new horizons to all the Grail romances broadens the problematic of the "reverdie" beyond the suggestions of the topos of the seasonal revival inherited from the lyrical. The Queste deI Saint Graal goes back the threads of the story of the vegetative multiplication. With Gauvain and Galaad, the genealogical imagination adds itself to the question of the becoming of the saps
Grandperrin, Nathalie. "La loi et la faute : interdits et transgression dans la littérature arthurienne des XIIe et XIIIe siècles". Montpellier 2, 1996. http://www.theses.fr/1996MON30016.
Pełny tekst źródłaBaudet-Fabre, Sylvie. "Les rapports entre le texte et illustration dans les manuscrits enluminés du "Roman de Tristan en prose", depuis le retour de Tristan à Tintagel jusqu'à la fin de la folie de Tristan". Paris 4, 2004. http://www.theses.fr/2004PA040284.
Pełny tekst źródłaThe research presented here intends to study the complex connections that exist between text and illustration in a corpus of fifteen illuminated manuscripts of the "Roman de Tristan en prose", most of them dating back to the 14th and 15th centuries. After a long and fully-detailed description of the text (text tradition, versions) and the manuscripts (codicology, transcription, ornementation), the present work studies the role played by the picture in the organisation of the handwritten text (layout, connection with the rubric, highlight of the literary material), and then the interpretation of its content in relation to the thematic sensibility of the romance. The study of the text hencemeets this of illustration through a complementary reading, intending to bring into light the evolution of the dissemination and reception of the "Tristan en prose" in the late Middle Ages
Roubaud, Sylvia. "Le roman de chevalerie en Espagne entre Arthur et Don Quichotte : survivances médiévales et renouvellements". Paris 4, 1997. http://www.theses.fr/1996PA040257.
Pełny tekst źródłaThis is a comprehensive study of chivalric literature in Spain from its medieval beginnings up to its last specimens published around 1600. .
Hincapié, Giraldo Leonardo. "Yseut et Wîs : une lecture junguienne des personnages féminins dans Le Roman de Wîs et Râmîn et dans les romans de Tristan". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030114.
Pełny tekst źródłaIn this work we will be comparing two feminine characters (Iseult and Vis) from several medieval stories: the romances of Tristan and the romance of Vis and Ramin. These characters will be analyzed using Jungian theory about archetypes and Collective Unconscious. Our basic premise considers that the same archetypal principle drives the two characters: The Archetypal Feminine. We know that the characters of Iseult and Vis belong to stories whose origins are mythological: Celtic origins for the heroine of Tristan romances and Persian origins for the heroine of Gorgani’s romance. Based on this, one can see how the drawing up of these two characters owes much to other mythical images of Femininity and Woman, in the cultural and mythological context of each literary work. What do we truly know and understand about the heroines of these important stories? What do we truly know and understand about their function and their role in the plot of these romances? This work holds two objectives related to these questions. One, to trace the drawing up of the characters from mythology to literature. The other, to identify the echoes of folktales and traditional literature which resonate in these stories even today. Analyzing these two characters as symbols of the same archetype, can allow us to compare the dynamic of the Archetypal Feminine into these literary works, and to identify their narrative function in the two different outcomes of the stories. Iseult and Vis would be then the crystallizations of a collective image about Woman and Femininity. They appeared in two different cultures, at the same moment of history: The Middle Ages
Latimier, Ionoff Adeline. "Lire le nom propre dans le roman médiéval : onomastique et poétique dans le roman arthurien tardif en vers (Les Merveilles de Rigomer, Claris et Laris, Floriant et Florete, Cristal et Clarie, Melyador)". Thesis, Rennes 2, 2016. http://www.theses.fr/2016REN20039.
Pełny tekst źródłaArthurian romance develops during the twelfth and thirteenth centuries, in verse and prose, and still has an important success in the late Middle Ages. Despite an Arthurian fashion taking place in some courts, the Arthurian romance has to be renewed and authors are caught between two requirements. As the consistency of Arthurian romances partly remains in theproper names they share (place names and anthroponyms), authors have to both maintain famous and recognizable proper names, and renew characters and places by introducing new ones. We will study the modalities and the stakes in the proper names used in late Arthurian romances. After making an assessment of the onomastics studies, and highlighting the link between anthropological stakes, documented practices and literary tradition, we will establish a typology of the proper names in the corpus which will be based not only on the editions, but will also consider the actual variants in manuscripts. We will also analyze names for their historical dimension and for their power over the reader’s imagination, and examine the role they play in the plot’s structure. The typology, the semantic and poetic analysis, and the study of the associations with historic onomastics will lead us to situate late novels in the Middle Ages literature and identify the specificity of proper names in the selected corpus
Menozzi, Andrea. "Studio della tradizione dei Miracles de Nostre Dame di Gautier de Coinci, con edizione critica dei miracoli di Laon". Electronic Thesis or Diss., Université Paris sciences et lettres, 2024. http://www.theses.fr/2024UPSLN002.
Pełny tekst źródłaGautier de Coinci’s Miracles de Nostre Dame are one of the masterpieces of the genre of the miracles of the Virgin in medieval literature. Written between 1215 and 1230 by Gautier de Coinci, a monk from Saint-Médard in Soissons, the Miracles form a symmetrically-organised two-book collection which also includes songs, prayers and two treatises in verse. This thesis opens with an introduction primarily focused at creating a fresh biographical portrait of the author and exploring the connections between the Miracles and the Cantigas of Alfonso X. Nearly a century after A. Ducrot-Granderye’s 1932 book centred on the manuscripts of the Miracles, this dissertation provides a catalogue of the 40 complete manuscripts of the Miracles, including an analytical description of their textual content and a re-assessment of their dating, location, and early owners. The manuscript catalogue is supplemented by tables (Appendix I) containing information (headings, Latin glosses, illustrations) for each text in the collection. This section devoted to the Miracles manuscripts serves as a basis for chapter 3, which revolves around the tradition of the collection. The main contributions of this chapter concern the multiple redactions of the Miracles (with the identification of a new redactional phase attested by manuscripts D and I). The second part of the thesis presents the critical edition of the miracles of Laon (II Mir 14-17 and II Mir 26). It is introduced by a chapter aimed at study all the Latin and Romance versions of the miracles of Laon and is accompanied by a discussion of the relationships between the manuscripts and philological notes. Finally, Appendix II presents the edition of two previously unpublished texts discovered during the preparation of the manuscript catalogue
Hériché-Pradeau, Sandrine, i Jean Wauquelin. "Les faicts et conquestes d'Alexandre le Grand, de Jehan Wauquelin (XVème siècle) : édition critique et commentaire littéraire". Paris 4, 1997. http://www.theses.fr/1997PA040171.
Pełny tekst źródłaThe novel belongs to the many proses which were commissioned by the Burgundian duke Philip the Good. As the work refers to the historical context and to the ideology of the knighthood in the same time, the compiler treated the hero, whose the nobility had to follow the example, as a romantic archetype of the Burgundian chief the latter ordered Jehan Wauquelin to write les Faicts et conquestes in 1447, but he had ever composed one first version, now lost, for the count of Etampes, Jean II, about in 1440. We found in his text the main part of the medieval Alexander novels: not only the old French Alexander poem and the French prose translation of the Historia of prelils, but also long extracts from the Voeux du paon of Jacques de Longuyon, a free adaptation from the Venjance Alixandre of Jean le Nevelon and one passage of the Chroniques of Hainaut of Jacques de Guise, that Wauquelin translated himself in 1446. Thought he used lots of sources, Wauquelin succeded to write in a quite good prose a text which constitutes a whole, because the same subject, the life of Alexander the Great becoming the instrument of god in the world, is always pursued. The edition has been made from the following manuscripts: ms. 456 of the collection Dutuit in the Petit Palais (Paris), used as the source manuscript; ms. B. N. Fr. 707; ms. B. N. Fr. 1419; ms. B. N. Fr. 9342 used for variants. It is accompanied with a linguistic study about the Picard characteristics of the source manuscript, an index, a glossary, some critical notes and a iconographical list. Appendix: transcriptions from the Alexander Romance of Vasque de Lucene; accounts about Wauquelin's activity from 1440 to 1452; edition of extracts from the Voeux du paon
Michaut, Cécile. "Gémeaux, androgynes, hermaphrodites, Narcisse : unité et dualité du corps politique, 1562-1676". Clermont-Ferrand 2, 2008. http://www.theses.fr/2008CLF20008.
Pełny tekst źródłaThe double monsters (creatures with two sexes, two bodies or two heads, such as androgynes, hermaphrodites, joint Gemini) were, in the 16th and 17th centuries, notable figures because there were many them and because they raised distressing issues. The double monster is, on the one hand, a sign announcing schims and civils wars, a sick or deviant figure ; but it is also sometimes announcing reconciliation and is a symbol of concord, peace and love. This study aims at reflecting on the meaning of these double monters. Our hypothesis is that they hold a discourse of a political nature on the Other (among a corpsb or a city). But that discourse, from the first religious conflicts (1562) to the publication of The Southern Land Known by Foigny (1676), evolved. The first part of this study is devoted to the definition of the single family of myths, including Hermaphrodite, the Androgyne, Janus, the Gemini and Narcissus. It shows how, from Antiquity onwards, those figures have been questioning the relation to the other. The second part reveals how those figures have become, in the 16th and 17th centuries, the ambivalent political emblens of war as well as peace, of order as well as disorder. The third part explains how novelists and poets have concentrates on the hermaphrodite. It analyses how and why that equivocal and hunted monster became, in the 17th century, the mouthpiece of a new State that does no longer tolerate otherness, and yet needs it
Toniutti, Géraldine. "Les derniers vers du roman arthurien ˸ trajectoire d'un genre, anachronisme d'une forme". Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA061.
Pełny tekst źródłaWhat does the choice of the verse in the novel involves, when prose is already the promoted form of the genre? It’s a question we ask to the last Arthurian romances in verse, written between 1260 and 1380. The uncommon choice of the verse in the novel questions the esthetic values conceded to each form during the 13th and the 14th centuries: the verse is resisting, but there’s a gap between this choice and the contemporary tastes, which value more prose than verse. The last Arthurian romances in verse give the chance to study the giving up of the verse for the benefit of the prose in the novel and its lyric specialization. The question of the generic consequences of a form choice is accurate in those texts, because the anachronic choice of the verse creates a particular way of dealing with the Arthurian matière. The form, verse or prose, supposes different prospects on the fictional world, on the temporality, on the values: the Arthurian myth is not presented the same way in verse or in prose.In addition, those novels are written at the end of a tradition: they are heirs to the novels of Chrétien de Troyes and to his “epigones”, but they are also heirs to the prose cycles of the 13th century. They have to deal with this tradition. The last Arthurian romances in verse are inspired by the narrative techniques of the Arthurian romances in prose. Even though there are many common features between the two productions, many generic differences prove that they are different genres and that the choice of a form involves different esthetic and ideological perspectives. From these interactions, a new poetic emerges, which we call “tardive”, between verse and prose
Picazos, Raphaël, i Gautier d'Épinal. "Gautier d'Épinal: édition critique et commentaire". Paris 4, 2004. http://www.theses.fr/2004PA040053.
Pełny tekst źródłaThe goal of our research is a new edition of the poems of Gautier d'Epinal to replace the old edition Ugo Lindelöf and Axel Wallensköld, published in 1901. Following a fresh and direct study of the complete manuscript tradition, we chose U as the reference text. Among the most ancient songbooks in langue d'oïl, the structure of the U manuscript is complex, consisting of no less than three principle sections, of which the first is very old, dating no later than the 1240s. The introduction provides a description and analysis of the corpus of Gautier d'Epinal contained in the three sections, as well as situating it with the other songbooks of the tradition. Each song is preceded by a description of the metrical and musical schemas, as well as an introductory analysis of the textual tradition of each piece. The lyrics are provided with a negative critical apparatus, distributed on two levels. The upper level deals with the faults and main variations, while the lower level is dedicated to the graphical variations. The commentary aims to highlight the most notable links with the “classical" trouvères who were Gautier's contemporaries, along with some remaks of a grammatical and stylistic nature. Each piece is accompanied with a transcription of the melodies and the work is concluded with a short, selective glossary of the included 15 pieces
Dumanoir, Virginie. "De l'écriture à l'édition : les vieux "romances" espagnols et la question du genre (1421-1551)". Aix-Marseille 1, 1998. http://www.theses.fr/1998AIX10081.
Pełny tekst źródłaMosset, Yannick. "La trame contingente : stylistique du possible aux origines du roman en vers (XIIe siècle)". Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30062/document.
Pełny tekst źródłaThis study is based on the hypothesis that possibility is an essential criterion of medieval romance. So, the corpus contains romances or works which can be considered as precursors of romance : Wace’s chronicles, the « romans antiques », tristanian romances et Chrétien de Troyes’s romances. These works had been studied in two directions. The first part of the study relies on linguistic analysis in order to identify, for three linguistic facts (future, future II and conditionnals) a semantic root and, mostly, the different significations it can have. Stylistic phenomena had been identified by doing so : first, author can have a specific way to use these forms (idiolectal facts) ; then, theses forms have marked uses which can, contextually, be considered as expressive. The second part of the study is a literary analysis, in order to see how linguistic forms are used in works. By considering brief and prominent segments (formulas and narratorial interventions), it had been possible to identify facts which differentiate each author’s works, but also facts which are specific to romance. By studying possibility at a larger scale, defined as confrontation to contingent future, generic specificities had been identified. Firstly, romance expresses systematically the motivation of the action : possibility is used to express a will, a plan, an initial verbalisation preceding the realisation of the action ; so, romance writing seems to insist on the personal implication in the accomplishment of the act. Then, from a chronological point of view, a process is at work. Indeed, all form of predestination or fatality is gradually erased in the texts ; human freedom is now the focus. This focalisation is made in two ways ; the first is the description of the hero’s will as problematic ; the second is the development of uncertainty : possibility is linked to the incapacity to apprehend completely reality
Adroher, Michel. "La stòria del Sant Grasal, version catalane de la Queste del Saint Graal". Perpignan, 2004. http://www.theses.fr/2004PERP0555.
Pełny tekst źródłaThe author aims to highlight the characteristics which make the originality of the Storia del Sant Grasal (Story of the Holy Grail, 1380), the catalan version of the Queste del Saint Graal (Quest of the Holy Grail), compared to the french original text. The collation of this work with the versions of the Queste del Saint Graal - provided by editions pauphilet and the manuscript fr. 343 of the Bibliotheque Nationale de France - concurs with the view that the catalan adaptation stems from the reading of the french masterpiece, definitely cistercian in inspiration, by a 14th century franciscan cleric, deeply influenced by the millenarist ideas of Joachim de Flore and his followers. The thesis falls into three sections : I- historical background : matter of Britain in Catalonia (12th - 15th centuries). II- critical edition of the Storia del Sant Grasal in manuscript 79 sup. , ambrosium library Milano. III- Essay on the Storia del Sant Grasal, catalan version of the Queste del Sant Grasal
Garnier, Nicolas. "Dynamiques du récit comique bref : le Roman de Renart et les fabliaux". Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL114.
Pełny tekst źródłaThe purpose of this thesis is to compare the Roman de Renart with the fabliaux, which are often brought closer together by critics, particularly because of their comical nature. While the common themes of these texts have often been described, no study has ever really analyzed the divergences that occurred in these themes, especially in the way they are used in two genres whose organization is very different, since we have a serial narrative on one hand, and stories independent on the other hand. If we want to consider that both of them belong to the same type of story, then we must interpret their narrative dynamics. We can define the notion as movements that contribute to a process, that is to say, to examine their classification as comical short narratives, whether convergent or divergent. In fact, brevity turns out to be a problematic notion, the Roman de Renart and the fabliaux having a different relationship with the question. What unites them is more a narrative tension of the plot created by effects of surprise, reversals, deviations, but especially the dynamics of the intra- and extra-textual echoes
Moulin, Pierre. "Le sens en partage : entre texte et image : étude et illustrations dans l'art et la littérature espagnols du Xe au XIIIe siècle". Paris 13, 1993. http://www.theses.fr/1993PA131013.
Pełny tekst źródłaKonuma, Yoshio. "La vengeance et la résurrection : étude sur la structure et le sens dans Le Conte du Graal de Chrétien de Troyes". Phd thesis, Université Rennes 2, 2010. http://tel.archives-ouvertes.fr/tel-00551639.
Pełny tekst źródłaRobin, Mabriez Françoise. "Les versions du XVe siècle d’Artus de Bretagne : édition et étude littéraire". Thesis, Rennes 2, 2011. http://www.theses.fr/2011REN20028.
Pełny tekst źródłaArtus de Bretagne is a 14th century novel. Its presence in several manuscripts helped establish its popularity. The narrative follows Artus, the son of a duke from Brittany, winning the kingdom of Sorrolois and therefor becoming king Arthus. There are sequel to the novel dating from the 15th century disseminated in four manuscripts. They contain stories close that constitute a longer version of the original novel. This thesis edits the first 229 folios of the BnF fr 19 163 manuscript. This text is based on three other manuscript and the short version of the novel, contained in the BnF fr 761 manuscript. The BnF fr 19163 text is easily readable and uses moyen français throughout ; the vocabulary is known even though several copists worked on it. The literary analysis focuses on the problems surfacing from continuation writing. How did the author of the long version of Artus de Bretagne overcome them? The author starts the text before the end of the short version and uses the content without any significant differences. There is enough to interest medieval readers, fond of variations on the same subjects. However, this raises the question, how to keeo the audience engaged? This thesis aims at studying solutions used by the author and how they lead to a reflexion on new aesthetics based on merging genres: antiquity, breton, french - and styles, epic, fantasy and lyrism. The novel is also complimentary towards France and French people, valorised through Artus being considered French. The novel reveals itself as the bearer of a vision of the world allowing the 15th century to live better
Raffalli-Grenat, Lunorsola. "Ecrire des fictions en vers au XIVème et XVème siècles : un problème esthétique et culturel". Corte, 2008. http://www.theses.fr/2008CORT0005.
Pełny tekst źródłaIn the end of Middle Age the verses romances are not widespread. Among these, the allegoricals fictions use verses to express subjectivity. Others, in exemple Froissart’s arthurian romance, Méliador, justify verse to a nostalgic will. In regard to other stories, the choice of writing verses remains entirely enigmatic. This work’s objective is to understand why some some authors write their fictions in verse while the prose is the writing’s romance since the thirteenth century. This study’s corpus includes the following works : Le roman de Mélusine ou Histoire de Lusignan of Coudrette, Mélusine ou la Noble Histoire de Lusignan de Jean d’Arras, Le Roman de Richart, Richart sans Peur of Gilles Corrozet, Le Roman d’Eledus et Serene, Le Roman de la Dame à la Licorne et du Beau Chevalier au Lion, and Brun de la Montagne. As a first step, this study found that before the Middle Age « flamboyant », the differences between verse and prose are not technical, aesthetic or referential. Each of these writing’s forms justify a cultural and thematic choice who annihilates likely the claims of “truth” displayed by the prose fictions. After, a comparison between the corpus’s verses romances and their prose versions, showed that the last texts in verse seem outdated to both form and narrative construction. They stand out as the contemporary prose, more detailed and adorned, who reflect the tastes of the sparkling aristocracy of the fourteenth and fifteenth centuries. Finally, the latest stories in verse, look behind outdated for invite readers to get out of a literary past too influenced by folklore and myth. They are opposed to a socialization and a Christianization of the wonder, proposing the dismantling of the merger between prose and story’s “truth”
Hoernel, Alexandra. "Le lignage des fées : écriture et transmission de la féerie aux XVe et XVIe siècles". Thesis, Tours, 2011. http://www.theses.fr/2011TOUR2027/document.
Pełny tekst źródłaFrom Melusine’s first appearance in literature (c. 1390) to its new treatment in the Alector (1560), the late Middle Ages and Renaissance period can be seen as the « golden age of faery », as it expands beyond its original field (the marvellous) and shapes up some new figures. Far from vanishing from the 15th and 16th centuries fiction, faery is a crucial part of it. Within these chronological boundaries and slightly beyond, as some figures are still mentioned in baroque novels (such as d’Urfé’s and Rosset’s c. 1612), this study makes a broad inquiry into feminine faery. Built up around the four « cardinal » faeries – Morgan, Melusine, Alcina and Urganda – still featuring in the royal feasts of Bayonne in 1566, it focuses on their evolution through writing and reading. It also points out Sibyl and Meridiana as figures who tend to lose their faery quality. While showing some continuity among faeries due to fictional kinship or dynastic lineage, it investigates the disruption caused by allegory and idealization, thus bringing into light a huge material and its decisive role in the shaping of imagination and literature, from the late medieval period to the Renaissance
Khemakhem, Samir. "Les patios et jardins dans l'architecture, l'urbanisme et la littérature hispano-musulmanes dans le royaume de Grenade sous la dynastie des Masrides (1237 - 1492)". Besançon, 1985. http://www.theses.fr/1985BESA1004.
Pełny tekst źródłaDumitrescu, Laura-Ioana. "La construction de l'identité dans le Roman de Fauvel". Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA059.
Pełny tekst źródłaIdentity construction in Le Roman de FauvelThis dissertation aims at discussing the authors’ identity construction in Le Roman de Fauvel by means of the relations between melancholy, “allegorical consciousness”, and subjectivity. Those three elements are set against the background of 14th century literature, where allegory, didacticism, and the edifying discourse are privileged modes of expression. Gervais de Bus and Chaillou de Pesstain’s major claim is that their testimony on the fall of Fauvel’s court is true, and witnessed with their own eyes. Therefore, the sight is the sense most heavily mobilized in this extensive narration which, formally, resembles a documentary, and yet it is strictly a work of fiction. My research explores the relationship between the melancholic (i.e., emotional) subjectivity, the voir dit, and an allegorical construction with set landmarks.The first chapter relies on the anthropology of emotions in order to define the relationship between allegory and melancholy. The second chapter uses the pragmatics of discourse in order to highlight the functioning of the voir dit. And finally, by means of an iconographic approach, my analysis emphasizes the authors’ marks in the visual discourse of the manuscript 146 at the Bibliothèque Nationale de France. The reason for choosing this late medieval manuscript as a research topic is the direct affective relationship between the authors and the main character in the novel. This relationship is intensely emotional: Gervais de Bus et Chaillou de Pesstain hate Fauvel and wish him dead. My main hypothesis is therefore that the considerable energy they spend in expressing their feelings might well represent a way of speaking about themselves and asserting their authority in a novel that conveys their own sensibility rather than merely constructing a story
Cretoiu, Elena. "La Suite du Roman de Merlin éditée d'après un manuscrit du XVe siècle : (Paris, BNF, fr. 112)". Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAC001.
Pełny tekst źródłaThe fragment of the Suite du Roman de Merlin that we edited is preserved in four manuscripts (London manuscript, British Library, Additional 38117, the Cambridge University Library manuscript, Additional 7071, the BNF 112 manuscript, which is the main manuscript of our edition, and the Imola manuscript, Biblioteca Comunale, ms. 135 AA25 n° 9 (7)). Comparing to the other three already existing editions of the Suite (O. Sommer, Die Abenteuer Gawains Ywains und Le Morholts mit Den Drei Jungfrauen (Zeitschrift für Romanische Philologie, Beiheft 47, 1913), P. C. Smith (Les enchantemenz de Bretagne, Chapel Hill, 1977), edition based upon the Cambridge manuscript, and G. Roussineau (La Suite du Roman de Merlin, Droz, 1996), edition mainly based upon the London manuscript), the aim of our edition is to offer a text of the Suite du Roman de Merlin based upon the BNF 112 manuscript, according to the modern principles applied in the transcription of the medieval texts. We offered a great number of variants given by the other manuscritpts of the Suite and limited our interference with the text only for corrections which we considered strictly necessary. The text of our edition is followed by notes, a glossary and an index of names. On the linguistic level, we noted regional caracteristics that lead us to consider that our manuscript belongs to the North domain (conseilh ; karoloient, etc.), modern structures comparing to the other manuscripts of the Suite and a certain number of termes (baudel ; pourvillier) which can improve the DMF (Dictionnaire du Moyen Français) basis
Menegaldo, Silvère. "Du personnage au masque : le jongleur dans la littérature narrative des XIIe et XIIIe siècles". Paris 4, 2003. http://www.theses.fr/2003PA040237.
Pełny tekst źródłaUnlike the previous studies devoted to the minstrel, this work's purpose is to deal with the figure of the minstrel exclusively from a literary point of view, that of the character, how it is represented, and what role it plays in the story. Working from a wide range of texts, mostly in old french, but also in old occitan, and notably including chansons de geste (particularly Daurel et Beton, whose main protagonist is a minstrel), romances, fabliaux and miracles, I more particularly focused on studying the following topics : the various representations of the minstrel and their links with the genres in which they appear ; the minstrel's functions in the story, dealing with both his relationship with other similar characters, and more generally with the knight and the nobility ; the light in which he is shown, positive (in most cases), or negative ; and finally his role as a mask, either of another character (a character disguised as a minstrel), or possibly of the author himself
Serra, Alessandro. "Culti e devozioni delle confraternite romane in Eta moderna". Clermont-Ferrand 2, 2010. http://www.theses.fr/2010CLF2A017.
Pełny tekst źródłaBiu, Hélène, i Honoré Bouvet. ""L'Arbre des batailles" d'Honorat Bovet : étude de l'oeuvre et édition critique des textes français et occitan". Paris 4, 2004. http://www.theses.fr/2004PA040219.
Pełny tekst źródłaDealing in a remarquable way with the laws of war, "L'Arbre des batailles", written at the end of the XVIth century by Honorat Bovet, had a great diffusion attested by at least hundred french manuscripts and seven medieval traductions in four languages (Occitan, Catalan, Spanish and Scottish). Only five French manuscripts have been traced wich contain an interpolated vision whose author is Bovet himself. Written in oi͏̈l, this copies of good textual quality reveal numerous occitanisms and called for a study and a critical edition. The oc version indeed contains many gallicisms and a close scrutiny shows that the autorship of this traduction can't be attributed to Bovet, in spite of his provençal origines
Mencé-Caster, Corinne. "Fuero Juzgo (Manuscrit Z. III. 6 de la Bibliothèque de San Lorenzo de El Escorial) : introduction (vol. 1), transcription (vol. 2), étude (vol. 3)". Paris 13, 1996. http://www.theses.fr/1996PA131026.
Pełny tekst źródłaThis thesis examines the rich tradition of the text of fuero juzgo through one of its versions : manuscript z. Iii. 6 of library of san lorenzo de el escorial. This transcription (vol. Ii of the thesis) is prefaced by an inquiry into the present state of research dealing with the general problematics of fuero juzgo and of manuscripts (vol. I). Volume iii examines the text from a linguistic and formal point of view
Assem-Gohary, Monique. "Recherche sur les exempla médiévaux espagnols : caractérisation et indexation". Paris 10, 2001. http://www.theses.fr/2001PA100061.
Pełny tekst źródłaThe exemplum, example by itself or short edifying story, used since Antiquity as well in the West as in the Far East, knew a dazzling expansion in Europe during the Middle Ages thanks to the action of the Mendicant Orders who used them to bring back the faithful to the bosom of the Church. The study of these exempla became of interest nowadays due to the information they convey on the everyday life, the beliefs and ideas of the mediaeval man. Up to today, there exist two main indexes listing the exempla, due respectively to F. Tubach and Stith Thompson. While the first one mentioned some Spanish books, this is not the case of the second one, which only referred to « Keller Spanish Exempla ». On the other hand, John Esten Keller listed all the Spanish books but his index is not complete. In the first part of our work, we deal with the following questions: What is the meaning of the word « exemplum »? What was the evolution of this rhetorical figure? In the second part, we mention all the Spanish books consisting of exempla or containing exempla. The follows the main body of our research: the index of the Spanish exempla with Tubach's and Thompson's motives, as well as all related texts. In the appendix, all works are mentioned in a sort of «reverse Tubach», with a chronological list of the exempla together with the motives they illustrate
Capdeboscq, Anne-Marie. "Etudes sur le récit médiéval espagnol : XIIIe siècle-XVe siècle". Bordeaux 3, 1993. http://www.theses.fr/1993BOR30035.
Pełny tekst źródłaThe first part of my work is an introduction to los infantes de lars. A) centered upon the analysis of its actantial scheme and a new definition of the six well-known actantial positions. Thanks the help of robert blanche's theoretical works i transformed dual oppositions into more gradual ones that may well account for both states of the story. B) centered upon the 'looseness' of the legal frame since it partly explains the lack of determination of the initial scheme. A close scrutiny of the legal texts (fazanas) led me to an analysis of the diverging componants at stake in the different versions of the work. The second part deals with fifteenth century novels : siervo, carcel de amor, arnalte y lucenda. It throws a new light on the inoperativeness of traditional dynamics of the three works of fiction scrutinized here through the light of an hermetic code thanks to which meaning is reversed. I tried and gave a new insight to the analogy existing between the written work and the opus in alchemy, between the author ('auctor') and the very opus. In the end i reconsidered the question of the author in his relationship to the primordial matter : words
Podetti, Elena. "Une continuation de "Huon de Bordeaux" : "Yde et Olive" : édition critique et commentaire, entre réminiscences folkloriques et résonances littéraires". Thesis, Strasbourg, 2019. http://www.theses.fr/2019STRAC011/document.
Pełny tekst źródłaA long epic cycle written at the turn of the 13th and 14th centuries built up the chanson of Huon de Bordeaux. What scholars call the Chanson d’Yde et Olive, to intend the third sequel, unites three different episodes, Yde et Olive I, Croissant and Yde et Olive II, which relate the adventures of the granddaughter and the great-grandson of the hero of Bordeaux. In my thesis, I propose a new critical edition, a commentary and a study of the transmission in Italy of these heretofore unrecognized texts which represent a typical sample of the late chansons de geste. In the 13th and 14th centuries, epic draws from the same narrative patterns as the tales, the hagiographic legends, the novels and the dramas. Furthermore, Yde et Olive I has undoubtedly contributed to transmit Yde’s fabulous history beyond the Alps, as the plot of the Italian cantari of Antonio Pucci and Piero da Siena seems to prove.So at the boundary between orality and writing, the Chanson d’Yde et Olive interacts with several texts belonging to different literary genres, enriches an imaginary which does not know any border, interrogates the established order and finally confronts us with the boundary of male/female divides