Дисертації з теми "Âge roman"
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Tcho, Hye-Young. "La survie du roman d'Artus de Bretagne du Moyen Âge au XIXe siècle." Paris 4, 1994. http://www.theses.fr/1994PA040017.
The novel of Artus de Bretagne arose a great amount of interest till the 19th century. In the Middle Ages about ten manuscripts mention it. Later in the renaissance about 15 editions of it mere published. And finally during the 18th and 1th centuries several excerpts of the novel went into print. During this time, the original novel underwent several modifications sometimes important. This book is a love story, the story of the search of the ideal woman and its ideal through the eyes of their particular period and not in the context of the Middle Ages. This is why the novel they describe reflects the spirit of their time and not the original one. But it is this quest for an ideal, constantly changing, that made this novel such a success through the ages and contributed to it surviving in an ever changing renewal
Gomes, C. Antunes Maria de Fatima. "Le "Roman de Flamenca" : humour, religion et sensualité." Bordeaux 3, 1987. http://www.theses.fr/1987BOR30072.
This 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
Duc, Thierry. "Le roman populaire français à sujet médiéval de 1830 à 1850." Paris 4, 1995. http://www.theses.fr/1995PA040089.
After having been vilified from the renaissance up until the eighteenth century, the middle ages became a choice topic for the romantics. Popular literature took over medieval subjects and, influenced by Walter Scott, by the gothic novel or by texts taken from the "bibliothèque bleue de Troyes" (pedlary literature), offered to its readers a picture of the middle ages quite different from the affected one proposed by the "genre troubadour". Giving form to this rediscovered national past is rendered by redundant form sense elements, true icons that are clues to a codified spatiality and temporaneousness. A reflection on history or a political discourse can occur. Moreover, the craving of the popular novel for manichaeism and hyperbole promotes the creation of a true myth, which responds to a social desire of reappropriation of the origins : the later denunciation of the stereotypes will not affect this myth which still today sends us back to some of our frustrations in a society where the "acceleration of history" makes us suffer a feeling of loss and induces within us the nostalgia of a coherent and stable civilization, ritualized and reassuring
Ritz, Simon. "Senon-Amel (Meuse) : contribution d’une agglomération bipolaire à l’histoire du fait urbain dans le nord-est de la Gaule, du second âge du Fer au haut Moyen Âge." Thesis, Université de Lorraine, 2020. http://www.theses.fr/2020LORR0164.
Interdisciplinary investigations combining prospection techniques (field survey, aerial photography, geophysics, Li¬DAR) and excavations (preventive and university-led excavations) have been carried out for almost 15 years on the ar¬chaeological site of Senon-Amel. They have revealed the bipolarity of this roman town, which is split into two urban cen¬tres located 1.5 km apart, simultaneously inhabited during most of the Antiquity, from the middle of the 1st century A.D. to the middle of the 4th century at least. This urban layout is very unusual among the roman towns of northern Gaul and thus needs to be explained. Its most striking feature is the duplication of public monuments: both urban centres include temples, public baths and a theatre. This thesis discusses the origin and evolution of the bipolar frame. It highlights the role of the integration of Gallic civitates into the roman provincial administration, and the impact of a religious economy in the shap¬ing of the city. These processes obviously have an interest per se – they contribute to illustrate the varied origins of urban features in norther Gaul –, but they also have broader implications. Indeed, the closeness of the two urban centres allows us to study quite precisely their specific features and their origins, thanks to the consistency of the documentation. This comparison reveals two very different urban trajectories: broadly speaking, evidence suggests that Senon was preceded by an Iron Age settlement, which stayed occupied during the roman period and expanded thanks to the existence of a wide range of crafts and trade activities. On the other hand, Amel seems to have been created at the beginning of the Empire as a sanctuary, which only later aggregated dwelling houses and other private facilities. The juxtaposition of these two urban entities is very unusual, but the mechanisms that drove their setting-up and further evolution are certainly common to many other roman towns. As a result, the case study of Senon-Amel evidences processes that are of more general significance
Dubois, Elsa. "Le personnage gidien : la (ré)conciliation du roman et du mythe." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040173.
Nowadays, Gide is not much studied in France in secondary education, as if the « essential contemporary’s » thought had become esoteric or even obsolete. Our thesis intends to point out the necessity of reading Gide : by thwarting the self-absorbtion present in the late 20th and in the early 21st century, when the I is being complacently observed, and thus prevents the other from talking, our author re-establishes a golden age in a problematical period. While certainly being very anxious to trouble his reader – though a conciliatory purpose –, Gide manages to reconcile myth and novel. Our thesis shows first of all how some myths, that haunt the author so much so that they become personal, merge with is the form of the novel, which he has to reconsider in order to evade its conventions, its tricks and its pitfalls. So, the “I” we see constantly in Gide’s work is spurred by this twofold personal and mythical motivation – and therefore universal –.Urged by this motivation, Gide creates a many-sided protean “I”, that manages to elude individuality and the closure of definition which is the ferment of separation. Through his narrative choices and his options taken of enunciation, and through the mediation of this “I”, Gide creates harmony between the character, the other protagonists, the diegesis and above all with the reader. Like the persona of the ancient theatre and of the myth – but far from being an imposed, transcendent figure – the character in Gide’s work can be opposed to the mythified, narcissistic individual – which sanctions the disagreement with the outside world which is so detrimental to the reader – and creates the humanist myth of the “person”
Crécy, Marie-Claude de. "Édition critique du Roman de Ponthus et Sidoine." Paris 4, 1988. http://www.theses.fr/1988PA040031.
Séguy, Mireille. "Monstrances du graal : l'inscription du signe dans la littérature romanesque des XIIe et XIIIe siècles, du "Conte du Graal" au "Lancelot-Graal"." Paris 3, 1999. http://www.theses.fr/1999PA030064.
Reading the grail romances of the twelfth and thirteenth centuries, two important observations may be made. First, there is a frequent link between late-twelfth- and thirteenth-century romance "literature" and the grail. Second, the grail is essentially an "object" which signifies something other than itself, which appeals to inquiry and meaning. This double observation immediately invites question concerning the nature of the connection between romance and the graal understood as a sign: in the intellectual climate of the period, is this connection fortuitous or, rather, in some way necessary ? my work tests the hypothesis of its necessity. Detailed analysis of scenes in which the grail appears, from the conte du graal to the estoire del saint graal, brings to light the central place of robert de boron's roman de 1'estoire dou graal. This pivotal work is not only at the junction of the rewritings that have modified chretien de troyes inaugural scene, but it also turns the grail into a spiritual sign, simultaneously relic {remembrance} and revelation (demonstrance) in so doing, this work transfers into the realm of romance fiction an image charged with the weighty and complex legacy of christian semiology, i propose that this transferral brings to literature the possibility of stating and representing the ineffably divine in the space of arthurian fiction, as well as the ability to directly confront the model of the scriptures. By laying claim to truth, imitating the efflorescence of the world in their narrative interlaces, and trying to shape human history and divine time, the grail romances attempt to put into place a writing which, because it is both inexhaustible and universal, is potentially infinite
Jhit-E-Mon, Kanogwan. "Structures spatiales dans le roman des XIIe et XIIIe siècles. Intérieur - Extérieur." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040274.
For a reader of medieval narratives the literary of the scenery, is in the first place an imaginary experience introduced by the act of reading and only subsequently it serves the role of an instrument necessary to reconstruct the image. In the present study, I discuss and reflect upon the natural and architectural elements of description and also the visions of the scenery recurrent in the medieval novel. The medieval language is extremely efficient in its descriptions of subject. The stereotypes are ever present, though punctuated by beautiful, short, yet vivid, descriptions of castles and cities. The elements of the landscape at times form a coherent panoramic setting for the action. Brief descriptions and mentions of the elements of the scenery, both natural and urban, appear as they are called for by the narrative. Such short indications appear to best show the reality of the castles or cities of XII and XIII century
Ducret, Sophie. "La fabrique de la création artistique : Approche historiographique et épistémologique du processus de la commande au Moyen Âge : l’exemple des peintures murales du Midi de la France aux âges romans (XIe-XIIe siècle)." Electronic Thesis or Diss., Montpellier 3, 2023. http://www.theses.fr/2023MON30047.
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
Martinez, Gilles. "Des gestes pour combattre. Recherches et expérimentations sur le combat chevaleresque à l'époque féodale : l'exemple du Roman de Jaufré (Paris, BnF, ms. fr. 2164)." Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30006.
Historians traditionally wear a look at the very feudal fight ... and sliced very opposite. For some, we will never know how they fought in feudal times (Anglo, Bonfa ...) for others, the reality was not to be so far from the literature (Flori ...). These conflicting opinions reveal, we believe that the feudal struggle was not analyzed precisely and that the right questions were not asked, both on the history of the plan that sport and martial arts . So rather than wondering if literature gives a fair reflection or not the battle of the twelfth-thirteenth century, it belongs rather to the question in terms of "fighting principles", and see from there it is right and what is exaggerated. The result is a much more nuanced view, much more accurate and can be used for a wider societal analysis. Indeed, by asking for these "principles", that leads to understand how the authors of the time, as well as artists for the image, managed to transcribe movement in their respective works: what tools did they create, which have been copied, improved resumed ... in sum, beyond the gestural aspect, it is a history of thought that is emerging. The last crucial step allows to link with the following period, which saw the emergence of the treaties of weapons and combat books, literature on either fictitious fight, but technical. This research was interested recently four doctoral work, the latter has just been born (September 2016). In sum, our work - by standing in front of the treaty period weapons - shows which tools courtly literature and essentially religious imagery from the period of XII-XIII centuries have helped to bring to the creation of the first pounds of weapons. Naturally, these are not the only contributions. Other tools to know, like diffusion in the literate environment of scholastic or Aristotelian thought, influences these technical books. Moreover, these also appear following a favorable context seeing the development of armories, dissemination of fencing in society (especially in the bourgeois middle) and the professionalization of the weapons master function / fencing. But our work shows the significant influence of courtly literature, which had long before the books of weapons, "showing" the warrior gesture to public and has evolved over the three centuries preceding the emergence of the genre technical. This warning signs in these first examples, traces that explain some blunders and which he never freed gradually
Massounie, Guy. "Peuplements et paysages aux confins occidentaux du territoire des Arvernes de la protohistoire au moyen âge." Thesis, Clermont-Ferrand 2, 2015. http://www.theses.fr/2015CLF20005/document.
The opening of the window of study of Combrailles provides new insights into the power and the wealth of the city of Arvernes.The occupacy of the territory is continuous from the Protohistory to the Middle Ages, with a great development at the time of the Roman Empire.The layout of two major ways is established : the density of population along their path proves the role they played.The settlement of the habitat (including those of the elites) on the whole territory shows the economic complementarity between rural areas and the cities.The density of mining spaces and the exploitation of gold during the Gallic period certainly contribute to the richness of Arvernes
Varano, Mariacristina. "" Espace religieux et espace politique en pays provençal au Moyen Âge (IXe-XIIIe siècles). L'exemple de Forcalquier et de sa région "." Phd thesis, Université de Provence - Aix-Marseille I, 2011. http://tel.archives-ouvertes.fr/tel-00656210.
Denoël, Charlotte. "Pour une histoire globale du manuscrit médiéval : les manuscrits, leur décor et leur circulation aux premiers siècles du Moyen Âge, des temps mérovingiens à l’époque romane." Thesis, Paris, Ecole nationale des chartes, 2018. http://www.theses.fr/2018ENCP0001.
The Ecole nationale des chartes offers a specific research-based doctoral programme for heritage curators as well as those who work in libraries since 2016. The one I am presenting consists of a dissertation and a file of reseach papers. The thesis itself is divided into two chapters. The first is devoted to the presentation of my research work on medieval manuscripts in various fields (history of libraries, iconography and illumination), with methodological explanations and their results. Through transversal methodological approaches wich borrow as much from traditional historical disciplines as from anthropology or theories on the image, my objective is to understand the manuscript both in its entirety and in its abundant diversity, thus than to consider the place that it occupies in the field of the cultural and artistic history of the Middle Ages. The second chapter takes stock of the investigations that I have been carrying out for several years on illuminated manuscripts in France in the 10th and 11th centuries, and contextualizes these in relation to historiography. In it, I sketch a panorama of studies on illuminated manuscripts of the early Middle Ages between the 18th century and the beginning of the 20th century, in the light of medievalism and the history of collections. The conclusion offers some avenues for reflection on the reception of alto-medieval art by questioning its place in the field of contemporary art through the evocation of various projects underway. A dossier, which consists of books and articles listed below and whose electronic versions have been sent to the members of the jury, completes the thesis
Sotgiu, Antonio. "Le Décaméron de Boccace au prisme des « théories du roman »." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA140.
This work is composed of two parts. In the first one, I critically analyze how Boccaccio was read by the main theorists of the novel (Schlegel, Hegel, Lukács, Bakhtine, Auerbach); once described individually, these authors are later confronted with each other. A third chapter deals with new perspectives in the theory of the novel, which provide the foundation for a new interpretation of Boccaccio’s Decameron.The second part is devoted to Boccaccio’s works in themselves. First, I analyze Boccaccio’s rewriting of the dantean episode of Paolo and Francesca (Inf. V). In the same chapter I also discuss Boccaccio’s theory of the fabula as it is developed in his Genealogie deorum gentilium, by focusing on crucial issues such as allegory, knowledge and consolation. I conclude the chapter with an inquiry on the Filocolo’s narrative framework; particular attention is devoted to the episode of the «Questioni d’amore» and to its functions in the economy of the whole work. The second chapter puts forward a new reading of the Decameron, based on the notion of ‘compassion’; I analyze the Decameron’s narrative framework on the ground of philosophical and ethical categories. I also explore how the beliefs’ device is shaped by Boccaccio; the chapter ends with an enquiry around the concept of fortune, its theorization and representation in the Decameron. The third and final chapter is devoted to the individual interpretation of five novellas (IV, 4; V, 1; II, 7; II, 9; X, 10)
Lunven, Anne. "Construction de l’espace religieux dans les diocèses de Rennes, Dol et Alet/Saint-Malo : Approches historique et archéologique de la formation des territoires ecclésiastiques (diocèse, paroisse et cadres intermédiaires) entre le Ve et le XIIIe siècle." Thesis, Rennes 2, 2012. http://www.theses.fr/2012REN20010.
Our work aimed to understand the formation of ecclesiastical territories of Rennes, Dol and Alet/Saint-Malo dioceses between the fifth and thirteenth centuries. Our focus on these three dioceses of Haute Bretagne is justified by thecrossroads between two theorised systems of ecclesiastical organisation. On the one hand, the Episcopal see of Rennes originated from gallo-frankish tradition and, on the other hand, Episcopal sees of Alet/Saint-Malo and Dol which evolved until ninth century due to the Celtic Church, in the framework of Breton emigration west of the Vilaine. In the first model, ecclesiastical structures were inherited from antique civil districts, contrary to the second model where the Church wasestablished following criteria that were more based on community than territory. Based on textual analysis and archaeology, especially from funeral sites and religious buildings, we intend to show that Church, in the Breton zone as in the Frankish zone, did not always have the same relationship to space. It was only between the eleventh and twelfth centuries, in the context of Gregorian Reform that Church emerged as a temporal institution, dedicated to taking charge of population. The creation of parishes, diocese, archdeaconries and deaneries followed the same dynamics: the affirmation of bishop as an autonomous power, who, as holder of sacredness, have exerted a spiritual authority beyond that exerted by churches or clerics dependents on his jurisdiction
Chardonnens, Noémie. "L'autre du même : emprunts et répétitions dans le Roman de Perceforest." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030066.
The Roman de Perceforest, the longest known text from the Middle Ages, aims to describe the life of Arthur's pre-christian ancestors and knights, presenting them as descendants of Alexander the Great. Along the storytelling, a genuine poetics of external and internal repetition takes place: the Perceforest's authors multiply the references to previous texts belonging to several materials, integrating sometimes entire parts of other texts. Furthermore the narrative reproduces its own patterns and particular sequences in different places of the text. Throughout this research, we consider the influence of such repetition aesthetics on the literary genre definition, on its construction as well as on the reader's reception. In this dissertation, we explore a specific category of repetitions where pre-existing sequences are embedded in a narrative context that differs from the original context of occurrence, which we called emprunt(s). Reviewing the species of inter- and intra-textual recurrences occurring within the text, we reveal some overlooked aspects of the consistency, the specificity of the Perceforest and its author's idea of writing, striving to groundwork on general theory of «emprunts» that shall thereby be laid
Scrinzi, Maxime. "Archéologie de la vallée du Vidourle : dynamique spatio-temporelle du peuplement de l'âge du Fer à l'an Mil." Thesis, Montpellier 3, 2014. http://www.theses.fr/2014MON30067/document.
From its source to the Mediterranean Sea, the Vidourle valley, 95 km long, meets the various landscapes of the low-Languedoc géo-system. Through its journey, the river runs across the Cévennes (a small chain of mountains), the karstik hills, the garrigue and the camargue. This very rich natural environment is a perfect field for spatio-temporal analysis of settlements from the Iron Age to the High Middle Ages. Occupied since millenaries, this valley is of great archaeological wealth and allow us to question the behavior of man towards a river, through his travels and his way to develop the land, but also provides some answers on the roles of streams in this development. Based on many already advanced archaeological works (excavations, surveys, geomorphological analysis), this study was completed by new fieldworks in the upper valley of the river, expanding our knowledge of the settlement and helping us to provide a database of 832 archeological sites on which this analysis is based. Combining archeology, history and geography, along with the use of well known methods of studies (G.I.S, statistics, etc.), this research highlights the desire to offer a review of the issue of dynamics in valley of Vidourle. The broad chronological framework strengthens this desire and gives a more complete picture of the history of human occupation
Garnier, Nicolas. "Dynamiques du récit comique bref : le Roman de Renart et les fabliaux." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL114.
The 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
Grecu, Veronica. "Transparence et ambiguïté de la "semblance" : interpréter et traduire les figures du déguisement au Moyen âge." Poitiers, 2006. http://www.theses.fr/2006POIT5010.
Vassilieva-Codognet, Olga. "Iconographie de Fortune au Moyen Âge et à la Renaissance (XIe-XVIe siècle)." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0048.
This work on the iconography of Fortune in the Middle Ages and the Renaissance is based on more than one thousand images of which only one third is reproduced in the document. The study begins with a lexicographical study aiming at better understanding the various meanings of the Latin word « fortuna » and the French word « fortune » from the xith to the xvith centuries. The second section addresses the iconographical pattern of the mediaeval Wheel of Fortune – i.e. that wheel where four human beings occupy different positions on the rim: the first ascends, the second is enthroned, the third falls and the fourth lays on the ground – from its inception in a 1060-1070 Beneventan manuscript to its diffusion to various media (mural painting, monumental sculpture, mosaic, etc.) as well as its different uses (didactic, emblematic, divinatory). The third section identifies the numerous variations that this fertile pattern has generated over the centuries: Wheel of Life, satirical animal Wheels, Wheel of Vicissitudes of Humanity, etc. The fourth section studies the personification of Fortune which appears in the xiith century before becoming a star of late mediaeval iconography, her figure gracing innumerable manuscripts of Boethius, Jean de Meun, Giovanni Boccaccio or Christine de Pizan. The fifth and final section is devoted to Fortune’s mutation during the Renaissance: changing both form and function, the blind and treacherous goddess of fate gives up her didactic function – and the wheel of examples that comes with it – and becomes a beautiful naked woman with a forelock whose function is propitiatory and use emblematic
Bouaziz, Lycette. "Moyen âge, passions et pouvoir maudit : étude de l'exploitation littéraire des sources et des données historiques dans "Les Rois maudits" (tomes V, VI, VII) de Maurice Druon : thèse." Paris 12, 2005. https://athena.u-pec.fr/primo-explore/search?query=any,exact,990002520970204611&vid=upec.
The challenge of tracing back the history of the Middle Age by interpreting some historians' psychology accounts to some extent for his psychological portraits to be somewhat different from reality. The medieval reality uncovered through the dramatic art and the critics of M. Druon leads to a metamorphosis of the Middle Age. The three parts of this thesis respectively emphasize three major aspects of this historical period : the dull Middle Age is less the one of Jacques de molay's malediction than that of characters with fiendish passions. In the second part, M. Druon reveals the power from a committed writer is shown. In the third part, M. Druon reveals the malfunctioning of a bloody XIVth century, wellreal, that led to the terrible Hundred Years' War. So the originality of M. Druon consists in combining his detailed documentation with his own interpretation of the psychology of some historians
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.
In 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
Braida, Francesca. ""L'âme, l'image, le miroir" : les rêves dans l'histoire et la littérature latine et française du Moyen Age (XIIe-XIVe siècle)." Paris, EHESS, 2004. http://www.theses.fr/2004EHES0098.
Durand, Carine. "L' illustration du Roman de Troie et de ses dérivés dans les manuscrits français." Paris, EHESS, 2003. http://www.theses.fr/2003EHES0010.
Within the widespread diffusion of the legend of Troy in the Middle Ages, the Roman de Troie stands out due to its notoriety and posterity. The study of its French illustrated manuscripts allows us to obtain a better understanding of the Medieval appropriation of this legend. The first matter is the date, origin and destination of the manuscripts and the diffusion of related literature and illustrations. The observation of the contents regards to material breaks and narrative differences, with their consequences on the illustrations, and the eloquent manner in which the different works can be brought together or not. They are two distinct themes. One of them groups together the antique myths, the medieval “fantastic element” and the interpretation of the pagan religion. The other concerns the war with its paintings and the image of the warrior. The conclusion examines various issues: relation between text and images, specificity and evolution of the illustrations, perception of the work
Feola-Baladier, Antonella. "Le merveilleux dans le cycle des "Sept Sages de Rome" : Versions françaises et versions italiennes." Montpellier 3, 2005. http://www.theses.fr/2005MON30029.
This thesis, which takes as its corpus the French and the Italian versions of the Romance of the Seven Wise Men, revolves around the question of the marvellous. Sixteen versions of the Romance are extant, the oldest going back to the XIIIth century. The research brings to light the tight links which bound the two traditions together for three centuries, from the flowering of the romance in France to the birth of a genuine Versio Italica and to the Renaissance. That is the period when the Italian literary tradition of the Seven Wise Men, as with all the other art forms, came to the fore and modified the initial French cycle. The resulting counterinfluences provide a most interesting field of comparative study which centres mainly on the marvellous under its different forms, namely the narrative of the Marvel, the tales and the supernatural motifs
Decu, Teodorescu Carmen. "Le Roman de la Rose et les arts figurés autour de 1500 : Lieux communs de la réception et de l'interprétation." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040141.
Both discursive cliché and commonplace reasoning – according to the distinction made by Remy de Gourmot for whom the commonplace refers to the banality of the Idea while the cliché is the very materiality of the sentence – the anthem of the Roman de la Rose's influence on figurative arts in the Middle Ages became one of those many redundancies regulary invoked in argumentative rhetoric. Provoked by this observation and by the desire to check the relevance of an iconographic hypothesis linking the Roman de la Rose to the tapestry of the Lady and the Unicorn, this investigation has tried to highlight the danger of the interpretation commonplaces in Art History, especially those making a reckless use of Guillaume de Lorris and Jean de Meung's poem
Vivier, Fabien. "La collégiale de Saint-Julien de Brioude (Haute-Loire) : Recherches sur les liens entre l’architecture ecclésiale, son agencement iconographique, et la liturgie d’une communauté canoniale au Moyen Âge." Thesis, Clermont-Ferrand 2, 2014. http://www.theses.fr/2014CLF20005/document.
This thesis is made up of two statistical analyses which are at the service of the study of Saint-Julien de Brioude’s cultural identity. Having had a lush history, the Brioude Company kept a complex web of relationships. Both, art and liturgy, were the frame for the identity study of this chapter. The study of the Brivadois breviary proved how unique the Brivadois liturgy was. Unlike what was thought at first, such liturgy was not as close as to that of Clermont-Ferrand. Born from the blending of liturgical tradition from Aquitaine and Velay, the Brivadois liturgy was endowed with singing pieces and specific orations. The spatial staging of the relics partook of the collegiate’s specificity the pilgrims visited. Next to Julien’s gravestone, other Saints’ bodies and relics were subjected to devotions.The collegiate’s sculpted program was designed in two times. As they were often faithfully linked with the iconographic subjects used in Clermont’s diocese, Brioude’s capitals were put together in accordance with the areas dividing the ecclesial space. These nested areas were next to one another and highlighted the differences between the relics, the furniture and the images. The chevet intertwined Saint-Sépulcre’s iconography, along with its Crusades, with Julien’s reliquary gravestone and the secondary altars. The sculptures were used as genuine signage livened up around the liturgical tragedy. The images took part in the setting up of history’s liturgical memorial space.This study gives new perspectives which go beyond the monographic frame. Liturgy and arts can provide us with tangible understanding elements regarding the cultural exchanges and the layout of the ecclesial space. The canon’s familial origin determined this area (the Brivadois) located at the confluence of Auvergne’s Aquitaine and the Velay (buffer zone with the Empire). From the Brioude chapter located between these two, without being central, it extracted the cultural benefits as well as a very own standing. The Brioude chapter thus managed to shape its collegiate so as to celebrate the canonical company itself and the Saint whom she possessed the relics from. Attracting the crowd enabled the company to carry own the patron Saint’s memory and to provide themselves with the essential resources to make it operate. The collegiate was undertaken as a landscape’s landmark determining an attractive architectural identity
Garreau, Isabelle. "Saint-Eustache : de l'Orient à l'Occident : construction et enjeux d'une sainteté laïque." Paris, EPHE, 2002. http://www.theses.fr/2002EPHE4008.
This thesis reconstitutes the St. Eustace cult's puzzle, particularly in the occidental Middle Ages, with the help of different discipline's methods (history, anthropology, literature, archaeology, onomastics. . . ). Reserving a large place to the hagiographic text, which is replaced in its contexts of production, this works underlines the imaginary and social functions of this great lay saint, which has an European and international vocation. The formation of the pre-christian narration of the life of Saint Eustace is fist considered. Then are analysed the modalities of christianization, to the byzantium's boundaries, and the way of its transmission toward the occident, during the IX the century. The second part presents the different facets of the cult in the area between the north of France, the Normandy and the England's kingdom to the XII th and XIII th centuries. The evolution of the saint's emblematic value, inseparable of the representation's strategies of the royal dynasties, is linked to the symbolic values of his attributes, particularly the christophorus stag and the hunting horn. After all, the hagiographic text is interrogated with a literary point of view. A slow disintegration of the religious narrative in the romance, and of the cult in profane pratices, can be emphasised. The new medieval romance puts the heroes in place of the saint, and the anthropologic and politic reasons of this choice are examined in the comparative study of William of England, by Chretien de Troyes, and the life of saint Eustace
Servier, Alicia. "La représentation des figures féminines dans les images enluminées du roman en prose de Lancelot du Lac (XIIIe -XVe siècle)." Thesis, Lille 3, 2017. http://www.theses.fr/2017LIL30018.
The subject of our thesis concerns the representation of female characters in the illuminations decorating the manuscripts of the prose romance of Lancelot du Lac, which belongs to the Arthurian literary cycle of the Lancelot-Grail, produced between the second quarter of the 13th century and the end of the 15th century. This courtly chivalric romance, which was a great success in the 13th-15th centuries, contains a lot of female characters of a remarkable variety. The objective is to study how ambivalence and ambiguity that characterize most, if not all, of these characters - because of, among other things, their obvious or latent links with a marvellous Otherworld and a feminine nature thought generally equivocally in the Middle Ages - are shown in the pictures. For it, we proceed to an iconographic, stylistic and comparative analysis of the illuminations in twenty-nine manuscripts of the Lancelot du Lac. We are also interested in the representation of female figures in other artistic and literary works of the Middle Ages, to compare it with that of the Lancelot. The pictorial interpretation of the text, making the transition between the literary character and the iconographic figure, the complex relationships between ontological categories (the human/the fairy ; the feminine/ the masculine) in the conception of these, are at the heart of our work. The representations reveal a complex, unstable and contrasting image of the woman and the feminine marked by alterity, where the elements of the text interfere with the creativity and the visual culture of illuminators. In Fact, they lead us to go beyond the stereotypes imposed mainly by the Church, beyond the social and historical realities, to improve our knowledge about the imagination that is developed around the female gender in medieval times
Theophilopoulou, Calliope-Catherine. "Figures du héros antique dans le roman médiéval : didactisme et œuvre romanesque." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO29999.
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
Defontaine, Patrick. "Recherches sur les prieurés réguliers, monastiques et canoniaux des anciens diocèses de Chalon et Mâcon : (Xe - XIVe siècles)." Phd thesis, Université de Bourgogne, 2013. http://tel.archives-ouvertes.fr/tel-01063325.
Bonansea, Marion. "Le discours de la guerre dans la chanson de geste et le roman arthurien en prose." Thesis, Lyon 2, 2014. http://www.theses.fr/2014LYO20114.
12th and 13th century chansons de gestes and prose Arthurian romances depict a largely warlike universe. But, far from giving an homogeneous interpretation of it, these works narrate different types of conflicts, from the more earthly to the more spiritual, and let diverse voices be heard – including that of the juggler or of the narrator – which sometimes justify collective violence, sometimes condemn it, according to different criteria. This complex view of war can be better understood if we place these literary discourses at the center of a dialogue with other kinds of texts – mainly ecclesiastical – about war and its legitimacy : thus, the way in which the meaning of fighting is conceived in fictions first of all destined to a noble audience is rooted in sets of values which are sometimes opposed but also complementary, lay and ecclesiastical. The stakes of the conflictual relationships as they are expressed in the narratives also depend on the intellectual constructions underlying a representation of order : war is conceived positively when its aim is to defend or to establish a certain organization of the world and of society, sometimes based on a requirement for continuity and unity of power, sometimes drawing on the contrary on an aspiration for totality. Finally, the value of the fight depends on its role in human destiny, which the epic and the romance each express according to a different regime of historicity : discourses about war thus depend on the poetic specificities of literary forms, on their writing of history, and on the way they organize time
Di, Lella Francesco. "Il Roman de Brut de Inghilterra. Tradizione manoscritta e tradizioni letterarie." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL015.
The Roman de Brut, transmitted by thirty-three manuscripts – seventeen of which are complete – constitutes a fundamental text in Old French literary history. Setting aside the work’s fortune in the sphere of romance, this thesis concentrates instead on Wace’s role in regard to the evolution of French insular historiography and the modes of perception of the Breton era, a subject had been introduced ex nihilo only a few years prior by Geoffrey of Monmouth in his Historia Regum Britanniae. Specifically,the thesis aims to illustrate the consequences of such a process on the text’s manuscript tradition, by analysing certain choices pertaining to the organization of the codices by their scribes, specific variants, and other global re-adaptations. However, Wace’s oeuvre should not be considered as an isolated entity, but should rather be placed in the context of the vast complex of re-adaptations of Geoffrey’s chronicle that appear during the 12th to 14th centuries, and that should be understood as the expression of the same process. Thus, the manuscript tradition of the Roman de Brut evolves together with the convoluted knot of literary traditions that develop from the Historia Regum Britanniae: these do not only influence Wace’s text in its manuscripts, but are themselves shaped by it in turn. Starting from a codicological, stylistic, and ecdotic analysis of the Brut manuscripts, along with a comprehensive reflection on the entirety of Anglo-Norman chronicles on the subject of the Breton era, this thesis illustrates the various faces that the Breton matter has assumed within this production, and its journey towards affirming itself as the origin myth of England’s history
Bouget, Hélène. "Enquerre et deviner : poétique de l'énigme dans les romans arthuriens français (fin du XIIe-premier tiers du XIIIe siècle." Phd thesis, Université Rennes 2, 2007. http://tel.archives-ouvertes.fr/tel-00204437.
Knaepen, Arnaud. "Images de l'antiquité classique au haut moyen âge: la matière historique gréco-romaine dans les sources littéraires latines du VIIIe au XIe siècle." Doctoral thesis, Universite Libre de Bruxelles, 2006. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210871.
Stevenson, Julie. "Les premières illustrations des manuscrits de l’Histoire romaine de Tite-Live en France entre 1356 et 1440." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040229.
Around 1356, the Benedictine Pierre Bersuire completes a french translation of the Latin work of Titus Livius ordered by John II the Good : the books of the Ab Urbe Condita become the Decades. They quickly meet an important success at the end of the Middle Ages. Until 1515, almost seventy copies are produced in the biggest painters' workshops. We distinguish within this period a first "moment" of the livian illustration between 1356 and 1440 which constitutes the purpose of this study. Firstly, we dedicate ourselves to the text in Latin and to the development of its contents. Then we try to define the livian work now entirely available in French for the very first time. Finally, we analyze its place in the society of the 1400’s. The second part of this research studies two major manuscripts produced during the reign of Charles V. We attempt to reveal their origins, as well as their sources of inspiration and the way the text is depicted. Finally, we study the livians’ volumes of the reigns of Charles VI and Charles VII. This stage of the production follows in parallel the evolution of the illumination. The number of copies increases. This growth is characterized by the appearance of copies of a variable quality but especially by a rationalization of the production. Indeed, the appearance of models of cycles painted by various workshops shows the exchanges between the artists. Finally, a few cycles present a strong identity which marks them down to the more massive manufacturing and announce the future production
Gourgues, Morgane. "Les églises rurales dans l’ancien diocèse d’Elne (Roussillon et Vallespir, Pyrénées-Orientales), entre le Vème et le XIème siècle : l’expression d’un palimpseste architectural ? Un répertoire des formes, entre préroman et anté-roman." Thesis, Montpellier 3, 2017. http://www.theses.fr/2017MON30026/document.
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
Barry, Mike. "Problèmes d'approche des Mille et une nuits & la problématique du conte de la Cité d'Airain." Paris, EHESS, 2004. http://www.theses.fr/2004EHES0115.
This essay suggests a fresh look at the issue of the Thousand and One Nights within the far more general context of medieval Islamic narratives. The point of view defended here is that many of these tales of spiritual imitation carry moralizing, allegorical messages charged with popular Sûfi imagery, much of it derived from the medieval Alexander romances : as is notably the case with The Tale of the City of Brass, analyzed here in detail. In addition to exhaustive examination of the manuscript variants and many versions of the tale to be found in medieval Islamic writtings, we survey the mainly Greek and Iranian mythological origins of the image of the City of Brass (or City of the Other World) with its fatal magnetic attraction, and explore some reasons for the epic transfer of this story's motifs, once mainly associated with the ancient Persian epic hero Esfandiyâr, to the historical character of the emir Mûsâ ibn Nusayr, Muslim conqueror of Spain in the year 711 of the common era
Nicolier, Anelise. "La construction d'un paysage monumental religieux en Brionnais à l'époque romane." Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20120/document.
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
Le, Mauff Julien. "Une généalogie de la raison d'État : les racines médiévales de la pensée politique moderne." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040082.
This survey attempts to draw a new understanding of reason of State, as a key concept in modern politics and in 17th century State-centered thought. It is therefore studied backwards, in order to better describe its origins, and to understand what conditions enabled its formulation. The genealogic method is chosen as a way to conciliate the French school of the Annales and the anglo-american tradition of history of ideas, and to handle political ideas as historical artefacts. Every text and author is therefore apprehended as a part of a chain of influences and relationships, while intellectual singularities are preserved. Among the main concepts that participate in defining reason of State, necessity, public utility and legal exception evolve deeply from the 12th century, as a result of the rediscovery of ancient authors by John of Salisbury and still more by Thomas Aquinas, of recent developments in canon and roman law, and of new fiscal policies during the 13th and 14th centuries. The improvements of royal ideology, the new necessity specifically applied to political action in William of Ockham’s thought, and the rise of the concept of a sovereign State under the primary influence of Marsilius of Padua, also participate in this preparation, now centered on Italian city-states. The account ends with a view on three different definitions of reason of State, that correspond first to Machiavelli and Guicciardini, then to Botero, and finally to the legal thought of Ammirato and Canonhiero. This outcome paves the way to the triumph of Statism, and to the new developments of political theory during the Enlightenment
Le, Coz Audren. "Résistance et mutations de la fonction impériale entre Antiquité tardive et Moyen Age : le règne de Zénon (474-491)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040143.
For a long time, scholars identified the deposing of the last Western Emperor in 476 CE as the transition point between Antiquity and the Middle Ages. Over the past few decades, Late Antiquity scholars have reconsidered the importance of this event: continuity would have definitely prevailed, which opened up the path to the promotion of an extended Late Antiquity, from third Century to eighth Century AD. A period of slow evolution, without brutal rupture. However, this argument fails to account for the profound crisis the Roman Empire experienced during the second half of the 5th century CE, in both the East and West. Accordingly, this study examines Emperor Zeno’s (474-491 CE) approach to this widespread crisis of imperial authority, and the dethroning of the last Western emperors. With pragmatism and opportunism, Zeno refashioned the role of emperors for a new world, without renouncing the emperor’s claim to universal authority. A new method of governance appeared, particularly after Basiliskos’ usurpation of the throne (475-476 CE), which forced Zeno to radically revise his internal, external and ecclesiastical policies. Zeno’s moves during his second reign restricted the options of his successors, no matter how strong was their willingness to return to traditional imperial ambitions. Without denying the advances of Late Antiquity studies over the long term, this study illuminates the rapid political events of the years 475-6 CE, particularly in the Eastern half of the Empire. While defending the long historical tradition of imperial power he inherited, Zeno’s historical role was to accept a new world and help usher the Roman Empire into the Middle Ages
Genest, Renée. "Les formes circulaires sculptées : Étude de cas : la frise à médaillons du portail roman de l'église abbatiale de Cluny au XIIe et XIIIe siècles." Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/28813/28813.pdf.
Bruneau-Amphoux, Stephane. "Ecrire l'histoire au début du XIVème siècle : la chronique du frère dominicain Francesco Pipino de Bologne." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE2008.
The focus of this doctoral dissertation is a chronicle by Dominican friar Francesco Pipino (1270 CE – after 1328 CE), which has been little studied to date and is recorded in a unique manuscript kept at the Biblioteca Estense Universitaria in Modena, Italy (ms. Lat. 465.) This long chronicle (one hundred eighty-one folios, with an added six-folio table of contents) is organized in thirty-one books, which, with three exceptions, are titled after the name of an Emperor, from Charles The Great to Albert I von Habsburg. The first volume of this dissertation offers an analysis in three parts of the last books in the chronicle (volumes XXVII to XXXI), which focus on the years around 1250-1320. The second volume gathers the sources, bibliography and appendices including an edition and translation of the last books of the chronicle. The first part of the dissertation reviews the life and work of Francesco Pipino, whose presence is most specifically attested in Bologna and Padova, where he notably performed the duties of a monastic archivist, vice-prior, and prior. The peripatetic wanderings of Francesco Pipino also led him to the Middle-East; a first time for a pilgrimage in the Holy Land (1320) and very likely a second time within the framework of the Societas Fratres Peregrinantes. The second part of the dissertation interrogates the intellectual operations specific to historians by looking at the sources used in the research and their handling. Francesco Pipino might reprise his historiographical sources verbatim, or he might sum them up. He might also use diplomatic sources: Papal bulls and letters can constitute a whole chapter or be reused as excerpts. Other types of sources are enlisted: epigraphic, archeological or rural sources. Francesco Pipino was rarely subservient to his sources, which he reviewed critically. The chronicle also bears the mark of the Order of Preaching Friars, with its hagiographical choices, with the exemplary nature of the narrative, or with the insertion of a few Dominican figures inside historical time. The third part delivers a three-pronged political reading of the chronicle, which is inscribed within the contexts of the struggle between the clergy and the Holy Roman Empire. The imperial structuring of the chronicle gives the emperors precellence. By lending the quality of Emperor on the king of Romans, Francesco Pipino downplays the role of the imperial coronation and from there, theocratic contentions as well. His political stance is generally supportive of the Empire. Within each book, after a first narrative part devoted to the emperor, a second one deals with the Popes who have officiated under the emperor whose name is given to the book. Francesco Pipino remains moderate in his appraisal of the various pontificates, even though he once again condemns the theocratic pretenses of the Papacy. In a third and final stage, each book closes with events that have happened in Italian cities, in European kingdoms, and in the Middle-East. Here, the analysis is based on a case study of the city of Bologna at the end of the 13th Century, and on the denunciation of its divisions
Howaldt-Bouhey, Alice. "La guerre dans les récits de Troie allemands en vers (XIIe-XVe siècles)." Amiens, 2006. http://www.theses.fr/2006AMIE0018.
The present work deals with a corpus of texts that relate a crucial conflict in the eyes of Middles Ages populations, namely the Trojan war – the ancient city of Troy being regarded as the cradle of Western civilisations. From the adaptation into french of two medieval-latin narratives by Benoît de Ste-Maure in the XIIth century, the Trojan motive spread to the territories of the Empire where the verse narratives about Troy, directly or indirectly derived from the French Romance, where transmitted between the XIIth and XVth centuries. The war, hardly an attractive topic today when it is mostly presented, as is the case in these texts, as an alternation of one-to-one combats and mêlées narrated over thousands lines, seemed in those days, on the contrary, to appeal to the medieval public. So we have studied the significance and the representation of the war in the Trojan narratives in order to work out what made the merits and therefore the success of that motive in the Middle Ages
Martina, Piero Andrea. "La produzione manoscritta del romanzo francese in versi : modelli materiali e modelli di cultura." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL051.
This thesis intends focuses on the history of a literary genre, starting from the study of its manuscript production. The aim of the study is to investigate the relation between the text and the manuscript and the existence of a relation between a typology of text and a typology of manuscript. If it is possible, in a variety of texts can the same be accomplished for the ‘verse romance manuscript’ as well? Research on the entire manuscript production of medieval romans en vers allowed us to trace the material models and codex typologies associated with this genre. It also enabled us to retrace the history of this genre, its diffusion and some aspects of its fortune, also giving us some valuable insights into the copyists’ awareness of their work and their cultural role. The presence of key points is particularly interesting and leads to new research perspectives, especially with respect to the way these texts were read. Together with the study of five aspects of the relationship between the text and its manuscript context (production of texts, production of manuscripts, codices’ dimensions, layout, collection), the thesis includes a catalogue of selected novels and a catalogue of manuscripts – intact or fragmentary – containing novels in verse
Weber-Maillot, Tatiana. "Le Moyen-Age de Chateaubriand : esthétique, éthique et idéologie." Paris 4, 2003. http://www.theses.fr/2003PA040121.
Starting from the presupposition that Chateaubriand rehabilitated the Middle Ages, i examine in his work the evolution of two themes which were treated as rather marginal in the 18th century, but then came to fruition in the Romantic period : the Gothic and chivalry. In doing so, I seek to show how the Revolution, which Chateaubriand despised only for its crimes against ancient France, paradoxically made him into the disseminator of a culture to which he had no innate inclination. Central to a gothic imagination which combines imagery from Breton landscapes and arguments from the Gothic revival, the cliché of the gothique sylvestre, an intuitive theory which prevents one from having to think as a specialist, first serves the purpose of a re-sacralization of a profaned cathedral, and then, after 1830, moves towards a romantic aesthetics of profusion and enormity. Parallel to this, as a model of greatness extended to a world of pygmies. But the ruin determines the emotion. If Chateaubriand brings into his "cathedral autobiography" the commited figure of the knight-writer and integrates courtly ethics into his amorous fantasies, the Middle Ages, set at the distance through irony and emptied out by ghostly stagings from the gothic novel, is denounced as a reactionary aesthetics and ideological model. Torn between honor and freedom, the Gothic and the Classic, Chateaubriand finally stops at the Renaissance which , as conveyed in the figures of Chambord and François Ier, carries out the ephemerical fusion of principles and styles and, above all, by letting the past dye peacefully and by preserving the continuity of history, opposes the bloody advent of modernity with the miracle of a painless Revolution
Boestad, Tobias. "« Pour le profit du commun marchand » : la genèse de la Hanse (XIIe siècle-milieu du XIVe siècle)." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL078.
Although the commercial organisation known as the Hanse did not emerge until the second half of the 14th century, merchants from the Holy Roman Empire did not wait until then to join forces on the various marketplaces they frequented in Northern Europe. On the contrary, some of their associations could already be found in England and in the Baltic Rim at the end of the 12th century. Over time, such groupings developed into more complex organisations. Their political influence increased as they came to represent the commercial interests of all Low German cities, whereas the reference to “the common merchant’s profit” spread within them and paved the way to lasting cooperation. This study seeks to shed light on the political motives of solidarity between German merchants and cities, with particular attention to the discourses produced about it and their normative value. Its aim is to turn around the constitutionalist perspective which has characterised legal studies on the Hanse for a long time, and to highlight the legal mechanisms by which the political experiences of the 13th and early 14th centuries were able to produce an inter-municipal decision-making regime, abiding by specific rules and by its own system of principles and values. After having presented the main steps and chronological milestones in the genesis of the Hanse, this work considers the foundations of the Hanseatic community and finally the way in which some of its actors, in particular the city of Lubeck, were able to turn a political and economic cooperation into a legal principle
Robecchi, Marco. "Jean le Long et la traduction du "Liber peregrinationis" de Riccold de Monte di Croce." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL053.
In 1351 Jean le Long d’Ypres, abbot of Saint-Bertin in Saint-Omer, translated six works concerning the East and the knowledge of the Asiatic continent, namely of the Mongol Empire (Hayton, Odorico da Pordenone, Wilhelm von Boldensele, Lettres de Togon Temür, De statu). I studied and published the translation of Riccold de Monte di Croce’s Liber peregrinationis. The Florentine Dominican friar travelled from the Holy Land to Turkey, Armenia and Bagdad (he lived there for ten years) between 1288 and 1300. In the first part, I have studied the Latin text, its manuscript tradition and his reception; I added a study on the two Italian translation made in the 14th century. In the second part, I have studied the French translation. Six manuscript and a 16th century print transmit the six Jean le Long’s translation. The philological study and the manuscript tradition show two ways of circulation: one way concerning the Picard bourgeois, the other one concerning the French aristocrats (Jean the Fearless, Jean duke of Berry, Charles duke of Orleans; one of these manuscripts also contains Jean d’Arras’ Roman de Mélusine). The linguistic analysis, the traductological and the lexicological study (regionalisms, orientalism and rare words) allow me to affirm that Jean le Long has “mis en roman” the six Latin texts, few years before the redaction of Jean de Mandeville’s Livre des merveilles (1356). Finally, I prepared the critical edition of the Latin source and of its French translation, followed by a critical apparatus and a glossary
Doucet, Picano Laurence. "Ecritures secrètes, écritures magiques : imaginaire de la cryptographie dans la matière de Bretagne des XIIème et XIIIème siècles." Thesis, Université Grenoble Alpes (ComUE), 2017. http://www.theses.fr/2017GREAL012/document.
The research project suggests exploring the particular relationship between " to write " and the magic by taking place as closely as possible to the materiality of the writing: with what and on what do we write? The antique novels and the adventures of king Arthur and Knights of the Round Table, XIIth and XIIIth centuries, works which constitute our corpus, state parchments, "letters", tissues or clothes, of skins of animals or human, plant supports, gravestones, weapons on which we write, sometimes with two or three colors, with various "instruments": feathers of bird (with ink), sharp stylets for example. In a atypical way, substrata short-lived as the flour, the ash, the snow appear; the blood of people (or animals), often, leaves with it signs. Messages written are not still established on the alphabet (for example in the Lay of the Honeysuckle). The support(medium) and the shape of these writings have a particular sense and confer a magic value on the left messages, by the characters, the menor the women, the magicians or the initiated people. The imagination of this kind of cryptography is different from that of the writing: it bases on the support, its materiality and will be the track to favor in our survey(investigation). We shall thus ask ourselves the question of the intentionality of the signs in these messages, according to the choice of the support(medium), whatever it is. The works of our corpus were written for a period which knows the immense development, in vernacular language, the medieval literature; it has a very strong link with the oral character and the folklore. Our survey(investigation) will grant(tune) a particular importance for the popular traditions, for the folklore, for the magic faiths; the tales, the legends, the hagiographic texts as well as the texts with not literary values will be considered to include the part of the imagination in the act to write, by taking into account, where necessary, narratives of the other cultural, extra-European areas and by thinking about the anthropological dimension of the act to write. Also, names (people, places) as well as dates will be considered with attention. The concept of " magic writing " will be defined and encircled: what do we envisage in this magic which can be bound(connected) to supports(media), to signs, to language(tongue) used to draft the message, and to the person who writes? Il will thus involve of giving a sense(direction) to the word "magic" by basing(establishing) itself on the etymology, its relation in the sacred, in the religion, in the witchcraft. We shall lean in this search(research) on what is known supports(media) quoted in the corpus, by basing(establishing) us on the statement of the cases(occurrences) of the terms describing the act to write, and their etymology. This magic has an incidence on the imagination which is not a simple established fact. The works of our corpus keep(guard) tracks of former(old) myths on the appearance of the writing (without her(it) confusing(merging) with the drawing or the paint(painting)), of its powers, his(her,its) relation for the magic and for the sacred. These myths evolve, coexist with the Christian vision but do not die. They will so be stakeholders of our search(research) to question the various imagination of cryptography
Hardoy, Maitena. "Femmes en fuite : la dame errante dans la littérature médiévale (XIIe-XVe siècles)." Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30050.
In 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