Дисертації з теми "Littérature courtoise – Moyen âge"
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Caiti-Russo, Gilda. "Les troubadours et la cour italienne des Malaspina." Montpellier 3, 2003. http://www.theses.fr/2003MON30013.
Повний текст джерелаMezghani-Manal, Mounira. "Les représentations figurées (peintures et sculptures) dans la littérature courtoise des XIIe et XIIIe siècles : étude de lexicologie et d'esthétique." Paris 4, 2001. http://www.theses.fr/2000PA040227.
Повний текст джерелаTassone, Claudia. "Arts d'aimer et livres de conduite. Discours prescriptifs pour les femmes au Moyen Âge." Electronic Thesis or Diss., Sorbonne université, 2024. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2024SORUL057.pdf.
Повний текст джерелаThe arts of love and the conduct books are two literary traditions that were very much in vogue between the 13th and the 15th centuries. Thanks to their celebrity and longevity, they helped to shape the thinking of the period and beyond.Under the definition of "arts of love", which can be applied to a wide range of texts on erotic subjects, we are considering translations, or even adaptations, of Ovid's Ars amatoria, which instructs lovers to master the techniques of love, from the first approach to the completion of the sexual act. Written during the reign of Augustus, Ovid's work caused scandal even at the time of its publication, condemning the author to exile. From the 12th century onwards, during a period known as the aetas Ovidiana, it enjoyed a veritable renaissance. It was translated and reprinted by the most famous medieval authors, including Chrétien de Troyes, Guillaume de Lorris and Jean de Meun. In our thesis, however, we will focus mainly on the five translations of the Ars by little-known or anonymous authors - still relatively little studied by critics -, all of which are different from one another.As for conduct books (from the English conduct literature), these are treatises on secular life, written primarily for young people. Here, we are interested in texts aimed at young women, covering the whole social scale, from queens and princesses to common women and even prostitutes, as in Christine de Pizan's Livre des Trois Vertus. We know some of the patrons of these works, such as Isabelle, the eldest daughter of Louis IX, Queen Jeanne de Navarre, who was addressed by her confessor Durand de Champagne, and Suzanne, the daughter of Anne de France. Among the texts in our corpus are some very famous ones, such as the work of Christine de Pizan and the Livre du Chevalier de la Tour Landry (the Book of the Knight of the Tower), and others less studied by critics, including one that has come down to us in three different versions and of which we are offering the first edition.The two literary traditions could not be more different, but the interest of comparing them is that, contrary to all expectations, the books of conduct present the discourse of the arts of love in an underlying way. The authors of books of conduct were in fact aware of the erotodidactic discourse so much in vogue at the time, which they condemned, while taking it up ex negativo to better teach their protégées to guard against the perils of extramarital love. To analyse the influence of the Ovidian discourse in the educational treatises, this study is based on the individual stages of the amorous journey in the tradition of the gradus amoris, namely visio, allocutio, tactus, osculum and factum. This approach allows us to touch on all the nuances of love, since its degrees can all be associated with the five senses and parts of the body, making it easier to delve into other areas. In this way, we explore fashion, table manners and the expectations that men have of women in both discourses, to arrive at the deconstruction of courtly love operated by the books of conduct. The expectations of the two discourses are based on the ideal image that their authors have of women; by cross-referencing them, however, our analysis provides an insight into the real and more complex lives of French women in the Middle Ages and their relationship with men.Understanding the formation of these ideal images and the conception of women, of which the texts in our corpus are both a reflection and a means that enabled them to be disseminated, is fundamental to grasping the age-old vestiges that are still with us today, opposed by women's emancipation movements such as #MeToo and No Means No
Chaillou, Christelle. "Faire le mot et le son : une étude sur l'art de Trobar entre 1180 et 1240." Phd thesis, Université de Poitiers, 2007. http://tel.archives-ouvertes.fr/tel-00367810.
Повний текст джерелаTcho, Hye-Young. "La survie du roman d'Artus de Bretagne du Moyen Âge au XIXe siècle." Paris 4, 1994. http://www.theses.fr/1994PA040017.
Повний текст джерелаThe 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
Giovénal, Carine. "« Du bestournement au renouvellement » : La construction du personnage chez Raoul de Houdenc (XIIIe siècle)." Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10205/document.
Повний текст джерелаConsidered as one of Chrétien de Troyes’ successors, Raoul de Houdenc joins in the lineage of writers known as "Arthurians" writers. Through his adventure novel Meraugis de Portlesguez, he reinvents the motives highlighted by master Champenois and bestourne the Breton material in an undeniable parodic intention. Through the comparative study of this narrative with Chrétien de Troyes’ novels in verse; but also with the cycle in prose of Lancelot-Graal, we observe how much the Arthurian romantic character shows himself flexible: skilfully playing with a traditional structure (the Round Table with its unchanging guards, the formative wandering, the monsters and the customs that need to be destroyed), the author ridicules the organization of this system so well polished by Chrétien de Troyes (1st part). We will study then the same characters under the angle of the apprenticeship: the eponymous hero, as well as some of the characters who surround him, are constantly evolving beings that the author will make grow up and mature. Through the evolutionary glance of his creatures, Raoul will deliver his own conception of courtesy, a conception that agrees with the one that he gives of the perfect knight of the Dit and of the Roman des Eles, weaving between his two works a remarkable game of echoes (2nd part). Eventually, the houdanesque character creates a mirror with the person of the beginning of the 12th century: his contrasted heroes, and the voice of the author-narrator-character of the Songe d’Enfer; which is in the grip of doubt when faced with contradictory currents of thoughts of his time; fixes the houdanesque writing in the works that blend imagination and reflection (3rd part)
Barbosa, Ariana dos Anjos. "Fronteiras do amor na literatura medieval: La chanson de Roland e Tristan et Iseut." Niterói, 2017. https://app.uff.br/riuff/handle/1/3887.
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As pesquisas realizadas nesta Dissertação de Mestrado destinam-se ao estudo de paradigmas culturais e práticas sociais representadas no imaginário medieval, contexto histórico-cultural em que se inserem as obras La Chanson de Roland e Tristan et Iseut selecionadas para análise literária. Longo poema épico narrativo no qual são celebrados feitos de heróis do passado, a gesta La Chanson de Roland é uma representação literária da época medieval, da qual o mais antigo texto preservado, o manuscrito de Oxford, com 4002 versos, data de 1100. Várias versões de La Chanson de Roland, de autoria quase sempre desconhecida, foram compiladas por Charles Marie Joseph Bédier em fins do século XIX. O heroísmo rude, o patriotismo exacerbado, a glória pessoal e a questão religiosa são algumas características da narrativa épica que definem o ideal cavaleiresco inscritas no paradigma histórico-cultural do período medieval, no qual o registro do amor cortês é relegado a um segundo plano ou praticamente inexistente. Na trama narrativa do romance Tristan et Iseut revela-se uma ruptura com a sociedade e a história e se inscreve um novo tipo de trocas sociais fora do jogo das sucessões socialmente reguladas. Nesse âmbito, torna-se visível uma nova representação de relações de parentesco e construção de alianças sociais, reinventando-se a relação entre masculino e feminino a ser territorializada apenas na morte, ou seja, em uma eternidade sem história. Nesse quadro destacam-se representações de ethoï culturais privilegiados, tal como a ética cortês, na qual se insere uma concepção aristocrática do amor dirigido a um público culto, particularmente às damas das cortes ducais e principescas dos séculos XII e XIII, localizadas nas regiões onde hoje se situa a França Meridional
l’imaginaire médiéval, contexte historico-culturel dans lequel sont insérées les oeuvres La Chanson de Roland et Tristan et Iseut sélectionnées pour l’analyse littéraire. Long poème épique narratif, dans lequel sont célébrés les faits des héros du passé, la geste La Chanson de Roland est une représentation littéraire de l’époque médiévale, dont le plus ancien texte préservé, le manuscrit d’Oxford, composé par 4002 vers, est daté de 1100. Plusieurs versions de La Chanson de Roland, dont les auteurs sont presque toujours inconnus, ont été compilées par Charles Marie Joseph Bédier, à la fin du XIXe siècle. L’héroïsme grossier, le patriotisme exacerbé, la gloire personnelle et la question religieuse sont quelques caractéristiques de la narrative épique qui définissent l’idéal chevaleresque inscrites dans le paradigme historico-culturel de l’époque médiévale au cours de laquelle l’état de l’amour courtois est relégué à un second plan ou est pratiquement absent. Dans la trame narrative du roman Tristan et Iseut se révèle une rupture avec la société et l’histoire et s’inscrit un nouveau type d’échanges sociaux, hors du jeu des successions socialement réglées. Dans ce contexte, une nouvelle représentation de relations de parenté et de construction d’alliances prend forme, de plus il se réinvente la relation entre masculin et féminin pour être territorialisée seul dans la mort, autrement dit, dans une éternité sans histoire. Dans ce cadre, nous analysons des représentations d’ethoï culturels privilégiés, telle l’éthique courtoise, où s’est insérée une conception aristocratique de l’amour dirigée à un public cultivé, particulièrement aux dames des cours ducales et princières des XIIe et XIIIe siècles, localisées aux régions où se situe aujourd’hui la France Méridional.
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.
Повний текст джерелаDoucet, 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.
Повний текст джерелаThe 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
Antunes, Gabriela. "An der Schwelle des Menschlichen : Darstellung unf Fonktion des Andersartigen in mittelhochdeutscher Literatur." Strasbourg, 2011. http://www.theses.fr/2011STRA1095.
Повний текст джерелаThis thesis aims to analyze a series of monstrous creatures in three Middle High German texts : the Alexander of Strasbourg, the Herzog Ernst B and Wirnt von Grafenberg's Wigalois, written between 1180 and 1220. It focuses on the research of the concepts of monster and monstrosity in the Middle Ages through the study of a corpus of so-called monstrous representations, of peoples and individuals similar tu huaman beings with whom the heroes maintain a contact along a journey. This research has allowed us to understand the value of this concept in the germanic literature of the chosen period, as well as to know the lexical field used to describe it. The plurality of words corresponds therefore to the variety of functions assumed by these creatures in literature, but also to their variety of forms. As representations of the Other, they help to define the limits of the Self by both the hero and the reader. Their physical difference does not establish a barrier that disallows a friendly contact with the Other. However, an absolute integration between the Self and the Other, in terms of a process of inclusion, remains problematic - this will finally depend of the form they assume. Conclusively, as expressions of the untouchable, the monsters slip out of normality and remain the face of the intangible
Carreras, Georges Marie-Octavie. "Le concept de gloire dans la littérature italienne du Moyen Âge." Paris 4, 1991. http://www.theses.fr/1991PA040108.
Повний текст джерелаThe concept of glory in the Italian literature of middle ages must be connected with the evolution of the mentalities during the XIIe, XIIIe and XIVe centuries, and with a thematic which includes the representation of time and the conception of fortune. For the theologists of the XIIIe century, the appetite of glory is condemnable for confusion that it makes in the souls; the Christian who wishes the honors and the vain glory, compromises his salvation by committing pride sin. This interpretation of glory is opposite to the municipal and communal pride which invades the Italian’s minds in the XIIe and XIIIe centuries, as we can see in the chronicles of this time. The hesitation between the theology and the laicity of glory appears in the divine comedy, in which Dante criticizes mundane glory and sings celestial beatitude. His vision of the human condition has a laical expression in Boccace's work, in which the author tries to elaborate an individual morality. Petrarch will go over on this way, by creating his own glory, an eminently narcissistic glory. The topics including the poetry of glory must be connected with the iconographic symbology, based on the picture of the laurel, which indicates the triumph of fame on the time's destructive powers. The evolution of the concept shows
Verger, Christine. "Le mort, le revenant, le vampire : trois figures de l'au-delà médiéval au miroir de la tradition ethnologique." Bordeaux 3, 2002. http://www.theses.fr/2002BOR30050.
Повний текст джерелаMartineau, Anne. "Les nains dans la litterature arthurienne francaise du moyen age." Paris 4, 1998. http://www.theses.fr/1998PA040197.
Повний текст джерелаThis research is a compilation and a study of french arthurian dwarves from the end of the twelfth century to the end of the fourteenth. It is a attempt to show that a great part of their origin is drawn from creatures belonging to folklore itself, namely : goblins. They inherited from them their numerous and strange abilities which are a remnants of magic powers. However, the arthurian dwarf may have appeared in literature only because of the controversy held against real court dwarves. Indeed, the feudal society of the twelfth century in europe as a whole, seems to have disapproved of the privileged position they held close to princes. A topical subject, the dwarf attracted public interest, and this picturesque character soon became indispensable to novelists. The fashion for dwarveswhich reached its climax in the second quarter of the thirteenth century-was such, that they vanished from chivalric literature with the genre itself
Pariaud-Seguin, Emmanuelle. "Les plantes zoomorphes et anthropomorphes au Moyen Age." Paris, EPHE, 2002. http://www.theses.fr/2002EPHE4004.
Повний текст джерелаThe zoomorphic and anthropomorphic plants that fill the mental and figurative world of the medieval age in the West are still largely unknown and poorly inventoried; they are part of a vast corpus spread across several disciplines and different intellectual, temporal and geographic spheres. Indeed, they are present in fields ranging from religious writings to profane literature, as well as in bestiaries, herbals, encyclopedia, historical-geographic reports and travel stories. There are multiple combinations : barnacle tree, vegetable lamb, sheep plant, Baromets, Sun and Moon trees from the Alexander Romance anthropomorphic plants, the mandrake. They figure most widely as images, but not exclusively. Behind these hybrids is always a story, a belief or a system of thought, without which we could not understand them. The astonishing profusion illustrates a complex mode of representation than links, plant to human or animals, in a way that is more than a simple decorative concept. These plants offer us a novel way of looking at the concept of nature and marvels, from an artistic, philosophical, theological and scientific point of view, as well as the prevailing medieval and Renaissance idea of combining kingdoms
Papadopoulos, Laurence. "L'interprétation et la représentation du moyen âge sous le Second Empire." Paris 3, 2003. http://www.theses.fr/2003PA030081.
Повний текст джерелаUnder the Second Empire, the representation of the Middle Ages is conditioned by the historiographic, political, literary, epistemological and aesthetic standards then into force. Those being extremely various and often contradictory, it appears a plural epoch. However, far from reflecting only in a superfluous way the 1850-1870's, the Middle Ages form material of the literary and collective imaginary. This past compensates by fantasy for the frustrations created by scientism, positivism and the materialism and makes gleam a social, communal, spiritual and even scientific ideal. This general investment explains, partly, why, under Napoleon III, the reception of the medieval period contains in germ certain methods of investigation and certain theoretical principles of the history and the social sciences of the 1870-1900's
Weissgerber, Eric. "Grevouse est la guere e dure l'endurer : Violence guerrière et narration de la Guerre en Angleterre, 1296-1485." Université Marc Bloch (Strasbourg) (1971-2008), 2005. http://www.theses.fr/2005STR20002.
Повний текст джерелаWar is a cultural phenomenon whose only redundant character is violence: its representation is a strong disclosure of human nature. Wars and battles exist only through their accounts. Omnipresent in medieval primary sources regarding England, they were perceived as fundamental elements of life by their contemporaries. While complying with specific stylistic requirements, the chronicles' narrative framework from the late 13th to the 15th century stands out as a coalescence of feats of arms, ethos or cultural ascendancy, martial knowledge and personal opinions. The peculiarity of the reporting of war in the Middle Ages relies on this symbiosis. Its representations stress the importance of those who fight: they are able to stimulate the collective memory or fascinate by the use of ideology or example, and follow a defined path. Nevertheless, this vision of war isn't necessarily precise nor unanimous. Skill and variable recourse to narrative impressionism create a relation dominated by human limits. A brutal clash of arms, which is part of the order of the world, defines battle and is sometimes used to represent annihilation. However, ambivalence towards warlike behaviors, rather than organized criticism, balances the idea of a monolithic martial mentality during the Middle Ages. Chronicles are indeed mainly full of praises when reporting feats of arms and powess. They construct a selective and mastered sequence of action based on a selective timescale, but they remain sensitive to a traumatism acquired by experience or fantasy. These representations also benefit from strong religious and literary references. A reflection on war and its violence ensues, acknowledging or proscribing their punctual practice. The account of violent action, despite its overall epic tone, finds its unity in these ambivalent arguments, rather than in a synoptic and commonplace tale of warlike and chivalric behaviors
Rais, Mohamed. "Aspect de la mystique marocaine au VIIe-VIIIe/XIIIe-XIVe siècle à travers l'analyse critique de l'ouvrage Al-Minhāj al-Wāḍiḥ fī taḥqīq karāmāt Abū Muḥammad Ṣāliḥ". Aix-Marseille 1, 1996. http://www.theses.fr/1996AIX10117.
Повний текст джерелаPerlwitz, Ronald. "L'invention du Moyen âge dans l'oeuvre d'Ernst Theodor Amadeus Hoffmann : des implications romantiques à l'idée d'un Moyen âge révolu." Amiens, 2003. http://www.theses.fr/2003AMIE0014.
Повний текст джерелаLe, Cornec Rochelois Cécile. "Le poisson au Moyen Âge : savoirs et croyances." Paris 4, 2008. http://www.theses.fr/2008PA040117.
Повний текст джерелаAn early Christian symbol of Christ, the fish is first and foremost, in the medieval West, the food imposed by the Church during the numerous days of abstinence. But this Christian promotion fails to account for role in literature. The hermits in the novels content themselves with bread and water, while fish is served at the royal tables during lavish feasts. Moreover some recurrent species seem to take on special connotations. Why doesn't the Graal of Chrétien de Troyes contain either pike, or lamprey, or salmon ? What do the famous eels of the Roman de Renart evoke to the medieval public ? Where does the miraculous sturgeon, which keeps in its belly the hand of the heroine of the Roman de la Manekine come from ? The medieval discourse on the fish is anchored in a material and cultural context which became foreign to us. In order to reconstruct the background likely to explain literary allusions, we first question the terminology and the taxonomy used in encyclopaedic and medical text, thus highlighting the complex mosaic of meanings the realia take on in works of fiction. Prestigious species of novels and epics suggest, in a moralizing or comic perspective, guilty pleasures. In parodic writings, especially the Roman de Renart, allusions to the fish reveal the commercial and food practices of the time. In the marvel finally, the fish is both a symbolic food and marvellous animal
Lescoutte-Gardent, Christine. "Le personnage de la fée de la fin du Moyen âge au romantisme." Bordeaux 3, 2002. http://www.theses.fr/2002BOR30034.
Повний текст джерелаRésumé : Fairies have haunted minds and narrations for centuries, never once being forgotten. What are the reasons behind such timeless ? Where do these characters come from, appearing in the literature of the Middle ages and remaining thereafter ? How did they evolve, as literary works followed fashions and expectations differing according to the readers and the times. This thesis tries to answer these questions. Firstly, by focusing on the many well-known hypothese about the character's origins and studying the latter, as much from a literary point of view indeed as from an anthropological, psychological or sociological point of view. Then, by tring to trace and understand the evolution of fairies within various literary works, without being limited to an historical account. The character's synchronized aspect is also highlighted throughout their characteristics and particularities, and even their distinctive features. However we discover the political, literary and sociological changes which French society has known at different times and imagination of those who staged this character and all those who have met them throughout literary works
Maliha, Fayad Leila. "L'expression du sentiment amoureux et l'image de la femme de Christine de Pisan à Martin Le Franc." Lyon 3, 1986. http://www.theses.fr/1986LYO31009.
Повний текст джерелаThis work deals with the expression of passion and the image of woman from christine de pisan to martin le franc. The rehabilitation of woman was christine's major preoccupation. In her works, she devoted herself to defending the woman and she tried to restore the image to which she has a right. After an interval of almost half a century, martin le franc, provost in lausanne, mobilized all his verve and his enthusiasm to plead the cause of woman. He dedicated himself to a difficult task since he had to face the churches' centuries-old animosity towards woman. As for charles d'orleans, he revelled in taking refuge in courtly tradition, and gave a free rein to everything that his heart was teeming with. In his works, woman has been put back up on a pedestal to receive homage and honour. In his "testament", far form courtesy and its dogmas, villon relates his experience as a repudiated lover of women amongst whom he could nevertheless take refuge. Snuggled up to his mother, villon implored "the lady of heavens". Woman as a mother, woman as a source of protection, these are the two honorable images that arose from villon's works. Thus we can say that the works of these four poets marked this first part of the fifteenth century. Most of the works which followed also insisted on the positive image of the woman
Benedetti, Roberto. "Littérature religieuse en français dans la région “veneto-padana” du bas Moyen Âge." Poitiers, 2011. http://www.theses.fr/2011POIT5027.
Повний текст джерелаThis PhD thesis examines some aspects of French religious and hagiographic texts that were produced or copied in Northern Italy between the eleventh and the fifteenth century. This work is an exhaustive analysis of a large set of documents, including manuscripts, epigraphs, mosaics, bas-reliefs, accounts of journeys, chronicles, covering letters, short reports on saints’ lives, or brief prayers diffused separately, as well as of parts of dismembered books. A Remembrance by Marin Sanudo the Elder, a translation extracted from a work by the Dominican chronicler Jean de Mailly, and a fragment from the Joseph d’Arimathie en prose are among the original papers never published before. The thesis is completed by a chronology and an iconographic study of thirty-six documents
Ben, El Haj Soulami Jaafar. "La vie litteraire au maghreb sous les almohades (515-668 1121-1269)." Paris 4, 1986. http://www.theses.fr/1986PA040193.
Повний текст джерелаBoulaire, Cécile. "Le Moyen-âge dans les livres pour enfants en France : 1945-1999." Rennes 2, 2000. http://www.theses.fr/2000REN20018.
Повний текст джерелаThe Middle ages occupy a considerable place in children literature. Since 1945 almost six hundred texts for children have appeared in France containing medieval setting. Theis bounty may be explained in several ways. These texts do not refer to the " true " Middle Ages, rather, they elaborate an image of the Middle Ages that is consensual, coherent, and static, completely devoted to the deployment of agreed-upon fictions. Autonomous, like a " country " one mitht visit, these Middle Ages of fiction respond to the demands of its young readers in terms of intelligibility and ethics. The large number of medieval fictions is also explained by the ease with which they are created. Having recourse to proven literary procedures for a literature of the mases, these works wallow in the cliché. This reveals, incidentally, an ambiguity they have in relation to their pedagogical function such that they are able to satifsy the eventually contradictory wishes of their double audience : young readers, ane directing /supervising adults. Such stories, superficially altered by the tides of this half century, are a model of formal consistency. Finally, the success of Middles Ages literature with children may be found in its dominating figure : the knight, fictional hero and inheritor of an ancient literary tradition from the Middle Ages to Romanticism, from King Arthur to Ivanhoe. This childrens literature is made up, in a large part, of adaptations in which authors tirelessly take up the same founding characters. The seduction of the armored knight is explained by the symbolism which these texts put into play through a number of constantly re-worked matrices. One by one, the knight represents the carefree early-childhood years, the troubling pre-adolescent years, and triumphang maturity. These texts have a discours on adulthood and the need to grow upt̂hat children (and perhaps above all boys) always wish to hear, no matter the time or age
Nelson, Nicolas. "Charmes et bénédictions, reflets de l'univers mental du monde médiéval : étude d'un corpus germanique." Paris 4, 2004. http://www.theses.fr/2004PA040163.
Повний текст джерелаThe blessings and magical spells of the Middle Ages shed a clear light upon men's vision of their lives in their surroundings. Their mainly dichotomic vision depicts a traditional balance between the Christian, civilized area and the devilish realm of savage Nature. This balance is constantly challenged by the interaction of the two, whether by unwitting contacts with natural taboo forces or by the action of malignant demons encountered on their way to people's homes despite their banishment from men's living sphere that was ordained by the mythical Master of Nature, Keeper of the celestial Keys. As a matter of fact, people considered illnesses to be caused by these evil demons. The medieval explanation for evil is, thus, also grounded on the recurring idea of facing up an outsider to the community. During the Middle Ages in particular, this notion came to define sickness as an event when one literally met the sacred however its form. These ecotypical encounters involved anthropomophous and zoomorphous figures embodying values relevant to the community. This regularly reveals people's need to find a close source of the sacred transpiring their own religious beliefs (imitatio dei). To some extant, this medieval vision of the world still prevails in the mind of many of us. Regardless its form, the generic figure of the other represents the outside element within the systemic opposition of notions that is necessary to maintain the essential values around which myths were founded and societies organized themselves
Vargas-Solar, Genoveva. "La femme serpent : étude d'un mythe fondateur dans le Moyen âge occidental et précolombien." Grenoble 3, 2005. http://www.theses.fr/2005GRE39015.
Повний текст джерелаThis dissertation presents a study of the myth of the female snake as a myth of origins. The occidental and pre-Columbian middle ages produced several male and female snakes. In these cultures the female snake appears as a universal symbol and its scope corresponds to mythological spaces. This figure is present in folklore and by literary texts (legends and novels) that talk about the origin of a new social order where power is legitimated by a supernatural being. These texts might hide one of the lessons of a myth of origins where the female snake is a kind of cosmic mother of humanity. Based on the idea of the universality of the female snake, we compare diachronic figures that are part of a collective imaginary which is part of different cultures in precise historic moments. These moments, even if apparently diachronic, converge in the space and time of the universal imaginary. Melusine (middle age fairy) and Tonantzin (pre-Columbian goddess) are the start point of our study The study also includes female serpents stemming from oriental, Indian and Jude civilisations in order to define the permanence of an archetype along the time and identify the way it is modified according to different cultures and socio-historic moments
Pavlevski-Malingre, Joanna. "Melusigne, Merlusine, Melusina : fortunes politiques d’une figure mythique du Moyen Âge au XXIe siècle." Thesis, Rennes 2, 2017. http://www.theses.fr/2017REN20056.
Повний текст джерелаIt can seam surprising to dedicate such a consistent study to political sorts of a medieval fairy, on the one hand because it is common to differentiate fantasy and politics — whereas the appeal to fantasy is common to legitimate a power or to build a political community —, and on the other hand because the main branch of the Lusignan lineage, of which Mélusine is the mythical ancestor, has been exctincted since 1308. However, surprisingly, Mélusine, a marvel drawing contrasted understandings and representations, falls into multiple political dynamics. As early as the Middle Age, Mélusine incarnates diverse sorts : the expansion and the decline of the Lusignan lineage that she justifies. Manipulated for domination andlegitimation purposes, as well as to celebrate a lineage memory explored in medieval novels by Jean d’Arras (1393) and Coudrette (c.1401), Mélusine establishes herself over the centuries through literary and paraliterary texts and coats of arms as the Merlusine, the mother of the Lusignan, but also the mother of other aristocratic lineages. At the same time, from the Middle Age onwards, but in an increased way since the 20th century, this lineage figure has been disfigured, its goals have been displaced, and Mélusine can respond to multiple identity questionings related to a social class or an individual, to the Nation or to the assertion of feminist ideas
Bergot, Louis-Patrick. "Apocalypse et littérature au Moyen Âge : réception de l’imaginaire apocalyptique dans la littérature française des XIIe et XIIIe siècles." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL167.
Повний текст джерелаAmong the numerous apocalypses written during the Judeo-Christian Antiquity, only the Revelation of John and the Apocalypse of Paul (through the Vision of Paul) got old french translations. In this work, their textual reception is the subject of a complete inventory and a detailed study. Because of their success, both left a durable trace in the medieval mindset, as they solved two major concerns : collective judgement (Johannine Apocalypse) and individual jugdement (paulinian apocalypse). They gave birth to an imaginary world which can be detected in medieval french literature thanks to an intertextual approach. Many parts of the medieval literature use this imagination : the visionary literature (in the Vision of Tondale and St Patrick’s Purgatory), the allegoric literature (in the Tournoi de l’Antéchrist and the Roman de la Rose) or the didactic and religious literature (in the Somme le roi, the homilies and the “épîtres farcies”). The apocalyptic imagination thus spreads through a considerable part of this literature, and therefore we can consider it as an independent world of the mind, full of motives, places, creatures, and sometimes fears. From a text to another, this imagination has disseminated according to intertextual levels which can be distinguished by philology. But this complex web of correlations must not make us forget that the reception of the apocalyptic imagination is not only accessible from a textual viewpoint. It also employs cognitive mechanisms like understanding, representation and imagination
Marquand, Patrice. "Les relations culturelles entre la Bretagne continentale et l'Aquitaine au Moyen âge." Thesis, Rennes 2, 2012. http://www.theses.fr/2012REN20060.
Повний текст джерелаMedieval French literature drew on Celtic and Occitan sources to give birth to courtly romances. On the other hand, mostof the chansons de geste in Oïl language are located in Occitania and some of them have existed in Occitan language.However, some of the heroes of these songs are Bretons. Did the writers of the 12th century and their patrons bringtogether two worlds hitherto separate, the Celtic world and the Occitan world? Or contacts were direct and older? WasBrittany a staging post between the North and the South; between the Celtic countries and the Occitan lands? The first part of this study will deal with the historical background of cultural connections between Brittany and Auitaine: political, commercial and religious connections from antiquity to the 13th century. The second part will be devoted to literary connections around two main axes: the Matter of Britain in Aquitaine and the presence of Breton heroes in the chansons de geste related to the Occitan epic
Rouziès, Bertrand. "Images de Byzance dans la littérature médiévale de langue française." Rouen, 2008. http://www.theses.fr/2008ROUEL591.
Повний текст джерелаWe in this work endeavour to assess the impact of the Medieval Byzantine Culture (art, symbolism, religion, policy, literature, science) on the Old French Literature (chansons de geste, romances, chronicles, travel books, bestiaries) between 1100 (writing of the Chanson de Roland) and 1461 (fall of the Greek Empire of Trebizond). With the idea of reconsidering the mutual knowledge and the intensity of cultural exchanges, we apply ourselves to dissect the fantastical mechanisms which reconstruct the Byzantine East, transmute it into myth, orientalise it
Lignereux, Marielle. "Promesses et serments dans quelques textes d'ancien français (XIIe - XIIIe siècles) : approche linguistique." Paris 10, 2001. http://www.theses.fr/2001PA100058.
Повний текст джерелаThe theme of promises and oathes led us towards a larger reflexion on commitment, as the Old French language display a wide range of lexical items to express the notions of promettre (to promise) and jurer (to swear). A contextual analysis enabled us to determine a whole set of nuances which define a proper and subtle graduation in commitment. Linguistics, and pragmatics in particular, have both set out to define performativity and illocutionary acts to which promettre and jurer belong. Whereas je promets and je jure are explicit performative utterances in Modem French, these utterances adopt a very different behaviour in Old French. We therefore questioned on the one hand the performative origin of these verbs and, on the other hand, their evolution
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.
Повний текст джерелаBraida, 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.
Повний текст джерелаLévy, Noëlle. "La femme sans vergogne : ou la femme impudique dans les textes médiévaux." Paris 4, 2001. http://www.theses.fr/2001PA040101.
Повний текст джерелаIn medieval texts, modesty - a fundamental experience of mankind fallen from grace - becomes an essential and feminine question. Study of the Latin and then French medieval glossary of modesty and immodesty enables these concepts and their evolution to be grasped. Then, the "code of good manners and modesty" drawn up in the Middle Ages is studied. Finally, study of the literary figures highlights the essential notions of ostentation, transgression and disorder, and the link between feminine modesty and male power and order
Bonelli, Lucrezia. "Images de l'Autre : Représentation du Juif dans la Littérature italienne du XIIIe au XVIe siècle." Chambéry, 2009. http://www.theses.fr/2009CHAML009.
Повний текст джерелаThe @Juewish presence in Italy has always been small but ancient, dating from before the Diaspora (70 B. C. ), but never altogether disappearing. Starting in the 13th century, Christian society began excluding Jews and this tendency culminated in the 16th century with the introduction of the ghetto. Throughout these four centuries Jews appear only rarely in Italian literature, but when they do they are always seen as Other. Their different religious faith makes them "other" than Christians, indeed enemies of Christians and as such to be rejected or converted. They are also "other" than Christians due to mental and physical characteritics that catholic-inspired, anti-Semitic negative attitudes project onto them. Authors rework this image according to their lights but time does not erase it. Ot often becomes as literary device in its own right in the hands of writers who use Jews as characters against which to compare and contrast the failings and wrongdoings of their Christian characters. Thus Italian literature reworks, expands and fixes the stereotypes particular to any epoch, thereby contributing to the creation of images of the Jew
Abiker, Séverine. "L'écho paradoxal : étude stylistique de la répétition dans les récits brefs en vers, XIIè-XIVè siècles." Poitiers, 2008. http://theses.edel.univ-poitiers.fr/theses/2008/Abiker-Severine/2008-Abiker-Severine-These.pdf.
Повний текст джерелаConsidering that, paradoxically, repetition flood brief medieval narratives (however short and quick they have to be), this research describes and analyses the narrative, stylistic and symbolic role of repetitive forms in a particularly short-lived genre (french brief tales in verse were born in the XIIth century and are replaced by short stories in prose in the XIVth century). Using the concepts of rhetoric, linguistics, semiotics and philosophy, we examine different patterns of repetition, their specific signification in short narratives, their values in medieval thought, with special focus on the perception of time. The methods of style analysis are applied to a large corpus composed by five genres (fables, lais, fabliaux, religious tales, narrative dits), in order to clarify the medieval conception of brevitas (by a study of medio-latin rhetoric treatises and writing practices) ; to identify significant stylistic features, located in textual variations, in works, in genres, or in types of character ; to show the aesthetic tendancies and evolution of each genre. We underline three paradoxes : to repeat appears as a way to reduce a text ; medieval echo is not conceived as a dying sound but as persistency and prolongation; repetition is not one single phenomenon but it hides two different semio-stylistic modes (verticality and horizontality). The development of horizontal forms, by the early XIIIth century, is characteristic of an emerging literary subjectivity : it creates new textual rythms, liable to be related to the concrete transformation of life styles
Berthet, Jean-Charles. "La raison des jeux : jeux et sports dans la littérature narrative française du Moyen âge (des origines au XIIIe siècle)." Grenoble 3, 2003. http://www.theses.fr/2003GRE39022.
Повний текст джерелаRozoumniak, Eléna. "Le vêtement et la coiffure dans les romans français des XIIIe et XIVe siècles : étude de lexicologie, de critique littéraire et d’histoire des sensibilités médiévales." Paris 4, 2006. http://www.theses.fr/2006PA040146.
Повний текст джерелаMore then a simple decorative accessory, clothing takes an important place in the French novels of the XIIIth and XIVth centuries. A double approach, lexicological and of literary criticism, allows seeing, near richness and a great dynamism in the vocabulary, an important amount of vestimentary descriptions in all kinds of novels. However, the changes happened to the real costume of the period are introduced with reservation in novels. In fact, above painting appearances, clothes “exalt essences”: they reveal themselves as being an excellent way to translate the codes of the middle-age society, and also, in addition, the relationship between the man and the world. The written costume gives information about the literary creativity of the age
Leurquin, Labie Anne-Françoise. "Les légendiers en prose française à la fin du Moyen-Age (région picarde et Flandre française) avec une édition critique de vingt vies de saints." Paris 4, 1985. http://www.theses.fr/1985PA040114.
Повний текст джерелаDillmann, François-Xavier. "Les Magiciens dans l'Islande ancienne : études sur la représentation de la magie islandaise et de ses agents dans les sources littéraires norroises." Caen, 1986. http://www.theses.fr/1986CAEN1005.
Повний текст джерелаAfter dealing with the magical phenomenon in the old icelandic commonwealth (first part, this doctoral thesis studies the anthropological (physical and psychical) characteristics of the icelandic magicians and wizards, and discusses the question about the existence of chamanism in the old norse literary sources (second part). The third part is composed of a sociological description of the icelandic magicians: juridical, economical and social (with a discussion about the profession of magician) situation, ethnical geographical origins, dwelling forms, family life and sexual behaviour, and social relationship
Pauthier, Moghaddassi Fanny. "Géographies du monde, géographies de l’âme : le voyage dans la littérature anglaise de la fin du Moyen Âge." Paris 4, 2007. http://www.theses.fr/2007PA040064.
Повний текст джерелаEnglish literature from the late Middle Ages largely resorts to the theme of travelling. Narrating explorations (Mandeville’s Travels, Saint Brendan, or Kyng Alisaunder), travels in the beyond (Saint Patrick, The Vision of Tundale) or the adventures of wandering knights (Sir Orfeo, Sir Degarre and Floris and Blauncheflour), such literature always aims, in different ways, at representing the real world. It traces a geography of the earth characterised by the proximity between the living and the dead and the presence of the marvellous. Nevertheless, the exploration does not lead to the conquest of the places visited : on the contrary, the otherness of the new worlds makes its way into the traveller and takes possession of him. The journey then appears as the visit of an inner space : it reflects the psychological evolution of an individual and the way a society looks at itself. What is ‘other’ questions the identity of the traveller and in the eyes of the writers, the real stake of this movement is the soul’s quest for God
Gingras, Francis. "Erotisme et merveilles dans le récit français des XIIe et XIIIe siècles." Montpellier 3, 1999. http://www.theses.fr/1999MON30051.
Повний текст джерелаSpatz, Herner Hiltrud. "Vocabulaire commun et vocabulaire technique dans la littérature didactique du moyen française (1330-1500) : contribution lexicologique en vue du dictionnaire de Moyen âge français." Paris 4, 1998. http://www.theses.fr/1998PA040147.
Повний текст джерелаThis study of the common and technical vocabulary found in mediaeval didactic writings is intended as a contribution to the compilation of the dictionary du moyen français (DMF) being carried out at the institute national de la langue française (a department of the CNRS) in Nancy, under the leadership of general editor Robert Martin. Didactic literature covers fields as varied as astronomy, astrology, medicine religion, heraldry, music, etc. The corpus under review consists of a score of works including, notably, the Somme abregiet de theology, the Songe du verger, as well as several other pieces by Evrart de Conty, Fusoris, Gerson, Olivier de la Haye, Philippe de Mézières or Simon de Phares. Some of them have been entirely keyboarded and will provide the basic vocabulary; others only selectively surveyed, will complement already collected materials according to the following criteria : items will be a first occurrence, a rare word or use of word, a little or never attested syntagm, phrase or proverb, an idiosyncratic word or use of word, or be, as a general rule, of some synchronical interest to the study of middle French. The first part of the work defines the scope of our study and explores theoretical and methodological options. It also contains lists of words, ordered according to the field covered, which clearly illustrate what a new contribution non-literary texts prove to be to existing lexicological works. The articles of our lexicon make up the second part : nearly ten thousand of them, in alphabetical order, systematically referring to the corresponding entries in the Tobler-Lommatzsch and Godefroy dictionaries and to their etymons as found in the FEW
Livini, Andrea. "Étude de la circulation de la Cena Cypriani durant le Moyen-Âge (avec édition de textes)." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0006.
Повний текст джерелаMy doctoral thesis is entirely dedicated to the study of the Cena Cypriani, a bizarre and comic text that proposes a strange biblical parody, depicted as a biblical banquet. The first part of my doctoral thesis is completely dedicated to the original text, wherein I study the tradition of the manuscripts of the Cena and where I propose some critical studies of its codices in order to provide a new critical edition of the text (see pages 364-402). Following this, l propose some literary, linguistic and sociologie studies of the text by demonstrating that the Cena Cypriani was a very complex literary exercise. During my research, I had the possibility of posing the question about the Cena’s literary sources, as for example, the Iudicium Ceci et Pistoris and the Testamentum Porcelli. Through this, l was able to elaborate the hypothesis that the Cena took place during the Vth century, written to entertain the elites, most likely during banquets. In the second part of my thesis, I tried to understand the reason of the Cena's circulation during the Middle Ages. The Early Medieval re-writing of the Cena Cypriani - the Cena Hrabani and the Cena Nuptialis - represents very important instruments for my research because they allow me to understand the continuity between the two texts ; they were very useful to understand the didactic and religious function of the Cena and to justify its medieval transmission and importance
Montanari, Angelica. "Il fiero pasto : volti dell'antropofagia nel Medioevo." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0022.
Повний текст джерелаThe, main purpose of this thesis is to highlight the multiple references to anthropophagy - both as practice and as a metaphorical and literary suggestion - contained in historiography, theology; memoir, hagiography, legal documents and court records, and medical-pharmacological literature. Given the more or less explicit prohibitions imposed against cannibalistic practices throughout the Middle Ages, the study focuses primarily on the hermeneutic issues raised by such a substantial quantity of anthropophagous contexts and episodes. Following the twofold path of res and narrata, the research tries to account for the contradictions inherent in the phenomenon, analyzing on the one hand the political and social circumstances that made certain practices possible, and on the other hand the language, the imagery and the use of metaphor (verbal, gestural and visual), which conveyed the topic of devouring, in terms of both discourse and the ideology of social representation
Levillain-Angoulvant, Françoise. "Le théâtre religieux dans le Maine à la fin du Moyen Age : (c 1450-1550)." Le Mans, 2005. http://cyberdoc.univ-lemans.fr/theses/2005/2005LEMA3003_1.pdf.
Повний текст джерелаThe study of religious theater performed in the Maine province, at the end of the Middle Ages, permits an approach of the religious attitudes of its inhabitants. It enables us to discover the Christian doctrine taught then and the religious behaviours. As in the case of sermons, we find there a strong emphasis on sins and their consequences, for example on the stage the audience can see the Devil carrying the sinners's soul away to hell. Whilst the nobleman plays a main role amongst the characters, women and unconventionnal figures or dropouts, are not left out. At reading the plays we discover the fears and anxieties of the population, faced with death, calamities and wars, also we notice how they found ways to overcome these problems, with the help of religion or the supernatural , also including a certain sense of humour. The staging of the torments inflicted to Christ or to the martyrs is an indication of the violence of the society which appears to look at such performances with fascination. After decades of crisis in the XIVth and XVth centuries, this theater develops while reconstruction begins and spreads in the province. At the same time, the artistic production rejoins the same existential concerns and the murals in country churches stand as proof of the protection asked from the saints whose lives were known through theater
Tabard, Laetitia. "Bien assailly, bien deffendu : le Genre du débat dans la littérature française de la fin du Moyen Âge." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040104.
Повний текст джерелаThe aim of this study is to establish a definition of the debate as a literary genre, that would establish itself as such at the end of the fourteenth century in the wake of the Jugements by Guillaume de Machaut. A chronological approach of the corpus shows how the debate can be identified in the midst of the different kinds of dispute literature : it develops its own structure, based on an antagonistic dialogue ending with a plea to the reader’s wisdom, which leaves the issue open. It comes within the scope of recreational practices that give it meaning, and that parody dialectic and rhetoric in order to let an individual voice be heard directly by an audience : this genre consists in a dialogue between ambiguous beings, which has to be decrypted, where the author-narrator is a character and relinquishes his authority ; it needs to be spoken, or even performed. The debate has to do with the evolution of courtly lyricism, which tends to become a poetry dealing mainly with ethics and upsetting traditional categories of thought through the use of dialogue and the possibility of multiple meanings. It privileges a form of knowledge which consists in a personal relationship of the reader with the text, while still retaining the music of oral speech and the dramatic intensity of play
Librová, Bohdana. "Loup, renard et autres carnassiers : un champ de métaphores en français médiéval." Montpellier 3, 2004. http://www.theses.fr/2004MON30075.
Повний текст джерелаThe componential and actantial analysis of the figurative use of the names of wild carnivores (with particular accent on the wolf, the fox, the otter and the badger) leads to a reflection on the origin of the semantic features and the generating mecanisms of the figurative meaning. The specificities of the animal image relativize the assumptions about the documentary value of the figures. The observation of the semantic effects of animal metaphor in the proverbs reveals the referential potentialities of the proverb's sense. An association of the philological methods with approaches of modern linguistics (componential analysis, prototype theory, lexicology inspired by Gustave Guillaume. . . ) makes it possible to refine the structural description of the sense. A study of the lexicalization leads to suggestions for the lexicographical treatment. Three satirical and moralising texts illustrate the stylistic functions of the predatory images
Durand, Isabelle. "Aspects de la représentation du Moyen Age dans la littérature romantique : domaines français, anglais, allemand." Nantes, 1999. http://www.theses.fr/1999NANT3010.
Повний текст джерелаThe romantic period is regarded as the moment of renewed interest for the Middle-Ages, a time the Age of Enlightenment had neglected. This revival can be witnessed in such various fields as history, architecture, musci or literature, which convergence leads us to consider the return to the Middle-Ages as a basic element of rmantic thought. As it is, its presence within new genres that regained favour thanks to rmanticism (the tale, the ballad, the romantic drama, the historic novel) induces us to measure the essential role of the return to the Middle-Ages in the coming out of a new conception of lietrature breaking off with classical rules. These various genres enable to emphasize the image of a largely fantasmatic Middle-Ages period reflecting the romantic expectations and dreams. Its high plasticity also enables it to be emodied in major characters the romantic thought tens to build up into myths (Charlemagne, Louis XI th. , Joan of ARc or Faustus). Containing typical medieval perceptions, they gather the main aesthetic and ideological issues associated with the Middle-Ages. It becomes possible then to put forwards a typology of the various romantic Middle-Ages, underlining the perceptions pertaining to the grotesque aspect of the period, those associating it to the fabulous and the terrifying, and those building it up into a golden age. Yet, difficult to reconcile as they are, these perceptions, seemingly ascribable to a common feature, tend to put forwards the original and the primitive. Thus, the Middle-Ages give birth to a myth, a myth of a primitive time hal-way between history and legend. This mythified past in which romanticism looks both foran an utterly remote otherness and its own identify proves to be a way to escape a devalued present. As a source of new inspiration, the return to medieval past is paradoxically one of the best means of expression of the modernity of the romantic movement
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.
Повний текст джерелаThis 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