Academic literature on the topic 'Construction romanesque'
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Journal articles on the topic "Construction romanesque"
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Grignon, Claude. "Composition romanesque et construction sociologique." Enquête, no. 4 (June 2, 1988): 3–25. http://dx.doi.org/10.4000/enquete.60.
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Mangeon, Anthony. "La construction du lien social dans les romans d’Alain Mabanckou." Articles 42, no. 1-2 (January 15, 2014): 51–64. http://dx.doi.org/10.7202/1021296ar.
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Forte de neuf fictions, l’oeuvre romanesque d’Alain Mabanckou présente à ce jour une grande cohérence. D’un roman à l’autre, le corps social semble se structurer suivant une logique relationnelle du redoublement systématique – lequel va du désir mimétique, installé au coeur des formes d’imitation et d’identification sociales, aux duplications et interférences entre monde humain et monde animal, voire entre « réalité » et « monde de l’invisible ». En explorant cette oeuvre romanesque qui fait du recoupement et du redoublement les forces majeures de sa cohérence, cet article met en relief la part qu’elle confère au mythe dans la construction du social, et par là même, donne à mieux comprendre la place déterminante qu’y joue la littérature dès qu’il s’agit, non plus simplement d’en interpréter, mais d’en recréer le sens.
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Boca, Anamaria, Tudor Panfil Toader, and Călin Mircea. "Romanesque Historical Monuments Reconstruction by Using Original Materials and Recycling of Those that Have Lost Their Historical Value." Proceedings 63, no. 1 (December 10, 2020): 7. http://dx.doi.org/10.3390/proceedings2020063007.
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The aim of this paper is to present the way of reconstruction of historical monuments of Romanesque architecture by reusing and highlighting the original component materials, related to the subassemblies of the construction, respectively the recycling of those components that have lost their historical value. The Romanesque buildings are part of Romanian national cultural heritage and have been through controversial historical periods, and therefore have undergone important modifications or structural losses. The reconstruction or rehabilitation of the Romanesque historical buildings is a way of sustainable development by adapting the buildings to the new conditions of use.
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Rao, Sathya, and Denis Lacroix. "Histoires de pionniers français dans l’Ouest canadien : le cas d’Un héros malgré lui de Marcel Durieux." Voix Plurielles 8, no. 2 (November 26, 2011): 79–93. http://dx.doi.org/10.26522/vp.v8i2.396.
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Traditionnellement délaissés par les littéraires, les récits pionniers se trouvent généralement rapportés au genre du journal ou de la chronique. C’est notamment le cas d’Un héros malgré lui de Marcel Durieux dont les préfaciers, Roger Motut et Maurice Legris, louent le style à la fois simple et concret. À contre-courant de cette lecture, nous montrerons que le texte de Marcel Durieux est travaillé par une ambition romanesque qui se manifeste à la fois par la construction d’une temporalité complexe, le désir de restituer la diversité culturelle et linguistique de la société pionnière et enfin le recours fréquent aux métalepses. En somme, il s’avère pertinent de considérer ce type de récits comme des textes romanesques susceptibles d’enrichir le patrimoine littéraire de la francophonie de l’Ouest.
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Thurlby, Malcolm. "The Former Romanesque High Vault in the Presbytery of Hereford Cathedral." Journal of the Society of Architectural Historians 47, no. 2 (June 1, 1988): 185–89. http://dx.doi.org/10.2307/990329.
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In his article on "Hereford Cathedral" published in the Archaeological Journal in 1877, Sir George Gilbert Scott suggested that the Romanesque presbytery was originally covered with a high groin vault on the basis of the suitability of the broad pilasters on the piers for supporting transverse arches of such a vault. While Scott's case for a high vault has been generally accepted, it has not been seriously tested through a detailed examination of the fabric. This note presents new evidence in the masonry above the eastern crossing arch in support of a Romanesque high vault, considers the manner of its construction in relation to other vaults in the West Country School of Romanesque architecture, and examines the case for its being of groined or ribbed design.
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Maxwell, Robert A. "Romanesque Construction and the Urban Context: Parthenay-le-Vieux in Aquitaine." Journal of the Society of Architectural Historians 66, no. 1 (March 1, 2007): 24–59. http://dx.doi.org/10.1525/jsah.2007.66.1.24.
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Trusov, O. A. "First monument of stone architecture in Belarus, created in the Romanesque building tradition." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 66, no. 3 (August 5, 2021): 293–302. http://dx.doi.org/10.29235/2524-2369-2021-66-3-293-302.
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The article for the first time proposed a new version of the origin of masters who were invited to build the Minsk temple. The article says that the masters could be invited from Germany (Saxony), and not from Poland, as previously thought.In 1949–1951 the archaeologist Vasil Tarasenka found the ruins of an unfinished temple on the territory of Minsk Castle (later this monument was studied by E. Zagarulsky, G. Shtykhaŭ and A. Miadzvedzeŭ). The foundation and lower parts of the walls of the temple are made of stone and are squared with stone tiles of a rectangular shape on a mortar. The masonry technique is Romanesque, characteristic of Western European architecture.The main controversy is the time of construction of the temple. Some researchers believe that this is the second half of the XI century, others believe that the first Minsk appanage prince Gleb began the construction at the beginning of the XII century.Based on Romanesque construction methods, it is believed that Polish craftsmen built the temple. The author for the first time expresses and justifies the German (Saxon) origin of the builders of the temple in Minsk.
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Osseiran, Layla. "Contribution linguistique à la connaissance du moi Dans "Le nom de la rose" d'Umberto Eco." Hawliyat 11 (December 16, 2018): 63–72. http://dx.doi.org/10.31377/haw.v11i0.295.
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Le "moi" romanesque etant une construction progressive d'une identite qui reserve bien des surprises, nous avons eu recours 11 I' analyse linguistique pour y demeler les fils et eclairer Ie parcours epineux que prend la connaissance de soi, et ce dans Ie roman d'Umberto Eco "Le nom de la rose".
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Carragáin, Tomás Ó. "Regional Variation in Irish Pre-Romanesque Architecture." Antiquaries Journal 85 (September 2005): 23–56. http://dx.doi.org/10.1017/s0003581500074369.
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This paper demonstrates that the five Irish early medieval church types have markedly differential distributions. In particular, most of those with antae are in the east, while most of those without antae are in the west. It is shown that this regionalism cannot be interpreted as a deliberate strategy of material differentiation on the part of particular politico-cultural groups. A reconsideration of the chronology suggests that many of the antae-less churches are relatively late, and so the division is primarily indicative of differences in the period and rate of mortared church construction, something that is influenced by both environmental and cultural factors. It is suggested that differences in church dimensions between east and west are indicative of subtle economic differences; and a range of archaeological evidence is used to sketch other economic and cultural variations. These patterns highlight the importance of exploring regionality, even when studying relatively cohesive entities such as early medieval Ireland.
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Fernie, Eric. "Design and Construction in Romanesque Architecture: First Romanesque Architecture and the Pointed Arch in Burgundy and Northern Italy. C. Edson Armi." Speculum 81, no. 1 (January 2006): 140–41. http://dx.doi.org/10.1017/s0038713400019412.
Full textDissertations / Theses on the topic "Construction romanesque"
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Courtois, Odile. "La construction du personnage dans l'oeuvre romanesque de Montserrat Roig." Paris 4, 2004. http://www.theses.fr/2004PA040143.
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A partir des cinq oeuvres romanesques qui couvrent quinze années d'écriture (1972-1987) de la romancière catalane, nous nous attachons à montrer comment le personnage roigien répond à un projet spécifique de représentation et d'écriture. Nous mettons en relief aussi bien la multiplicité et la spécificité des personnages que des constantes qui nous permettent de considérer l'évolution des personnages. L'analyse narratologique met en évidence la suprématie du personnage féminin qui, au fil des ouvrages, laisse place à celle de l'homme, l'inscription des personnages "prototypes" dans une perspective générationnelle ainsi que le sens du constant jeu de multiples voix. Une deuxième partie se propose d'étudier comment, dans le triptyque, le roman-chronique de Montserrat Roig inscrit le personnage dans une typologie précise où l'espace catalan, l'Histoire et la donnée sociale sont des éléments essentiels. Enfin, apparaît dans les deux derniers romans, un personnage radicalement différent. Tour à tour théâtralisé et symbolique, il reflète le désir de la romancière de s'émanciper de la tutelle de l'Histoire; c'est la revanche de la littérature sur l'HistoireFrom the five novels covering fifteen years of writing (1972-1987)of the Catalan novelist, we try to show how her character "Rogien" answers a specific project of representation and writing. We emphasize the multiplicity and specificity of the characters as well as the constants which enable us to consider the evolution of the characters. The narrative analysis shows how the female character imposes herself in the triptych, then gives way to the male character. It insists on the inscription of prototype characters in a generation perspective and how to interpret the constant echo of the multiple voices of the novel. A second part shows how, in the triptych, the chronicle-novel by Montserrat Roig sets the character in a precise topology where Catalan scenery, History and social facts are essential elements. Finally, in the last two novels, a completely different character appears: in turn dramatized and symbolical, he partakes in the discourse on harmony and the language quest. It reflects the desire of the novelist to emancipate herself from the hold of history. It is the revenge of literature on History
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Antoine, Josée. "Univers imaginaire et construction romanesque dans la fiction de Cynthia Ozick." Paris 7, 1995. http://www.theses.fr/1995PA070082.
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Quelle est la contribution de cynthia ozick (1928), romanciere et nouvelliste juive americaine a la culture juive americaine contemporaine ? comment rend-elle compte de l'experience juive dans ses textes ? l'importance accordee a la memoire et a l'histoire justifie le choix de l'auteur de se presenter davantage comme un ecrivain juif qui ecrit en anglais que comme un ecrivain de la tradition anglo-saxonne possedant un heritage juif. Elle constitue une etape dans la quete de la verite qui est presente dans toute l'oeuvre, meme si elle emprunte des voies tout a fait divergentes, comme celle de la description de la realite la plus rposaique ou celle ou l'auteur donne libre cours a l'imagination, ce qui debouche souvent sur le fantastique. Cette quete pose en termes particuliers le rapport entre judaisme et esthetisme qui est une preocupation majeur ce cynthia ozick et implique des strategies narratives specifiques. Enfin, la place attribuee a la memoire et a la recherche de la verite amene a privilegier le document ecrit, l'ecriture, au detriment du message oral peu porteur des vraies valeurs que cynthia ozick prone par l'intermediaire de ses personnages, qui sont hantes par les memes obsessions que leur createurHow does jewish-american novelist and short-story writer cynthia ozick (1928) contribute to contemporary jewish-americain literature ? how do her texts convey a jewish view of the world? that she gives so much importance to memory and history makes it legitimate for cynthia ozick to view herself as a jewish writer that writes in english rather than a writer belonging to the anglo-saxon tradition who also has a jewish background. That importance constitutes an aspect of the search for truth that informs ozick's whole work, taking numerous forms, as the description of the most down-to earth reality or giving free reins to the imagination - which often results in fantastic stories. This search examines the relationship between judaism and aesthetics (a major preoccupation of ozick) and justifies the use of specific narrative strategies. The thematic importance of memory and the search for truth lead to giving precedence to the written document, writing in general, over the oral message, shown to be less likely to convey the real values that cynthia ozick upholds throught her characters, who have the same obsessions as their creator
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Cwiek, Bellomo Ewa. "La dynamique des contrastes dans la construction romanesque chez Fred Vargas." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3074.
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Construit sur un réseau de contrastes, le monde romanesque de Fred Vargas arbore le masque de la fiction policière. Les meurtres au présent cachent les meurtrissures de l’amour au passé. Médiateur entre ces pôles diégétiques, la passion du personnage vargassien fait faillir les règles du jeu que lui impose le monde. Car derrière les apparences civilisées perdure l’ordre originel de Nature : la prédation. Face à son échec, le personnage doit relever un défi qui transforme son enquête sur le crime en une quête identitaire. Choisir la transgression ou le sacrifice de soi décide de sa chute ou du resurgissement de sa dignité. Superposant l’intrigue et l’Histoire, le hic et nunc diégétique confère au personnage le rôle de trait d’union entre les Ici et les Ailleurs identitaires adverses. L’enquête approche la psyché du meurtrier et de l’enquêteur, reconstituant l’interaction de l’individu et du monde précisé en tant que son chronotope synchronique et diachronique. La relation entre l’homme et ses Autres révèle la personne derrière le personnage. La confrontation de l’animal humain aux animaux réels et mythifiés, remet en question les frontières entre l’identité et l’altérité. Le réel meurtrier s’avère incarner un des masques de l’imaginaire, tandis que l’imaginaire, érigé en idéal de l’humanité, devient une réalité à conquérir au prix du sacrifice de soi, et dévoile la polyvalence des réalités de l’échec et l’accomplissement. L’analyse du jeu de miroirs entre l’opposition et la complémentarité conclut à l’union des contraires qui fait coexister l’horreur et le sublime, l’amour et la mort dans le couple d’opposés que forment l’homme et le mondeBuilt on a network of contrasts, the romantic world of Fred Vargas bears the mask of detective fiction.The murders of the present hide the bruises of love in the past.Mediator between these diegetic poles,the passion of Vargas’s character breaches the rules of the game that is imposed on him by the world.For behind these civilized appearances ,the original order continues:predation. Confronted by his failure,the character must take up a challenge that will transform his investigation in a quest for identity. Selecting either transgression or self-sacrifice will determine whether he collapses or reappears with his dignity.Converging the plot and the Story, the diegetic here and now bestows upon the character the role of linking the Here and Elsewhere, and adverse identities. The enquiry approaches, the psyche of the murderer and the investigator, reconstituting the interaction between the individual and the world, defined as its synchronic and diachronic chronotope. The relationship between humans and their Others reveals the person behind the character.The confrontation between the human animal and real and mythologized animals challenges the borders between identity and otherness.The real murderer turns out to embody one of the masks of the imagination, while the imagination, established as an ideal of humanity, becomes a reality to conquer at the price of self-sacrifice, and reveals how flexible the realities of failure and fulfillment can be. Analysing the mirror effect between opposition and complementarity accentuates the union of opposites that create the coexistence of horror and the sublime, and love and death in the dichotomy that make up mankind and the world
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Lachazette, Xavier. "Tension et paradoxe : la construction identitaire dans l'oeuvre romanesque de benjamin disraeli." Toulouse 2, 1997. http://www.theses.fr/1997TOU20105.
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Pour en finir avec le mythe du "masque" disraelien, l'auteur propose une nouvelle approche de la personnalite complexe de benjamin disraeli. En majeure partie grace a l'etude de ses douze romans, est mise en evidence l'evolution de la pensee et de l'attitude critique de disraeli envers ses propres origines juives et le concept de race (chapitre un), puis envers la moralite victorienne (chapitre deux). Souffrant bien moins d'insincerite chronique que d'un simple sentiment d'inferiorite du a sa judeite marquee et a la bisexualite que suggerent ses romans, les tensions et paradoxes de la vie et de la pensee de disraeli sont a mettre sur le compte d'une lente construction identitaire dont les principales etapes sont visibles dans son oeuvre romanesque. Vu sous cet angle, le mythe du monstre d'ambition ou du masque mysterieux cede la place a la realite d'un etre humain de chair et de sang, plus tolerant que ses contemporains, assoiffe de reconnaissance sociale autant qu'intellectuelle, et luttant difficilement contre le regard desapprobateur - a demi interiorise - que portait sur lui son epoque. Cette discussion est suivie de nombreuses annexes. Est donnee tout d'abord la bibliographie chronologique des oeuvres de disraeli, de son pere isaac et de sa soeur sarah, qui eurent tous deux une influence certaine sur la formation de son caractere. On trouvera ensuite le texte inedit, precede d'un commentaire, du premier conte de disraeli (intitule aylmer papillon), ainsi qu'une presentation thematique des extraits les plus memorables des douze romans etudiesWishing to do away with the myth of the "disraelian mask", the author suggests a new approach to benjamin disraeli's complex personality. Mostly based on the study of the novelist's twelve works, from vivian grey to falconet, this discussion focuses more particularly on the evolution of disraeli's thought and attitude towards his jewish origins and the concept of "race" (chapter one), and towards victorian morality (chapter two). His reputation as a chronically insincere man is here challenged and replaced with the perception that, harassed by an inferiority complex stemming from his marked jewish background and the bisexuality that his novels suggest, the tensions and paradoxes of his life and work should rather be attributed to his slow quest for the identity that would eventually make him feel confortable with himself. In other words, for the long-time notion that disraeli was a mysterious statesman devoured by ambition, this analysis aims at substituting the more probable and humanreality of a man who was more tolerant than his contemporaries, who needed both social and intellectual recognition, and endeavoured to fight the narrow prejudices of his time. Several appendices conclude the discussion. The bibliography of all the works of benjamin disraeli is given in chronological order, followed by those of this father isaac and his sister sarah, both of whom exerted no small influence on the building of his character. Finally, preceded by a commentary, the hitherto unpublished text of disraeli's first tale aylmer papillon is quoted in full, and memorable excerpts from his twelve novels are thematically arranged in order to provide the reader with an idea of his point of view on various subjects
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Sansoni, Caterina. "Les personnages d'Elsa Morante : construction, dimension sociale et dynamiques relationnelles des personnages dans l'oeuvre romanesque d'Elsa Morante." Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAC013/document.
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Les personnages des romans d’Elsa Morante (1912-1985) sont analysés du point de vue du rapport apparemment opposé entre leur dimension sociale et leur évidente typisation littéraire. Ces deux pôles, le premier analysé par le recours à certaines notions d’études sociologiques menées par G. Simmel et E. Goffman, le deuxième axé sur la construction au niveau littéraire des personnages, contribuent à mettre en lumière le réalisme de Morante, qui tourne autour des vicissitudes humaines vécues par des « personnages vivants (bien qu’imaginaires) » : la relation avec l’autre et avec soi-même, la recherche d’une identité, grâce et malgré la présence des stigmates, concourent à créer des personnages tout à fait modernes. Les deux parties de cette étude, examinées roman après roman, s’avèrent indispensables et interdépendantes : d’un côté, le réalisme des dynamiques humaines, de l’autre l’univers narratif, fondé sur un incessant travail de réutilisation et de personnalisation des figures stéréotypées et d’éléments identifiables de la tradition littéraire, de la part de l’auteureThis research focuses on the study of the characters in Elsa Morante's novels. The characters are analysed mostly in relation to the apparently conflictual relationship between their recognizable social dimension and their equally clear literary characterisation. The first aspect is examined with the help of some ideas inspired by the sociological studies carried out by G. Simmel and E. Goffman, while the second is centred on the literary construction of the characters. These two aspects contribute to highlight Morante's understanding of Realism: a concept that revolves around the human events experienced by “living but fictional characters” and that is closely connected to the 20th century. One of the central themes is the relationship with the others and with oneself, together with the search for identity, thanks to and notwithstanding the presence of stigmas. The two dimensions of this study were examined analysing each novel, they are at the same time essential and interdependent: on the one hand we see the realism of human dynamics, analysed with the help of sociological theories, and on the other hand the narrative universe, based on a continuous work of re-use and personalization of stereotypical characters and elements that can be recognised on the basis of literary tradition
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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.
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Au Sud de la Bourgogne, le Brionnais peut de loin apparaître comme une génération spontanée du XII° siècle. De fait, ce n’est ni une région physique naturelle, ni une division ecclésiastique. En un temps où une frontière vient séparer la France et la Bourgogne, puis l’Empire, une sorte de hasard va faire de ce territoire disparate, en marge, dirait-on, une marche, vouée à se définir. Le Brionnais va se former, bénéficiant d’une politique volontaire, due à la présence active de deux seigneuries féodales, incarnées par les familles de Semur et Le Blanc : autour d’elles, par le jeu des alliances, voire des rivalités, par les prestigieuses carrières ecclésiastiques de certains de leurs membres, les seigneurs du Brionnais tissent des liens avec les grandes familles des territoires voisins. Au résultat, solidité au dedans,ouverture au dehors sur les régions limitrophes, les lieux de culte, églises et monastères, fleurissent en peu de décennies, pour en dessiner un paysage monumental spécifique. Il sera précisément marqué par une originalité assez sûre d’elle-même pour chercher, adopter, interpréter et faire fructifier les influences. En somme, réseau politique, réseau artistique, les édifices religieux vont former un ensemble animé de riches interactions. Ce point de vue nous a permis de renouveler le regard porté jusqu’ici sur ce domaine original, le paradoxe étant que cet ensemble n’est pas parvenu jusqu’au XXIe siècle sans pertes ni modifications, et que, sous des apparences romanes, le paysage actuel est avant tout une construction du XIXe siècle ! Il a donc fallu procéder tout d’abord à une analyse régressive, de décapage dans le temps, et de reconstitution prudemment guidée par les traces et la documentation. En parcourant à reculons le patrimoine religieux contemporain et moderne, nous avons pu remonter jusqu’au IX° siècle, jusqu’ici ignoré de la recherche : elle ne s’était intéressée qu’aux églises conservées en élévation, alors que plus de la moitié des églises construites entre le IX° siècle et le XII° avaient disparu de la surface observable. Le premier résultat est d’importance : l’on peut maintenant suivre la genèse du tissu paroissial, comme un glissement du découpage en agri et villæ vers un maillage de parrochiæ. Une fois restitués la géographie politique et ecclésiastique et le patrimoine, il s’est révélé que le contexte particulier du Brionnais avait donné naissance à une architecture religieuse particulière, grâce à l’étude de la morphologie des bâtiments, de leur style, à une attention spéciale portée à la pierre à bâtir depuis son approvisionnement jusqu’à l’ouvrage. L’architecture du Brionnais offre de fait un profil totalement original. Le détail des analyses montre une invention, née de la capacité des bâtisseurs à puiser formes et techniques à des répertoires variés pour composer des créations inédites. Naturellement, comme l’historiographie du Brionnais roman est abondante (en particulier concernant le décor sculpté), notre travail a croisé les sources de réflexion, les bâtiments, les textes et les images, associant archéologie du bâti, histoire de l’art, géologie, histoire. Pour revenir au côté paradoxal, nous avons gardé le souci de favoriser autour de notre XII° siècle le temps long de l’Histoire, et l’époque Moderne, par exemple, nous a beaucoup parlé du Brionnais romanLocated 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
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Bastick, Jérôme. "Étude comparative de la construction littéraire du personnage dans le roman grec de l'Antiquité et le roman byzantin du XIIe siècle." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSEN026.
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La première naissance du roman de langue grecque a coïncidé avec l’avènement de l’Empire romain, dans un contexte de bouleversement des structures sociales où l’individu tendait à remplacer les valeurs collectives jusqu’alors incarnées par les grands héros épiques ou tragiques : les nombreux personnages de ce nouveau genre littéraire, soumis aux aléas de la Fortune et aux traits de l’Amour dans un monde qui les dépasse, en constituent un marqueur fort. Le récit s’organise désormais autour d’un couple de héros qui s’aiment, d’opposants qui veulent les séparer et d’adjuvants qui essaient de conjurer ceux-ci, sans compter tous les personnages secondaires. Presque disparu à partir du IVe siècle, le roman grec continue d’être lu mais sa production ne refait vraiment surface qu’au XIIe siècle, dans le contexte bien différent de la cour byzantine des Comnènes. Il s’agit alors d’œuvres écrites en langue savante par et pour une élite restreinte et lettrée. Si les topoi de l’ancien roman sont souvent repris (amour, épreuves, séparation, retrouvailles, polythéisme, etc.), des changements sont néanmoins notables sur la forme (versification) comme sur le fond (caractérisation). Les personnages, qui restent un élément constitutif du genre comme support de l’action, reflet d’un ethos, noyau de l’intrigue et vecteur de l’intérêt du lecteur dont ils sont une co-création, y sont moins nombreux mais plus approfondis, agissent moins mais parlent plus. Aussi, dans une perspective de littérature comparée, le propos de notre thèse vise à déterminer, en partant de la notion de mimésis, les procédés d’écriture onomastiques, ecphrastiques et rhétoriques mis en œuvre pour caractériser ces personnages, en tentant de dégager en quoi et pourquoi les personnages des romans byzantins correspondent ou diffèrent de leurs modèles antiques. Nous proposons enfin dans un second volume, avec les annexes et la bibliographie, une traduction des romans byzantins qui n’ont pas été récemment publiés en françaisThe earliest birth of the novel in Greek language coincided with the advent of the Roman Empire, in a context of major changes in the social structures where the individual tended to replace collective values until then embodied in the great epic or tragic heroes. The numerous characters of this new literary genre, subjected to Fortune’s vicissitudes and to Eros’s arrows in a world that overwhelms them, represent a strong marker. From then on, the narrative has been organized around a couple of heroes in love, of opponents wanting to separate them and helpers trying to undermine the will of the latter, not to mention all the minor characters. The production of Greek novels sank in the 4th century, though they were still read, to only re-emerge really in the 12th century, in a very different context: the Byzantine court of the Komnenoi, under the form of literary works written in scholarly language by and for a restricted learned elite. Even if the topoi of the ancient novel are often reused (love and lost love reunions, hardships, polytheism, etc.), changes were nevertheless notable on the form (versification) as well as on the substance (characterization). The characters, who remain a constituent element of the genre as agents of the action, reflection of an ethos, core of the plot and vectors of the interest of the reader, by whom they are co-created, are fewer but deeper, they act less but speak more. Thus, from a perspective of compared literature and in the light of the notion of mimesis, our thesis aims at determining the onomastic, ekphrastic and rhetorical writing processes implemented in the crafting of these characters by trying to highlight how and why the characters of the Byzantine novels match or differ from their antique models. In a second volume, for the Byzantine novels with no recent translation into French published yet, we finally propose a personal translation, together with appendices and bibliography
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Augier-Grimaud, Johana. "Théâtre et théâtralité dans le Satyricon : la quête d'un nouveau genre." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040132.
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La présente étude revient sur le concept de théâtralité souvent employé à propos du Satyricon pour tenter d’enpréciser les manifestations et les modalités. Car derrière l’apparente simplicité du terme et la banalisation de sonemploi à propos de cette oeuvre, se cache une pluralité de procédés. La théâtralité du Satyricon revêt trois formes.Elle se définit spontanément comme la réutilisation de codes propres aux genres dramatiques comiques auxquelsPétrone emprunte situations, thématiques et procédés linguistiques. Cette théâtralité première est complexifiéepar son ancrage dans un univers narratif orienté, dont les préoccupations recoupent celles du genre satirique. Lerecours à des éléments théâtraux dessine les contours d’une société excessive et inauthentique, et se voit doncfiltrée par le topos du monde décadent : cette théâtralité seconde devient le moyen d’exprimer l’outrance desindividus et de leurs comportements. Et c’est précisément parce que dans le monde du Satyricon les valeurstraditionnelles sont caduques que la littérature classique est obsolète. S’ouvre alors la voie à une théâtralitétroisième, intrinsèquement liée à la parodie. Elle est principalement portée par la voix du narrateur, chez qui lapratique excessive de la déclamation a entraîné une projection systématique dans un au-Delà fictionnel. Lafracture existant désormais entre la réalité et sa perception a une double conséquence : d’une part toutes lessituations du quotidien s’assimilent à des représentations de scènes littéraires de référence ; d’autre part elledéconstruit la littérature traditionnelle en en exhibant les clichés. Cette théâtralité permet à Pétrone de renouvelerla littérature et de jeter les bases du genre romanesqueThe present study reexamines on the concept of theatricality often used about the Satyrica to try to specifyappearances and methods. For behind the visible simplicity of the term and the everyday acceptance of its use inrelation to this work, there hides a plurality of processes. The theatricality of the Satyrica takes on three forms. Itdefines itself spontaneously as the re-Use of codes particular to the funny dramatic genres from which Petroniusborrows situations, themes and linguistic processes. This first theatricality is complicated by its anchoring in adirected narrative universe, whose concerns it shares with those of the satiric genre. The falling back on theatricalelements outlines an excessive and inauthentic society, and thus sees itself filtered by the decadent world topos.And it is exactly because in the world of the Satyrica the traditional values are null and void that classicalliterature is obsolete. The way is then opens to the third theatricality, intrinsically connected to parody. It ismainly carried by the voice of the narrator, to whom the excessive practice of declamation entailed a systematicprojection to a fictional otherworld. The fracture existing from now on between reality and its perception has adouble consequence: on the one hand all the situations of everyday life can be reduced to representations ofliterary reference scenes ; on the other hand it deconstructs the traditional literature through clichés. Thistheatricality allows Petronius to renew literature and to lay the foundations for the novelistic genre
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GREPPI, PAOLA. "IL REIMPIEGO DEI MATERIALI DA COSTRUZIONE NEL CANTIERE MEDIEVALE. DINAMICHE DI TRASFORMAZIONE, LINEE EVOLUTIVE E INDICATORI CRONOTIPOLOGICI NELLE ARCHITETTURE MILANESI TRA TARDOANTICO E XII SECOLO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2014. http://hdl.handle.net/10280/3157.
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La tesi è rivolta allo studio comparativo delle tecniche costruttive datate tra tardo antico e romanico (fine IV-XII secolo), con particolare attinenza agli edifici di culto milanesi. L'obiettivo principale è stato quello di delineare le linee evolutive delle tecniche costruttive e identificare la presenza di caratteri tecnici particolari che avessero valore di indicatore cronotipologico.
Il quadro complesso e articolato degli studi pregressi sulle più note basiliche medievali milanesi ha reso necessaria l'indagine, per la presenza di ipotesi interpretative contraddittorie e la frequente carenza di indagini aggiornate sotto il profilo metodologico. Per questa ragione, la prima parte del lavoro è stata rivolta alla definizione della storia degli studi editi riguardanti temi di carattere archeologico e architettonico, che hanno costituito la base di riferimento per l'individuazione delle campionature murarie da analizzare. Nell'ambito di questa stessa sezione si è resa poi indispensabile la stesura di una parte destinata alla trattazione del metodo utilizzato che, per quanto riguarda l'analisi del materiale da costruzione in laterizio, ha previsto l'applicazione, in via sperimentale su un raggio di indagine così esteso, del metodo mensiocronologico al materiale di recupero.
La seconda parte della tesi ha riguardato l'analisi dei principali contesti architettonici esaminati (S. Giovanni alle Fonti, S. Tecla, S. Simpliciano, S. Nazaro Maggiore, S. Ambrogio, S. Eustorgio), affrontata con schede apposite destinate all'inquadramento dei dati storico-archeologici pregressi, delle campionature murarie esaminate, in pietra e laterizio, e dei risultati delle analisi metriche. Ogni fase costruttiva individuata è stata poi approfondita in sezioni specifiche nelle quali sono confluiti i risultati raggiunti.
La terza ed ultima parte del lavoro, è stata infine rivolta alla trattazione delle cronotipologie dei tipi costruttivi elaborate (in opus latericium, opus latericium spicatum e opera di spolia), a quella dei principali indicatori cronotipologici individuati e alle loro modalità di trasformazione nel tempo.
Il lavoro di ricerca ha aperto molteplici prospettive di approfondimento, relative ai singoli monumenti trattati ma anche a problematiche di più ampio respiro nel settore dell'edilizia medievale, che sono state trattate nel capitolo conclusivo.The thesis is dedicated to the comparative study of construction techniques dating from late antiquity and Romanesque (end of 4th-12th century), with particular attention to the religious buildings in Milan. The main objective was to represent the evolutionary lines of the construction techniques and to identify the presence of technical characteristics that have a specific age-typology meaning. The contradictory interpretative hypotheses and the lack of up-to date - in terms of methodology - investigations within the complex and extensive literature on the most known medieval basilicas in Milan has inspired this investigation. For this reason, the first part of the work treats the definition of the history of the published studies on the archaeological and architectural subjects, which have represented the reference for the identification of the masonry samples to be analyzed. As part of this section it was necessary the drafting of a description of the method used. With regard to the analysis of structural clay material, such process provided for the application - on an experimental basis on a so extensive investigation - of the metric-age analysis method to the recovered material. The second part of the thesis concerned the analysis of the main architectural complexes examined (S. Giovanni alle Fonti, S. Tecla, S. Simpliciano, S. Nazario Maggiore, St. Ambrose, St. Eustorgio), performed through dedicated files for the classification of former historic-archaeological data, of the masonry and the stone and brick samples tested, and of the results of the metric analysis. Each identified construction phase was then further investigated in specific sections where the results are gathered. The third and final part of the work concerns the discussion of the developed age-typologies of the construction materials (opus latericium, opus spicatum latericium and works in spolia), the main age-typology indicators identified and the different ways they changed over time. The research has opened up many scenarios for further studies, in relation to the individual monuments treated but also to broader issues in the sector of the Middle Ages building activity, as discussed in the final section.
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Bourguignon, Rougier Claude. "Stratégies romanesques et construction des identités nationales : essai sur l'imaginaire post-colonial dans quatre fictions de la foret." Grenoble, 2010. http://www.theses.fr/2010GRENL032.
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Cette thèse a pour objet l'exploration de l'imaginaire post-colonial dans quatre fictions de la forêt vierge. Elle se propose de dégager les fondements coloniaux des images véhiculées par des oeuvres d'auteurs hispanophones : Canaima, La vorágine, Sangama, et lusophone : Inferno verde. La théorie de l'imaginaire de Gilbert Durand et celle de la décolonialité (Dussel, Mignolo, Castro-Gómez, Quijano) sont les outils scientifiques utilisés dans cette démonstration. La combinaison des deux approches permet de faire apparaître la nature coloniale de l'imaginaire national qui informe les récits de la forêt. . Après voir étudié le symbolisme des fictions et celui des Chroniques de la Conquête, ce travail aborde l'analyse de l'imaginaire dans les sociétés coloniales, puis dans les entités nationales en formation. Il se clôt sur l'étude du mythe de la Race qui dynamise l'imaginaire des fictions et celui de la société. Les divers discours, scientifiques,historiques, littéraires, anthropologiques, etc, apparaissent finalement comme autant de moments d'une même formation discursive : le Grand Récit NationalThe subject matter of this thesis is to explore the post-colonial imaginary in four fictional stories of the rainforest. It intends to bring out the colonial foundations of the images the Spanish-speaking authors convey in their works, such as: Canaima, La Voragine, Sangama, as well as the Portuguese -speaking one: Inferno Verde. The theory of the Imaginary by Gilbert Durand and that of the 'decoloniality' ( Dussel, Mignolo, Castro-Gomez, Quijano) are the scientific tools used in this demonstration. The combination of both approaches aims at displaying the colonial nature of the national imaginary which is underlying in the narratives of the forest. After studying the symbolism in the fictions and in the 'Chronicles of the Conquest', this work takes up the analysis of the imaginary in the colonial societies and in the national entities in the making. It will end with the study of the myth of Race which nurtures the imaginary of the fictions and that of society alike. The various discourses, whether they be scientific, literary, anthropological etc. . . Finally appear as many moments of a similar discursive formation: the Great National Story/Narrative
Books on the topic "Construction romanesque"
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Deloffre, R. Les églises romanes des Pyrénées Atlantiques: Leurs matériaux de construction. La Rochelle: Université de Poitiers--IUT, 1992.
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Design and construction in Romanesque architecture: First Romanesque architecture and the pointed arch in Burgundy and northern Italy. Cambridge, U.K: Cambridge University Press, 2004.
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Rosset, François. Le thèâtre du romanesque: Manuscrit trouvé à Saragosse, entre construction et maçonnerie. Lausanne: L'Age d'homme, 1991.
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Le "premier art roman" cent ans après: La construction entre Saône et Pô autour de l'an mil : études comparatives. Besançon: Presses Universitaires de Franche-Comté, 2012.
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Watson, Christabel. The romanesque cathedral of Santiago de Compostela: A reassessment. Oxford: Archaeopress, 2009.
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The romanesque cathedral of Santiago de Compostela: A reassessment. Oxford: Archaeopress, 2009.
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Watson, Christabel. The romanesque cathedral of Santiago de Compostela: A reassessment. Oxford: Archaeopress, 2009.
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El Castillo de Loarre: Historia constructiva y valoración artística. Huesca: Instituto de Estudios Altoaragoneses, 2005.
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El castillo de Loarre: Historia constructiva y valoración artística. Huesca: Instituto de Estudios Altoaragoneses, 2005.
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Design and Construction in Romanesque Architecture. Cambridge University Press, 2000.
Find full textBook chapters on the topic "Construction romanesque"
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Coll-Pla, Sergio, Mónica López-Piquer, Josep Lluis-Ginovart, and Agustí Costa-Jover. "Deformation Process of Romanesque Masonry Constructions: The Case of Vall d’Aran Churches." In RILEM Bookseries, 78–86. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-99441-3_7.
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"History, Geography, and Construction." In Design and Construction in Romanesque Architecture, 9–24. Cambridge University Press, 2003. http://dx.doi.org/10.1017/cbo9780511497704.002.
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Planté, Christine. "Le chemin, l’errance, la construction romanesque." In Lectures de Consuelo - La Comtesse de Rudolstadt de George Sand, 85–100. Presses universitaires de Lyon, 2004. http://dx.doi.org/10.4000/books.pul.6693.
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"Introduction." In Design and Construction in Romanesque Architecture, 1–8. Cambridge University Press, 2003. http://dx.doi.org/10.1017/cbo9780511497704.001.
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"The Pointed Arch and Groin Vault in Northern Italy." In Design and Construction in Romanesque Architecture, 25–48. Cambridge University Press, 2003. http://dx.doi.org/10.1017/cbo9780511497704.003.
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"The Pointed Arch and Groin Vault at the Beginning of the Eleventh Century in Burgundy." In Design and Construction in Romanesque Architecture, 49–64. Cambridge University Press, 2003. http://dx.doi.org/10.1017/cbo9780511497704.004.
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"The Pointed Arch and Groin Vault in Burgundy at the End of the Eleventh Century." In Design and Construction in Romanesque Architecture, 65–94. Cambridge University Press, 2003. http://dx.doi.org/10.1017/cbo9780511497704.005.
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"The Barrel Vault." In Design and Construction in Romanesque Architecture, 95–112. Cambridge University Press, 2003. http://dx.doi.org/10.1017/cbo9780511497704.006.
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"Systems of Arch Support." In Design and Construction in Romanesque Architecture, 113–38. Cambridge University Press, 2003. http://dx.doi.org/10.1017/cbo9780511497704.007.
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"The Pointed Arch and the Context of High Romanesque Architecture in Burgundy." In Design and Construction in Romanesque Architecture, 139–76. Cambridge University Press, 2003. http://dx.doi.org/10.1017/cbo9780511497704.008.
Full textConference papers on the topic "Construction romanesque"
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Van Gulick, L. A., and C. A. Stenman. "Construction sequence in the analysis of barrel vaulted Romanesque churches." In STREMAH 2007. Southampton, UK: WIT Press, 2007. http://dx.doi.org/10.2495/str070511.
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Costa, A., G. Fortuny, J. Fabregat, and A. Royo. "FEM assessments on roofing constructive solutions applied to a twelfth century Romanesque church at Vall d’Aran (Spain)." In STREMAH 2015. Southampton, UK: WIT Press, 2015. http://dx.doi.org/10.2495/str150381.
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