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Rota, Gabriele. "The textual transmission of Cicero's Epistulae ad Brutum, ad Quintum fratrem, and ad Atticum." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/277880.
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My doctorate is a study of the manuscript transmission of Cicero’s Epistulae ad Atticum: a twenty-book corpus comprising one book Ad M. Brutum, three books Ad Quintum fratrem, sixteen books Ad Atticum and a pseudo-Ciceronian Epistula ad Octauianum. I have made a complete reinspection and partial recollation of the eighty-odd fully extant manuscripts, and reconstructed a new stemma codicum that may be used for both historical and editorial purposes. My thesis consists of four chapters, following the transmission of the corpus of Ad Atticum from the Middle Ages down to the Renaissance and the beginning of printing. In Chapter 1 I discuss the top of the stemma: Petrarch’s (1304–74) rediscovery of these letters in the Chapter Library of Verona in 1345, and the beginning of their dissemination in fifteenth-century Italy, thanks to the Florentine Chancellor Coluccio Salutati (1331–1406) and two humanists of his circle: Niccolò Niccoli (1364–1437) and Leonardo Bruni (c. 1370–1444). Editors of Cicero’s letters believe that the top of the stemma is bipartite, and that bipartition reflects separate strands of mediaeval transmission: I argue against their reconstruction and put forward a new pluripartite stemma. In Chapter 1 I also consider manuscripts independent of the Verona archetype: these witnesses survive only in tiny fragments and scattered readings cited by sixteenth-century critics. In Chapter 2 I study the northern Italian progeny of the Veronese archetype: here too I have significantly improved on the editors’ work, thanks to collation of a larger number of independent manuscripts and a more articulated understanding of the intricate dynamics of contamination affecting this branch. In Chapters 3 and 4 I investigate the Florentine transmission of the corpus of Ad Atticum. In Chapter 3 I study the closer descendants of the copy of the Verona archetype that in 1393 came from Milan to Florence at Salutati’s instigation. In Chapter 4 I focus on the thirty-odd descendants of the manuscript that in 1408 the humanist and Papal secretary Poggio Bracciolini (1380–1459) copied for Cosimo de’ Medici (1389–1464). The comprehensive stemmata that I put forward in Chapters 3 and 4 are completely new, since hitherto there has been no systematic attempt to map the genealogy of Salutati’s manuscript.
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Baker, Donna Tsuruda. "The artistic and sociological imagery of the merchant-banker on the book covers of the Biccherna in Siena in the early Renaissance /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/6244.
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Lampaki, Eleni. "A comparative study of the manuscripts and early printed editions of the Cretan tragedy Erofili and its interludes." Thesis, University of Cambridge, 2014. https://www.repository.cam.ac.uk/handle/1810/246286.
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In this dissertation, I investigate the textual tradition of the Cretan tragedy Erofili by Georgios Chortatsis (16th century). The play, accompanied by a set of four Interludes, has survived in three manuscripts and two editions, all originating from the 17th century. All the witnesses are examined and presented thoroughly, both as autonomous texts and in comparison to each other. The examination of each witness separately sheds light not only on the history of the transmission of Erofili, but also to the production of manuscripts and printed books in Crete, the Heptanese and Venice in general. As far as the condition of the text is concerned, three witnesses preserve the most reliable texts: the second edition and the two manuscripts originating from Crete. The investigation of their relationship shows that two groups can be identified: one includes the two Cretan manuscripts and another one the three other witnesses. Νo important alterations in the plot and the sequence of events are found, so the textual variation concerns mainly the phrasing. There are indications that variation among the witnesses might have resulted from revisions by the playwright himself. The evaluation of the two groups of witnesses shows that it is not possible to consider one of them as superior, and this leads to the question which would be the most appropriate editorial method. Previous editors have followed the eclectic approach, which has many positive aspects, but cannot help the readers to realize all the stages of the transmission of the play. Since various theoretical approaches have appeared during the last decades, it has been understood that no edition can be called “definitive” and that editions following different methods can address different questions and achieve different aims. Erofili, and other texts with a rich and complicated textual tradition, can be edited in various ways and each edition can offer new insight in the history of the production, transmission and reception of the work.
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Doulkaridou-Ramantani, Elli. "La Renaissance enluminée de Rome : systèmes décoratifs dans les manuscrits du XVIe siècle." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H051.
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Les manuscrits réalisés à Rome dans la première moitié du XVIème siècle, souvent méconnus et réduits à une étude stylistique, entretiennent des rapports complexes avec le contexte artistique de la période. Sous la forme de livre d’heures, de missel ou d’antiphonaire, le manuscrit enluminé du XVIème siècle fait partie de la stratégie du commanditaire. Rome réunit un nombre d’artistes dont l’origine et la formation imprègnent l’idiome local, conduisant ainsi à des créations exceptionnelles. Giulio Clovio, Vincent Raymond, Jacopo del Giallo et Apollonio di Bronfratelli insèrent dans leurs miniatures non seulement les motifs des décors monumentaux mais adaptent aussi les principes de l’ornement au champ de la miniature. Le manuscrit enluminé se transforme en un champ d’expérimentation où l’ornement incarne des problématiques artistiques diverses. Agent inattendu dans l’acte de la lecture, l’ornement participe en outre à l’actualisation de la lecture dévotionnelle proposant une nouvelle conceptualisation de la ruminatio médiévale. Le scriptorium de la chapelle Sixtine produit des manuscrits officiels dont le style suit le changement des pontificats et pose des questions concernant l’insertion des manuscrits dans l’ensemble du patronage de chaque commanditaire. Relevant aussi bien des commandes privées qu’officielles, l’étude de ces enluminures donnera lieu à des observations concernant la fonction de l’ornement selon le contexte et le type d’usage. Par une approche sémiologique et une étude systématique de la production de la période, cette recherche se propose d’intégrer pleinement le livre enluminé dans l’univers artistique du XVIème siècle italienThe manuscripts made in Rome during the sixteenth century, often unknown and reduced to a stylistic study, have a complex relationship with the artistic context of the period. Rome brings together a number of artists whose origins and training permeate the local idiom, leading to exceptional creations. Giulio Clovio, Vincent Raymond, Jacopo del Giallo and Apollonio di Bronfratelli insert in their miniatures not only the motifs of the monumental decorations. They also adapt the principles of the ornament to the fields of the manuscript decoration. The illuminated manuscript is transformed into a field of experimentation where the ornament embodies various artistic problems. Unexpected agents during the act of reading, the decorative figures also participate in the actualization of meditative reading, thus proposing a new conceptualization of medieval ruminatio. Reporting on both private and official commissions, the study of these illuminations will give rise to observations concerning the function of ornamentation according to the context and the type of use. Through a semiological approach and a systematic study of the production of the period, this research proposes to fully integrate the illuminated book into the artistic universe of the Italian sixteenth century
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Monier, Katja Susanna. "Vision and devotion in Bourges around 1500 : an illuminator and his world." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/16236.
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This thesis presents the first full study of the anonymous illuminator known by the name of convention, the Master of Spencer 6, after his finest work, ms. 6 in the Spencer Collection at the New York Public Library. Active at the turn of the sixteenth century, during the transitional period between the Middle Ages and the Renaissance, this artist provides a revealing case study for examining the changing tastes and preoccupations of the patrons, as well as the way in which illuminators were operating in order to secure work and forge a career. The career of the Master of Spencer 6 can be reconstructed from nearly forty surviving books and fragments. He appears to have painted manuscripts for a wide range of clientele, from unknown merchants to figures such as Henry VII of England. The quality of his execution is equally varied, from modest, hastily prepared images, to exquisite paintings invested with verisimilitude and invention that deserve wider acknowledgement. This illuminator, presumably based in Bourges, seems to have travelled as far as Troyes, Paris, Tours, and possibly Lyon, in search of patronage. Although he specialised in devotional images, he also illustrated texts of historical and moral interest. The Master of Spencer 6 was particularly talented in drawing. He appears to have been required to work quickly, in order to respond to the high demand for books; yet, despite the haste, he was able to produce images that were pleasing. A large part of the appeal in his images seems to rely on the quality of line. While his colours were clean and bright, he often applied them hastily or carelessly over the contour lines. Nearly always these shortcomings appear unnoticeable due to the beauty of the lines that define the design. The variety of decorative schemes, layouts, spatial devices, compositions and iconographic motifs utilised by the Master of Spencer 6 demonstrate one of the keys to his success. He was able to diversify his canon to realise any potential order from the vast geographical and social range of his clientele. He also managed to develop his style according to current tastes and fashions. He adapted ideas and techniques from his collaborators, the Colombe workshop and Jacquelin de Montluçon. This thesis provides also the first study of Jacquelin de Montluçon, the painter identified here as the main collaborator of the Master of Spencer 6. Methods of technical art history are used to analyse his sophisticated manner of mixing pigments to produce convincing effects of light. The way in which he applied paint onto a surface, on parchment, panel and stained glass, is used to support attributions and explore the versatile artist that emerges from the analysis. This investigation into these two hitherto little-known artists demonstrates, on one hand, what was required for artists to succeed over others in the profession of manuscript illumination in late fifteenth-century France, and on the other hand, what the concerns of the individuals commissioning images were.
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Chambert-Protat, Pierre. "Florus de Lyon, lecteur des Pères : documentation et travaux patristiques dans l'Eglise de Lyon au IXe siècle." Thesis, Paris, EPHE, 2016. http://www.theses.fr/2016EPHE4052.
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On conserve un nombre inhabituellement élevé de manuscrits ayant appartenu à la bibliothèque du chapitre cathédral de Lyon au IXe siècle, dont bon nombre ont été personnellement utilisés ou produits par le principal acteur de la vie intellectuelle lyonnaise de l’époque, le diacre Florus (floruit v. 825–855). Comme on connaît par ailleurs plusieurs grandes compilations rassemblées également par lui, Florus représente pour nous une double occasion particulièrement rare d’étudier la bibliothèque d’une école cathédrale carolingienne et les méthodes de travail d’un intellectuel de ce temps. Les comparaisons et les nombreux recoupements que permet cette situation étayent et alimentent notre connaissance des livres qu’on utilisait et qui circulaient à l’époque, mais aussi des hommes qui les lisaient et les échangeaient, et des conditions dans lesquelles le travail de Florus a pu passer dans la tradition manuscrite des Pères (première partie). Ces analyses nous peignent Florus un homme de son temps, formé dans un certain milieu à de certaines méthodes, mais que son expérience et ses goûts poussèrent à faire évoluer, tout au long de sa carrière, ses propres méthodes au service de ses propres projets (seconde partie). Un travail d’historiographie est aussi proposé, qui n’avait pas encore été entrepris, et qui fait apparaître les voies de la redécouverte de Florus au cours du XVIIe siècle, puis au XXe. La place de Florus et de sa bibliothèque d’usage, dans l’histoire intellectuelle et dans l’histoire de la transmission des textes antiques, en ressort mieux circonscrite et qualifiée plus précisément, en même temps que se dévoile le cours de sa propre évolution intellectuelleAn unusual amount of manuscripts that belonged to the Cathedral library of Lyons in the IXth century has been preserved, among which a number were firsthand used or produced by its prominent intellectual figure, the deacon Florus (floruit ca. 825—855). As we also know several large compilations that were gathered by the very same, Florus represents a rare double opportunity to investigate both a Carolingian cathedral library and the work methods of a Carolingian scholar. Numerous comparisons and crosscheckings can strengthen and supply informations regarding the books that were used and circulated at the time, but also regarding the men that read and circulated them, and clarify how Florus’s work on the Fathers has spread in the manuscript tradition (first part). Such analyses depict Florus as a man of his time, who was educated in a certain environment and to use certain methods; but who was then driven, all along his career, by his own experience and taste, to evolve his own methods in the pursuing of his own projects (second part). A historiography study is also held, which was never undertaken before, and reveals the how and why of Florus’s rediscovery in the XVIIth century, and then again in the XXth. Florus’s part and his work library’s, in the intellectual history and in the history of ancient texts transmission, is thus better circumscribed and more precisely described, as is unvailed the course of his own intellectual evolution
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Rodríguez, Mosquera María José. "Flores de Baria Poesía (México, 1577). Estudio y análisis del manuscrito." Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/123367.
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El objetivo de esta tesis ha sido recuperar y editar fielmente el manuscrito que se conserva en la Biblioteca Nacional de España, en Madrid, con signatura 2973, bajo el título "Flores de Baria Poesía".
La importancia de recobrar el manuscrito de "Flores" reside, sobre todo, en que en él se conservan poemas primerizos y en algunos casos únicos de los autores presentes, de ahí que el códice tenga un valor notable, además de ser el primer cancionero de corte petrarquista que se compila, o al menos se firma, en México. Añadir a ello otro valor: la posibilidad que nos brinda de poder establecer la evolución de la obra poética de una serie de autores –Gutierre de Cetina, Diego Hurtado de Mendoza o Fernando de Herrera, por ejemplo- y de una época determinada que alcanza desde 1543 más o menos hasta el año de su compilación, 1577.
En definitiva, lo que hemos pretendido ha sido poner al alcance del lector un texto fundamental de la literatura hispánica; obra absolutamente descuidada por la crítica a pesar de que tantos y tantos editores de textos poéticos del Siglo de Oro han recurrido a ella.The goal of this dissertation has been to recuperate and edit faithfully the manuspript guarded at the Spanish National Library in Madrid, with the code 2973 and titled “Flores de Baria Poesia”. The importance of recuperating the “Flores” manuscript resides mainly on the fact that contained within it are early and, in some cases, unique poems by the authors that conform it. It is also the first songbook of Petrarchan style ever compiled, or at least signed, in Mexico. Additionally, it provides us with the possibility of researching the evolution of the poetry works of a number of authors -Gutierre de Cetina, Diego Hurtado de Mendoza o Fernando de Herrera, for example- from a specific period of time between approximately 1543 and 1577, which is the year of its compilation. It is for these reasons that the codex is of high value. The manuscript has been largely ignored by literary critics even if referenced by numerous editors of poetry works of the Spanish Golden Age. With this study we want to make such a fundamental text in hispanic literature accessible to the reader.
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Kennedy, Cornelia Breugem. "A Book of Hours at the University of Iowa : An Analysis." Thesis, University of Iowa, 1986. https://ir.uiowa.edu/etd/5370.
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Caso, Daniela. "La fortune d'Aelius Aristide à l'époque humaniste : recherches sur les traductions latines des XVe et XVIe siècles." Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAC009.
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Le but de la thèse consiste dans la tentative de brosser un tableau du parcours occidental d’Aelius Aristide, orateur grec vécu au IIème siècle de notre ère, au moyen d’un examen des traductions latines de ses discours réalisées entre le XVème et la première moitié du XVIème siècle. Nous nous proposons de montrer que la réception d’Aristide en Occident au cours de l’humanisme a toujours été liée à des clairs intérêts littéraires, mais aussi à des raisons socio-culturelles et historiques. Pour cela, nous analysons les traductions latines de quatre discours d’Aristide : le Dionysos (or. 41), traduit par Cencio de’ Rustici en 1416 ; la Monodie pour Smyrne (or. 18), par Niccolò Perotti (1471) ; le discours Aux Rhodiens, sur la concorde (or. 24), par Carlo Valgulio ; le Discours d’ambassade à Achille (or. 16), par Joachim Camerarius (1535). Nous donnons une édition critique des deux premières traductions (Dionysos et Monodie) fondée sur les manuscrits latins et une édition moderne des deux dernières (Aux Rhodiens et Discours d’ambassade) ; nous proposons aussi l’identification du modèle grec utilisé par l’humaniste ou, au moins, l’identikit du texte grec originel lu par l’humaniste pour sa traductionThe purpose of the thesis is to outline the western route of Aelius Aristides, Greek orator lived in II century AD, through an overview of the Latin translations of some of his speeches produced between the fifteenth and the first half of the sixteenth century by humanists from Italy and Northern Europe. We aim to show that Aristides’ reception in Western Europe during Humanism has always been related to clear literary interests, but also to socio-cultural and historical reasons. For this purpose, we analyze the Latin translations of four Aristides’ speeches : the Dionysos (or. 41), translated by Cencio de’ Rustici in 1416 ; the Monody for Smyrna (or. 18), by Niccolò Perotti (1471) ; the speech To the Rhodians, on concord (or. 24), by Carlo Valgulio (1497) ; the Embassy speech to Achille (or. 16), by Joachim Camerarius (1535). We give a critical edition of the first two translations (Dionysos and Monody) based on the Latin manuscripts and a modern publication of the last two (To the Rhodians and Embassy) ; we also propose the identification of the Greek model or, at least, we offer an identikit of the original Greek text read by the humanist for his translation
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Gonzalez, Loren. "Histoires du livre, visions du sauvage : des manuscrits du Moyen âge aux premiers imprimés du XVIe siècle, le loup à l’épreuve de l’écriture." Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20049/document.
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Au cours des dix siècles que compte le Moyen Âge, l’Occident chrétien est définitivement devenu une civilisation de l’écrit, ce dont témoignent par exemple la production de magnifiques manuscrits enluminés tout au long de cette période. Des manuscrits insulaires du début du IXe siècle aux livres de chasse du XIVe siècle, en passant par les fascinants Bestiaires du Moyen Âge central, cette florissante culture de l’écrit a ménagé une place de choix à l’animalité, aux animaux sauvages et au loup en particulier. Consacré comme parangon du sauvage au moment où l’Europe chrétienne consacrait le culte du livre, le loup et à travers lui l’idée du sauvage ont nourri de riches systèmes de représentations au sein des sources écrites. Avec dans son sillage toute une myriade de figures « lupines », le loup fonctionne ainsi comme un catalyseur à la fois de l’idée du sauvage au Moyen Âge et des enjeux liés à l’essor des traditions écrites. Des Etymologiae d’Isidore de Séville aux Tragiques d’Agrippa d’Aubigné, cette étude vise à mieux comprendre les relations unissant le loup et le sauvage à l’histoire du livre, de la littérature et de la transmission des savoirs. À partir des représentations du loup et des visions médiévales du sauvage, une écriture du sauvage s’est en effet développée au Moyen Âge, voire une poétique inspirée du sauvage mais dont la pertinence demande à être interrogée au prisme de cette révolution dans l’histoire de l’écriture que fut l’invention de l’imprimerie. À une période qui a en partie renié l’imaginaire médiéval et connu tant de bouleversements culturels, pareille écriture pouvait-elle perdurer dans l’empreinte du loup, emblème d’un sauvage « médiéval » ? À la Renaissance, ne s’est-elle pas affranchie des visions médiévales du sauvage pour rencontrer un « nouveau sauvage » aux Amériques ? Des livres alchimiques aux récits viatiques, des poèmes eddiques aux recueils de proverbes, de la littérature hagiographique aux contes de loups-garous, le loup nous entraîne ainsi dans une littérature foisonnante qui interroge la nature de l’homme et son identité multiple, prise dans un jeu incessant de mouvements et de métamorphoses, jusqu’à épouser les arabesques de l’esthétique baroqueIn the course of middle ages, the Christian Western Europe became forever a civilization based on literacy, as we can see through the output of such amazing illuminated manuscripts during these ten centuries. From insular manuscripts from the early Ninth century and books of hunting from the Fourteenth to Bestiaries from Twelfth and Thirteenth’s, such a flourishing literature gave animals, wild animals and particularly the wolf, an important position. While the Christian Europe started to consider books as essential and holy, wolves and wildness inspired at the same time numeral extensive representations as we can see them in writings. Related to so many wolfy figures, the wolf seems to be a catalyst of both ideas of wildness and questions about the growth of literacy. From Isidore of Seville's Etymologiae to The Tragics by Agrippa d’Aubigné, this work aims to a better understanding of relationships between wolf and wildness and the history of literature, books and knowledge passing down. From wolf and wildness medieval representations, a writing way for and by wildness emerge in medieval literature. But such a writing way seems to be problematic after the revolutionary invention of printing press. While Renaissance repudiated medieval heritages and suffered a lot of upheavals, such a writing way could not continue. Instead of following wolves’ tracks, which then symbolized something like a “medieval wildness” authors began to write differently about wildness after the end of the middle ages: after the discovering of a new wilderness in America, they tried to create new visions liberated from medieval memories. From alchemic books to travel stories, from proverbs to eddic poems, from hagiographic literature to werewolves’ tales, wolves take us to an abundant literature which helps readers to wonder about human nature and its much identity, in a system of mowing and metamorphoses, like so many Baroque arabesques
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Bond, Katherine Louise. "Costume albums in Charles V's Habsburg Empire (1528-1549)." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/277715.
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This dissertation addresses the development of the costume book in the rapidly globalising world of the sixteenth century, concentrating on two costume albums produced in the second quarter of the sixteenth century and whose owners and creators shared close ties to the imperial court of Habsburg ruler and Holy Roman Emperor Charles V (r. 1519-56). These richly illustrated albums were among the first known and surviving attempts to make sense of cultural difference by compiling visual information about regional clothing customs in and around Europe and further abroad. Their method of codifying sartorial customs through representative costume figures became a prevailing method through which to examine human difference on an increasingly vast and complex geo-political stage. Yet to have been satisfactorily investigated is the significant role that Habsburg networks and relationships played in shaping these costume albums and their ethnographic interests. The Trachtenbuch, or costume album, of Augsburg portrait medallist Christoph Weiditz (c. 1500-59) is a primary example, constituting a work of keen ethnographic observation which depicts customs and cultures largely witnessed first-hand when the artist travelled to Charles V’s Spanish court in 1529. Of equal interest is the second primary example of this dissertation, the costume album of Christoph von Sternsee (d. 1560) the captain of Charles V’s German Guard. Sternsee’s album, introduced to scholarship for the first time in this study, illustrates diverse cultures and costumes encountered across the imperial Habsburg lands and its neighbours. The emperor’s far-reaching sovereignty propelled Christoph Weiditz and Christoph von Sternsee across the Habsburg lands as they each attempted to benefit their careers and gain prestige from imperial patronage. Their costume albums testify to an empire that encouraged interactions between ambassadors, agents, merchants, military officers, and courtly elite of diverse cultural backgrounds, against a backdrop of shared political, religious, commercial, and military interests. This milieu facilitated the transfer of knowledge and developed methods of visual communication and human representation that were shared and reciprocally recognised.
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Jacob, Marie. "La représentation de l'antiquité en France à la fin du XVème siècle : le cas de la production enluminée de l'atelier des Colombe à Bourges (1470-1500)." Thesis, Paris 10, 2009. http://www.theses.fr/2009PA100107.
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Cette thèse se propose de démontrer, à travers l’exemple des manuscrits d’histoire antique enluminés par l’atelier des Colombe à Bourges, que durant le dernier tiers du XVème siècle, à l’instar des humanistes et des lettrés de l’époque, les enlumineurs français aussi sont en plein questionnement sur la représentation de l’Antiquité et que cette réflexion a rapidement évolué entre 1470 et 1500 grâce à l’intensification des échanges artistique et la nécessité de s’adapter aux nouveaux goûts des commanditaires. La première partie met en évidence les conditions concrètes de production des manuscrits de matière antique illustrés par l’atelier berruyer, les collaborateurs qui y ont participé, les textes illustrés et leurs commanditaires. La genèse de l’esthétique antique des Colombe est analysée dans la seconde partie, à travers une étude du traitement du décor et du costume dans leurs principales commandes. Nous tâchons, enfin, d’évaluer dans une troisième partie l’impact de l’œuvre antique des Colombe sur la production enluminée contemporaine, en particulier à Bourges, Lyon et ParisThis Ph.D demonstrates, through the case of manuscripts of ancient history illustrated by the Colombe workshop in Bourges, that during the last third of the XVth century, like the humanists of the time, French illuminators also were questioning themselves on the representation of Antiquity and that this reflection evolved rapidly between 1470 and 1500 with the intensification of artistic exchanges and the necessity of fitting with their patrons taste. The first section introduces the manuscripts of greco-roman history painted by the Colombe which came down to us, the painters who participated in their illumination, the texts illustrated and their patrons. The evolution of the representation of Antiquity in the Colombe’s work is studied in a second part, through the analysis of architectures and costumes in their main manuscripts. In the last section, we try to assess the influence of the Colombe’s antique work on contemporary illumination, and more particularly in Bourges, Lyon and Paris
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Benard, Clementine. "John Donne : de la satire à l'humour." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR076/document.
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Cette étude s'attache à démontrer comment les écrits satiriques du poète élisabéthain John Donne (1572-1631) lui permettent de développer une esthétique propre, qui ne se cantonne pas qu'au corpus satirique strict mais trouve également une résonance dans le reste de son œuvre. Traditionnellement considérée comme une tendance marginale dans sa poésie, la satire chez Donne s'exprime à travers d'autres textes, laissant ainsi transparaître un « esprit satirique ». Le jeu et la prise de distance du poète vis-à-vis des conventions littéraires, sociales et religieuses de son époque nous permettent de mettre au jour une poétique dominée par le doute et la mélancolie. Cette humeur noire, selon la théorie médicale des humeurs, nous conduit vers l'humour et le comique : fort peu examinés chez Donne, ces concepts transparaissent pourtant à la lecture des textes les moins explorés par la critique, dévoilant ainsi une esthétique qui donne sa cohérence au corpus. John Donne n'est pas que le chef de file de la poésie métaphysique : son statut de satiriste lui confère également celui d'humoristeThis study aims to show how the satiric writings of Elizabethan poet John Donne (1572-1631) display a specific aesthetics, which is also to be found in all his work and not only in his satiric texts. Although it has traditionally been considered as a fringe element in Donne's poetry, satire appears in other writings, thus disclosing a ''satiric spirit''. By playing and distancing himself from the literay, social and religious standards of his time, the poet's work reveals an aesthetics ruled by doubt and melancholy. According to the system of medicine called ''humorism'', melancholy is a black fluid that brings us to humour and comedy : even though they have been rarely examined in Donne studies, these concepts do stand out after a close reading of the least sought-after poems. It thus unites and makes the whole of Donne's poetry coherent. Not only is he the best representative of the metaphysical poets, he is also a satirist as well as a humorist
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Tycz, Katherine Marie. "Material prayers : the use of text in early modern Italian domestic devotions." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/276240.
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While scholarship often focuses on how early modern Italians used images in their devotions, particularly in the post-Tridentine era, little attention has been placed upon how laypeople engaged with devotional text during times of prayer and in their everyday lives. Studies of early modern devotional texts have explored their literary content, investigated their censorship by the Church, or concentrated upon an elite readership. This thesis, instead, investigates how ordinary devotees interacted with holy words in their material form, which I have termed ‘material prayers’. Since this thesis developed under the aegis of the interdisciplinary research project, Domestic Devotions: The Place of Piety in the Italian Renaissance Home, 1400-1600, it focuses primarily on engagement with these material prayers in domestic spaces. Using an interdisciplinary approach drawing from material culture studies, literary history, social and cultural history, and art history, it brings together objects, images and archival sources to illuminate how devotees from across the socio-economic and literacy spectrums accessed and employed devotional text in their prayers and daily life. From holy words, Biblical excerpts, and prayers to textual symbols like the Sacred Monogram of the Name of Jesus, this thesis explores how and why these material prayers were employed for spiritual, apotropaic and intercessory purposes. It analyses material prayers not only in traditional textual formats (printed books and manuscripts), but also those that were printed on single-sheets of paper, inscribed on jewellery, or etched into the structure of the home. To convey how devotees engaged with and relied upon these material prayers, it considers a variety of inscribed objects, including those sanctioned by the Church as well as those which might be questioned or deemed ‘superstitious’ by ecclesiastical authorities. Sermons, Inquisition trial records, and other archival documents have been consulted to further illuminate the material evidence. The first part of the thesis, ‘On the Body’, considers the how devotees came into personal contact with texts by wearing prayers on their bodies. It examines a range of objects including prayers with protective properties, known as brevi, that were meant to be sealed in a pouch and worn around the neck, and more luxurious items of physical adornment inscribed with devotional and apotropaic text, such as necklaces and rings. The second part of the thesis enters the home to explore how the spaces people inhabited and the objects that populated their homes were decorated with material prayers. ‘In the Home’ begins with texts inscribed over the entryways of early modern Italian homes, and then considers how devotees decorated their walls with holy words and how the objects of devotion and household life were imbued with religious significance through the addition of pious inscriptions. By analysing these personal objects and the textual domestic sphere, this thesis argues that these material prayers cut across socio-economic classes, genders, and ages to embody quotidian moments of domestic devotion as well as moments of fear, anxiety and change.
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Haffner, Mechtild. "Ein Antiker Sternbilderzyklus und seine Tradierung in Handschriften vom Frühen Mittelalter bis zum Humanismus : Untersuchungen zu den Illustrationen der "Aratea" des Germanicus /." Hildesheim : Georg Olms, 1997. http://catalogue.bnf.fr/ark:/12148/cb38988057k.
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Hemfort, Elisabeth. "Monastische Buchkunst zwischen Mittellater und Renaissance : illuminierte Handschriften des Zisterzienserabtei Altenberg und die Kölner Buchmalerei, 1470-1550 /." Bergisch-Gladbach : Altenberger Dom-Verein, 2001. http://catalogue.bnf.fr/ark:/12148/cb388494797.
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Dewavrin-Masurel, Aude. "Hubert Cailleau, enlumineur de Valenciennes, 1526-1579 : les livres liturgiques enluminés au XVIème siècle, conservés dans les Bibliothèques Municipales du Nord de la France." Lille 3, 1998. http://www.theses.fr/1998LIL30017.
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La Bibliothèque Municipale de Douai, dans le Nord de la France, possède onze manuscrits (graduels et antiphonaires) enluminés par Hubert Cailleau, (1526-1579). Il était lai͏̈c, et travaillait dans un atelier de Valenciennes, pour l'abbé Charles Coguin d'Anchin et les abbés Jacques de Groot et Arnould Gantois de Marchiennes. Chaque manuscrit contient une quinzaine de miniatures mesurant en moyenne 8x8 mm. La page où se trouve l'enluminure s'orne d'une bordure illustrée de fleurs, de fruits, etc. . . Pour le style, Cailleau a d'abord été marqué par les oeuvres flamandes de Jean Bellegambe et par le miniaturiste Simon Marmion qui travaillait avant lui à Valenciennes; mais sa manière de peindre va évoluer vers l'art de la Renaissance, sous l'influence des jeunes artistes flamands qui vont étudier à Rome, les Romanistes. Pour l'iconographie, Cailleau ne se laisse pas imprégner par les thèses des protestants qui sont pourtant bien ancrées à Valenciennes, "la seconde Genève" : il représente, par exemple, de nombreux saints, alors que la nouvelle religion prohibait le culte des images; en 1566, les iconoclastes dévastèrent de nombreuses églises et monastères. Quant aux décorations dans les marges, Cailleau adopte le style Ganto-Brugeois mis à l'honneur par Alexandre Bening : des fleurs et des fruits en trompe l'oeil ornent les bordures. Cependant, alors que la plupart des manuscrits de cette époque montrent une décoration marginale qui enjolive simplement la page avec n'importe quelle fleur, Hubert Cailleau s'est toujours ingénié à choisir des fleurs, des fruits et des animaux ayant un rapport avec le thème de la miniature; par exemple, il peint une fleur du paradis, un strelitzia, pour le couronnement de la Vierge au paradis. De même, il représente les symboles de la Vierge pour l'Annonciation (la lune, le soleil, le jardin clos. . . ), et l'arbre de Jessé pour la naissance de Marie
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Ruffatti, Alessio. "Les cantates de Luigi Rossi (1597-1653) en France : diffusion et réception dans le contexte européen." Paris 4, 2006. http://www.theses.fr/2006PA040209.
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Les sources qui nous transmettent les cantates de Luigi Rossi sont conservées pour la plupart en dehors de l’Italie. La circulation de ce répertoire en Europe entre le XVIIe et le XVIIIe siècle est due en bonne partie à la passion du public français du grand siècle pour la musique de Rossi. Ces résultats ont été atteints grâce à l’étude des caractéristiques matérielles des manuscrits qui conservent ce patrimoine : filigranes, formats, reliures et copistes. La recherche met en évidence les phénomènes de production et circulation des manuscrits italiens et français après la mort de Rossi. De nombreux documents éclairent les contextes de réception des cantates de Luigi Rossi en Europe et les raisons historiques et culturelles qui ont sous-tendu à ce phénomène. L’étude de la réception et conservation des cantates de Rossi en Angleterre explique mieux les raisons de leur circulation en Europe grâce aux musiciens et sources français. Ce parcours a montré que la conservation des cantates de Rossi est liée au goût pour la collection de manuscrits musicaux qui s’est développé en Europe entre le XVIIe et le XVIIIe siècle. Par rapport aux catalogues précédents la thèse présente un accroissement d’environ 10% des copies musicales. Elle fournit également l’édition critique de certaines cantates choisies parmi les exemples plus diffusés, et d’un cas qui montre la présence de variantes d’auteur. Ce travail prévoit l’examen des variantes musicales et textuelles, et l’étude critique des éléments d’histoire de la traditionThe majority of the copies of Luigi Rossi’s cantatas are actually conserved outside of Italy. Their circulation throughout Europe between the seventeenth and eighteenth centuries is due in part to the French public’s passion for his music during the grand siècle. This assertion is confirmed by an investigation of the material characteristics of the manuscripts: watermarks, bindings and calligraphy of the copyists. This study investigates the phenomenon related to the production and circulation of Italian and French manuscripts after the death of Rossi. Many French historical and literary documents illustrate the reception context as well as the determining historical and cultural reasons. The study of the reception and conservation of these cantatas in England were also investigated to illustrate that the circulation throughout Europe is attributable to French musicians and musical influences, adding to clarify that their conservation was tied to a fashion for collecting musical manuscripts that developed in Europe during the seventeenth and the eighteenth century. This research has served to increase the number of identified musical copies by approximately 10% with respect to preceding catalogues. The last part of the dissertation is dedicated to a critical edition of certain cantatas that are conserved in great number of copies. Another edition demonstrates the existence of different versions attributable to the composer. This work gives opportunity to discuss of edition criteria on the basis of a musical and textual examination, and of the history of musical sources
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Chatzopoulou, Venetia. "Un grec de la Renaissance : copiste et éditeur en Italie : Zacharie Calliergis (v. 1470-1524)." Paris, EPHE, 2007. http://www.theses.fr/2007EPHE4138.
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Zacharie Calliergis, érudit grec d'origine crétoise, connaît dans l'Italie de l'époque de la Renaissance une carrière remarquable en tant que copiste et éditeur-imprimeur de textes grecs et se distingue parmi ses contemporains par ses activités philologiques multiples. Dans cette thèse sont présentés tous les éléments biographiques dont on peut disposer sur la vie de Zacharie Calliergis ainsi que les différentes facettes de son oeuvre. L'étude analytique de son oeuvre permet de mieux apprécier d'une part son activité en tant que copiste fécond de manuscrits grecs qui sont conservés dans plusieurs bibliothèques d'Europe et, d'autre part, de s'attacher à son travail en tant qu'éditeur, imprimeur mais aussi dessinateur et graveur de caractères typographiques; il s'agit d'occupations auxquelles Calliergis se consacra à l'aube de la typographie grecque dans le cadre d'une activité éditoriale qui se déroule en Italie à la fin du XIVe et durant le premier quart du XVIe siècle. Parmi ses activités, on se réfère particulièrement à sa fonction comme maître principal au Collège grec de Rome fondé par le pape Léon X dans cette ville. La thèse a pour but de mieux apprécier le rôle qu'a joué Zacharie Calliergis en contribuant à diffuser les oeuvres grecques dans les milieux culturels, occidentaux et grecs aussi, de son époque en Italie mais aussi de mettre en valeur toutes les caractéristiques particulières de ce travail qu'il a mené tout au long de sa carrièreZacharie Calliergis was a greek scholar from Crete who pursued in Renaissance Italy an admirable career in copying and editing greek texts and distinguished himself through his multiple philological activities. In this thesis are presented all the available biographical information concerning Zacharie Calliergis as well as the different aspects of his activity. The thorough study of his work has allowed us to appreciate his activity both as a prolific scribe greek manuscripts, which are now preserved in many european libraries, as well as an editor, printer, designer and engraver of type; Calliergis devoted himself to the aforementioned occupations at the dawn of greek printing in the framework of his publishing activity which took place in Italy at the end of the 15th and during the first quarter of the 16th century. Among the several activities of Calliergis a special mention should be made of his function as head teacher at the Gymnasium of Rome founded by the pope Leo X. The purpose of this doctoral thesis is to appreciate the role played by Zacharie Calliergis in the diffusion of greek texts in both the occidental and greek cultural environment during his days in Italy but also to bring out all the special features of the work that he realised throughout his career
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Tournieroux, Anne. "Les bibliothèques privées en France et en Italie à la fin du Moyen Âge (1400-1520)." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H103.
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Cette thèse a pour objet l’étude comparative des bibliothèques de laïcs et de clercs du nord de la France et de l’Italie septentrionale entre 1400 et 1520. Les rapports entre les territoires français et italien ne sont plus à démontrer, marqués pour le début de notre période par la résolution progressive du Grand Schisme et, pour la fin, par les guerres d’Italie menées entre 1494 et 1516. Au cours du quinzième siècle et jusqu’au début du seizième siècle, des phénomènes culturels de premier ordre tel que la diffusion de l’humanisme et, sur le plan matériel, l’invention de l’imprimerie se diffusent dans l’Europe entière. Nous avons choisi de nous intéresser à des catégories «traditionnelles» de possesseurs comme les membres du clergé séculier, mais aussi à de nouvelles catégories émergentes de possesseurs, notamment la bourgeoisieThis thesis aims at the comparative study of libraries of laity and clerics in the north of France and northern Italy between 1400 and 1520. The relations between the French and Italian territories are no longer to be demonstrated, marked for the beginning of our period by the progressive resolution of the Great Schism and, for the end, by the Italian wars between 1494 and 1516. In the fifteenth century and up to the beginning of the sixteenth century, cultural phenomena of the first order such as dissemination of humanism and, on the material level, the invention of printing spread throughout Europe. We have chosen to focus on "traditional" categories of possessors such as the secular clergy, but also to emerging categories of possessors, including the bourgeoisie
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Germain-De, Franceschi Anne-Sophie. "L'intimité pèlerine à l'épreuve de l'écriture : récits manuscrits de pèlerinage rédigés en français à la Renaissance et pendant la Contre-Réforme (1500-1612)." Amiens, 2004. http://www.theses.fr/2004AMIE0013.
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Les récits de pèlerinage manuscrits fournissent un ensemble dispersé et souvent méconnu pour la période du XVIe siècle et de la Réforme catholique. Les manuscrits ne se conforment plus systématiquement aux règles du genre en cours au XVe siècle. Alors qu'à mesure de leurs publications, les récits imprimés figent leur forme jusqu'au stéréotype, le manuscrit permet une liberté narrative où la personnalité du voyageur et son implication religieuse peuvent se développer plus clairement. La variété des formes permet d'étudier l'importance de l'expression de soi dans ces récits. Le pèlerin se confie à son texte afin d'offrir les fruits de sa quête spirituelle au public déterminé de son entourage proche plutôt qu'au public anonyme des ouvrages imprimés. L'écriture du pèlerinage devient une offrande votive qui prolonge la démarche religieuse accomplie, car le pèlerin doit témoigner de la rencontre sacrale vécue lors du pèlerinageThe style of pilgrimage accounts seems to have been codified in the Middle-Ages. The pilgrim narrator who says " I " is forbidden from telling anything about neither his personality nor his personal experience of faith, because pilgrimage is a experience of humility and community. During the Renaissance, printed narratives generally respect this rule. However, many handwritten ones show more and more freedom in the way the main character and arrator of the travel is depicted. " I " shows more easily his own personality. This come from diversity in destinations and ways to go there, diversity in personal interests in profane matters and from various degrees of sensibility to the evolution onf the historical Church, in particular after the Counter-Reformation
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Jean, Michael. "Cursus Fastorum: a study and edition of Pomponius Laetus’s glosses to Ovid’s Fasti." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1436716228.
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Vaienti, Beatrice. "Analysis, interpretation and digital reconstruction of the centrally planned churches of Leonardo da Vinci’s Manuscript B." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/20144/.
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Questa tesi affronta l’analisi e la restituzione tridimensionale delle chiese a pianta centrale rappresentate all’interno del Manoscritto B di Leonardo da Vinci. Tra gli edifici religiosi disegnati in quest’ultimo si sono considerati quelli caratterizzati da una tecnica rappresentativa che fa uso di una pianta abbinata ad una vista a volo d’uccello, approccio estremamente innovativo che permette di coniugare l’immediatezza nella comprensione dei volumi, data dalla vista prospettica, alla misurabilità dei disegni. Tuttavia, la mancanza di viste interne o di sezioni lascia interrogativi sull’articolazione interna degli spazi e la dimensione ridotta dei disegni non permette di conoscere con certezza tutti gli elementi dell’edificio. Per questa ragione questo studio parte da un’analisi del contesto storico del Manoscritto B, al fine di individuare esempi architettonici coevi da utilizzare come riferimenti per il processo di restituzione tridimensionale. Successivamente si sono considerate le caratteristiche compositive delle chiese, con l’obbiettivo di definire un metodo per la loro classificazione. Esistono infatti numerosi elementi comuni nelle regole aggregative dei volumi intorno all’ambiente centrale e l’analisi critica dello stato dell’arte sul tema è divenuto il punto di partenza per avanzare una nuova proposta. Quest’ultima si basa sulla definizione di un codice in grado di descrivere l’aggregazione di elementi in ogni chiesa ed è stata utilizzata per la definizione di uno script in Grasshopper che permette di ottenere una base per la modellazione tridimensionale degli edifici. Successivamente si è analizzato, per ciascuna chiesa, il processo di ricostruzione della pianta e la sua relazione con le misure in alzato. Tali informazioni sono poi state utilizzate per la realizzazione di modelli tridimensionali, distinguendo più varianti in caso di inconsistenza tra pianta e alzato, di incertezza o di elementi variabili nel disegno.
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Tanabe, Mégumi. "La signification et la fonction symbolique de l’ornement végétal dans les livres d’heures bretons au XVe siècle." Paris 10, 2008. http://www.theses.fr/2008PA100194.
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L’ornement végétal dans les livres d’heures bretons au XVe siècle a connu une évolution considérable, tant sur le plan quantitatif que qualitatif. Face à la variation infinie des représentations dans l’espace marginal de chaque folio illustré, on ne peut manquer de s’interroger sur l’emploi intentionnel de l’ornement végétal en fonction de ses différents contextes. Notre travail s’appuie sur l’analyse de chaque espèce végétale et permet de constater que le choix des motifs ne se réduit pas aux goûts de l’époque. C’est à la lumière des connotations dérivées des domaines religieux et profanes que nous pouvons le mieux comprendre le répertoire des motifs végétaux articulé autour des thèmes chrétiens fondamentaux. Le sens ambivalent, voire polyvalent, de chaque motif nous conduit à examiner plus précisément sa fonction symbolique à travers ses rapports avec l’image qui l’accompagne. Cette approche révèle l’existence de divers agencements associés à l’histoire du Salut qui ne reposent sur aucun socle symbolique commun à chaque thème iconographique. Par ailleurs, l’élaboration singulière du traitement des motifs végétaux dans les Heures de Marguerite d’Orléans (BnF. Ms. Lat. 1156B) nous mène à prendre en compte la dimension considérable de l’influence du commanditaire sur l’ornement. Le présent travail a donc pour objectif de mettre en perspective, à travers une démarche analytique et symbolique du grand éventail des espèces végétales, la signification et la fonction symbolique de l’ornement. Cela confirme non seulement la richesse remarquable de ce dernier, ainsi que la survivance du caractère authentique de l’art de l’enluminure au XVe siècleDuring the XVth century there was considerable quantitative and qualitative development in the botanical illumination of Breton books of hours. When faced with the seemingly infinite variation of representations in the margins of each illustrated folio one cannot help asking oneself about the iconographical signification of botanical ornamentation. This work, which used an analysis of each plant species represented, shows that the choice of motifs used was not simply due to fashion. The repertoire of botanical illuminations used in a fundamental Christian context can best be understood in the light of both their religious and secular connotations. The ambivalent or even polyvalent meaning of every botanical motif has made us question the precise function within the whole image represented. This approach has revealed many symbolic constructions associated with Salvation where the illuminations used did not depend on commonly employed symbolic bases. Furthermore, the unique use of botanical motifs in the book of hours of Marguerite d’Orleans (BnF. Ms. Lat. 1156B) led to the conclusion that sponsors exerted considerable influence on a book’s ornamentation. The objective of this work was to use analytical and symbolic approaches, covering a large range of plant species, to describe the functional significance of botanical illumination. This confirmed not only the remarkable richness of the latter but also revealed the genuine and original work of XVth century illuminators
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Diego, Pacheco Cristina. "Un nouvel apport à l'étude de la musique espagnole de la Renaissance : le manuscrit 5 de la cathédrale de Valladolid et son contexte." Paris 4, 2005. http://www.theses.fr/2005PA040088.
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Cette recherche vise à étudier la musique de la Renaissance à travers l'examen et la mise en contexte d'un manuscrit de musique sacrée polyphonique conservé à la cathédrale de Valladolid en Espagne, dont la transcription est proposée à la fin du travail. Partant du principe selon lequel toute copie musicale est le fruit d'une époque et de ses spécificités artistiques, l'examen des informations explicites et implicites de la source a motivé un travail historique sur le Valladolid du XVIe siècle et sur sa vie musicale, surtout dans sa cathédrale; un travail analytique sur l'objet d'étude (description physique, particularités d'écriture, spécificités liturgiques. . . ); puis une réflexion plus large sur les compositeurs et les œuvres du manuscrit, sans oublier ses conditions d'interprétation ainsi que sa valeur artistique inhérente. Ces interrogations ont permis de dévoiler un univers musical riche en informations qui ne doit pas rester limité au cas espagnol, mais élargi à son cadre européenThis PhD examines Renaissance music by way of the analysis of a sacred polyphonic manuscript taken in its particular context. Conserved at Valladolid Cathedral, Spain, Manuscript 5 can be defined as a work possessing much explicit and implicit content which is the product of a precise historical period and its artistic specificities. It thereby required researching through the filter of musical life in 16th century Valladolid and of its cathedral, an analysis of the manuscript itself (physical and liturgical characteristics, musical style, etc. ), and a broader look at its composers and works. These works, whose transcriptions are proposed in a second volume, have been accompanied by thoughts on their artistic value and some of the traditions surrounding their performance. This in-depth study of Manuscript 5 offers a new vision of a Renaissance music which cannot be considered as uniquely Spanish, but which must be placed in its fully European context
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Robb, Stuart James. "To begin, continue and complete : music in the wider context of artistic patronage by Pope Alexander VI (1492-1503) and the hymn cycle of CS 15." Thesis, University of Manchester, 2011. http://www.manchester.ac.uk/escholar/uk-ac-man-scw:122374.
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This thesis takes as its area of exploration the papal chapel choir and its repertory, alongside the papacy and its patronage of the arts at the end of the fifteenth century. It draws on previous research concerning the singers, polyphonic manuscripts and artistic culture of the Vatican, but places Pope Alexander VI as the central figure of the thesis, showing schemes of patronage that shaped his reign. The research presents a transcription and analysis of the hymn cycle contained within the manuscript Cappella Sistina 15, alongside an assessment of the polyphonic music collection and places these against accounts of music making and evidence of music copying at the papal chapel during Alexander’s reign. The thesis also considers the environment of secular music making at Alexander’s court. In order to provide a context in which to understand this information, the life of Alexander VI is examined, tracing his artistic patronage and involvement with music both prior to his election and afterwards. Of particular note is the engagement of the artist Pintoricchio to decorate the papal apartments. Here, the artist’s representation of music as part of the seven liberal arts is analysed, providing a unique, contemporary and important insight into music practices in Alexander’s court. Three classifications of patronage are identified for Alexander’s reign, while also showing that these were strategies that he had used before he became pope. The music culture at the papal chapel is shown to be part of this strategy, through the consolidation of old music and the introduction of new music into the repertory, ending a task that had taken approximately 60 years. It shows that Alexander’s reign was an important period musically, that instituted new musical traditions and created an environment that prepared the way for the golden ages of patronage of Julius II and Leo X.
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Morantin, Patrick. "Lire Homère à la Renaissance : Philologie humaniste et tradition grecque : sur les traces de Vettor Fausto et de Guillaume Budé." Paris, EPHE, 2013. http://www.theses.fr/2013EPHE4032.
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Les annotations apposées par les humanistes Vettor Fausto et Guillaume Budé sur leur exemplaire personnel de l’editio princeps d’Homère constituent deux exemples remarquables de la lecture du poète dans les premières décennies du XVIe siècle. L’édition, l’analyse, l’interprétation de cet ensemble de notes, issu en grande partie de deux sources exceptionnelles, le fameux Venetus A et une source inconnue qui lui est rivale, sont le fondement et la matière de cette thèse. À partir de l’examen d’un millier d’annotations, l’étude s’attache à comprendre la démarche philologique des deux humanistes. Considérant qu’une certaine philosophie de l’histoire, marquée par l’idée de progrès et par l’historicisme, biaise notre compréhension du travail philologique des humanistes, la recherche se propose de sortir de toute démarche évolutionniste et de renverser la perspective historique en prenant pour point de comparaison la démarche de la philologie antique, en particulier celle des érudits de l’époque hellénistique : l’empeiria alexandrine. Il ressort que le travail philologique de Vettor Fausto et de Guillaume Budé participe de la redécouverte de la philologie antique, d’une lecture « grammaticale » qui conduit les deux humanistes à constituer, selon le modèle de l’empeiria alexandrine et conformément aux composantes de la grammatiké, un livre personnel qui se rapproche de l’ekdosis des érudits alexandrins. La thèse conclut que le modèle interprétatif sous-jacent à la critique de la philologie humaniste relève d’un paradigme qu’il convient de mettre en cause afin de pouvoir mieux comprendre la lecture et la réception d’un auteur tel qu’Homère à la RenaissanceNotes affixed by the humanists Vettor Fausto and Guillaume Budé on their personal copy of Homer's editio princeps constitute two remarkable examples of the reading of the poet in the first decades of the XVIth century. The edition, the analysis, the interpretation of this set of notes, stemming largely from two exceptional sources, the famous Venetus A and an unknown rivalling source, are the foundation and the material of this thesis. From the examination of a thousand notes, the study attempts to understand the philological approach of both humanists. Considering that a certain philosophy of history, marked by the idea of progress and historicism, biases our understanding of the philological work of the humanists, the research steps back from taking an evolutionary reasoning and reverses the historical perspective by taking, for point of comparison, the approach of the antique philology, in particular that of the scholars of the Hellenistic era : the Alexandrine empeiria. It appears that the philological work of Vettor Fausto and Guillaume Budé participates in the rediscovery of the antique philology, from a "grammatical" reading which leads both humanists to constitute, according to the model of the alexandrine empeiria and according to the components of the grammatiké, a personal book which approaches the ekdosis of the Alexandrine scholars. The thesis concludes that the underlying interpretative model to the criticism of the humanist philology is a matter for a paradigm which it is advisable to question in order to better understand the reading and the reception of an author such as Homer in the Renaissance
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Kirk, Douglas Karl. "Churching the shawms in Renaissance Spain : Lerma, archivo de San Pedro ms. mus. 1." Diss., McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=77431.
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Numerous studies have shown that in the sixteenth and seventeenth centuries Spanish churches (both metropolitan and monastic) employed bands of wind instrumentalists to play frequently in liturgies and processions throughout the church year. Exactly what this music was, though, beyond colla parte participation in masses and motets has remained conjectural because not a note of it has been found. This dissertation is a study and edition of a major, newly-discovered manuscript which contained part of the repertory of the minstrels who served the Duke of Lerma, c. 1607, in the collegial church of San Pedro in Lerma. By comparing the repertory in the manuscript with sixteenth- and seventeenth-century instructions to minstrels in Le6n and Palencia, it has been possible to establish typical ecclesiastical performance responsibilities of minstrels and deduce how such a collection of instrumental music would have been used. Furthermore, after study of the surviving inventories of San Pedro, it has been possible to reconstruct the entire polyphonic musical repertory of the church. This enables us to see the sort of musical library available to the typical succentor or chapelmaster of the time, and the place that minstrel repertory occupied. Finally, a significant number of the original Lerma manuscripts and prints have been traced into modern collections, allowing us to know much more about their origins and history than heretofore.Plusieurs etudes ont demontre qu'au seizieme et au dix-septieme siecle, les eglises espagnoles (metropolitaines et monacales) employaient des ensembles de musiciens utilisant des instruments "hauts" pour jouer dans de nombreuses liturgies et processions tout au long de l'annee. Ce que cette musique etait precisement, au-dela de la participation dans l'accompagnement des choeurs des messes et motets, ne reste que conjectures puisqu' au aucune note n'a ete trouvee. Cette dissertation est une etude et une edition d'un manusmt d'une importance majeure et nouvellement decouvert, identifie comme ayant fait partie du repertoire des menestrels servant le duc de Lerma, c. 1607, qui etaient engages pour jouer a l' eglise collegiale de San Pedro a Lerma. En comparant le repertoire dans le manuscrit avec les instructions des menestrels du seizieme et du dix-septieme siecle a Le6n et Palencia, il a ete possible d' etablir les responsabilites musicales liturgique des menestrels et de deduire comment toute cette collection de musique instrumentale avait pu ~e utilisee. De plus, apres l' etude des inventaires subsistants de San Pedro, on a pu reconstruire le repertoire musical polyphonique dans son entier. Ceci nous permet de voir la collection musicale disponible du chantre ou maitre de chapelle typique du temps, ainsi que la place qu' occupait le repertoire des menestrels. Finalement un nombre significatif de manuscrits et imprimes a ete retrace dans les collections modemes, nous permettant d' en connaitre. fr
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Stagni, Reno. "Imagens alquímicas renascentistas: um estudo preliminar do manuscrito La génération et opération du grand oeuvre pour faire de l or (1620)." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/13401.
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Previous issue date: 2008-10-03Conselho Nacional de Desenvolvimento Científico e Tecnológico
The objective of this study is to analyze, among the multiple aspects that permeate the alchemical tradition, one that treats the relation between image and text as a way to the knowledge stored in the books, and to try to evidence some aspects of the use of the image as a tool to decode the verbal text. Therefore it was chosen, as case study, the manuscript La Génération et Opération du Grand OEuvre pour Faire de l Or (The Generation and Operation of the Great Work to Make Gold), anonymous manuscript, copied in the first quarter of the XVII century, whose comparison with alchemical works related to that same period provided the analysis, object of this study
O objetivo deste estudo é analisar, dentre os múltiplos aspectos que permeiam a tradição alquímica, aquele que trata das relações entre imagem e texto como via de acesso aos conhecimentos guardados nos livros, e tentar evidenciar alguns aspectos do uso da imagem como instrumento de decodificação do texto verbal. Para tanto foi selecionado, como estudo de caso, o manuscrito La Génération et Opération du Grand OEuvre pour Faire de l Or (A Geração e Operação da Grande Obra para Fazer Ouro), manuscrito anepígrafo, copiado no primeiro quartel do século XVII, cujo confronto com outras obras alquímicas do mesmo período, propiciou a análise, objeto deste estudo
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Vernois, Alice. "La figure du Roi David dans les arts de la fin du Moyen Age et de la Renaissance en Europe : un miroir du Prince ?" Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3072.
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Cette thèse porte sur l'étude approfondie des représentations de l’un des plus grands rois de l’Ancien Testament : le Roi David. Ce travail doctoral s’efforcera d’étudier cette figure biblique dans les arts de la fin du Moyen Age et de la Renaissance en Europe. Les Saintes Écritures relatent la vie mouvementée de cet illustre homme et roi qui devint, au fil des siècles, un modèle de référence pour les souverains chrétiens. En effet, celui-ci correspondait parfaitement aux aspirations des princes qui souhaitaient prendre exemple sur ce royal personnage et s’approprier son prestige. Dans cette problématique, la figure de David s’est révélée être d’une incroyable richesse : successivement petit pâtre, oint du Seigneur, valeureux guerrier, musicien d’excellence et psalmiste, souverain d’Israël, amoureux transi, pécheur puis pénitent. Toutes les facettes de ce personnage si complexe ont inspiré, chacune à leur manière, la pensée spirituelle, politique et artistiqueThis thesis focuses on the in-depth study of representations of one of the greatest kings of the Old Testament: the King David. This doctoral work will try to explore the biblical figure in the arts of the late Middle Ages and the Renaissance in Europe.The Holy Bible recounts the eventful life of this famous king who became, through centuries, a model for the christian princes. In fact, it fit perfectly with the aspirations of the princes who wanted to follow the example of this royal personage and appropriate his prestige. In this issue, the figure of David appears to be incredibly wide, successively little shepherd, anointed, brave warrior, musician and psalmist, king of Israel, women lover, sinner and penitent. Every facets of this complex character inspired, each in its own way, spiritual, political and artistic thought
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Bargagna, Agnese. "Ammien Marcellin et l'humanisme : tradition et réception des Res gestae dès témoins manuscrit du XVe siècle aux premières éditions imprimées." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL091.
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La Thèse présente une enquête sur deux aspects fondamentaux de la quaestio ammianea, notamment la tradition et la réception des Res gestae pendant la Renaissance à partir dès témoins manuscrits du XVe siècle jusqu’aux premières éditions imprimées. Dans une première partie, chaque codex est décrit de manière détaillée et, dans le même temps, une analyse complète de ses marginalia est donnée, puisqu’il s’agit d’éléments qui indiquent la consultation des Res gestae par un lecteur. On s’efforce précisément d’identifier ce lecteur, on étudie les caractéristiques utiles à son identification et la détermination de son bagage culturel et son contexte. Dans la deuxième partie la réception des Res gestae pendant la même période est traitée. Un chapitre expose les figures d’ humanistes importants sur lesquels on n’a pas assez d’informations disponibles: les personnalités liées aux registres des prêtres du Vatican, Platina, G. Ammannati Piccolomini, Giannozzo Manetti, Laurent de’ Medici, Niccolò Saguntino, Jean Jouffroy, Aulo Giano Parrasio. En suite, trois personnalités déterminantes pour la réception d’Ammien seront étudiées séparément : Poggio Bracciolini, Giulio Pomponio Leto et Roberto Valturio. Enfin, on constate que pendant la Renaissance la connaissance de l’œuvre d’Ammien a été diffusée par deux environnements principaux : le cercle du cardinal Prospero Colonna et la Curia Romana et ensuite grâce à Pomponio Leto et son Académie. En outre, la richesse des Res gestae leur a permis de satisfaire les exigences de deux catégories d’intellectuels : ceux qui consultaient l’œuvre partiellement et occasionnellement et ceux qui, par contre, visaient à obtenir une pleine maîtrise de sa forme et de son contenuThis PhD Thesis is aimed to investigate two fundamental aspects of the quaestio ammianea: its transmission and reception throughout the Renaissance, from most of the 15th century manuscripts up to the first printed editions. In the first part, each codex receives a detailed description, and their marginal notes are analyzed as a source of information on the consultation of the Res gestae. Concerning the reader, the elements useful to get an understanding of his cultural background and his context are then discussed. In the second part, the reception of the Res gestae (in the same period) is taken into consideration. Platina, G. Ammannati Piccolomini, Giannozzo Manetti, Laurence de’ Medici, Niccolò Saguntino, Jean Jouffroy, Aulo Giano Parrasio. Furthermore, three personalities pivotal in the reception of Ammianus will be treated: Poggius Bracciolini, Giulio Pomponio Leto and Roberto Valturio. Moreover, it has to be noted that during the Renaissance, the knowledge of Ammianus’ work was primarily diffused by two main environments: the circle of the cardinal Prospro Colonna and the Curia Romana, while later it increased thanks to Pomponius Laetus and his Academy. In conclusion, the variety of information and the depth of a work like the Res gestae have been able to satisfy the exigencies of two types of intellectuals: those who consulted it partially and occasionally, and those who, instead, aimed to an exhaustive mastery of its contents and forms
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Tran, Quoc Trung. "Du livre illustré au texte imagé : image, texte et production du sens au XVIe siècle." Paris 4, 2004. http://www.theses.fr/2004PA040281.
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Cette recherche s'intéresse au livre illustre de la renaissance dans une perspective littéraire et sémiotique. A partir d'un corpus essentiellement narratif, notre travail se propose d'étudier le rapport entre le texte et l'image en décrivant le processus interprétatif et en reconstruisant le parcours herméneutique du lecteur. Il s'agira de définir la part productive de l'image dans la production et la construction d'un sens et sa rencontre avec les codes textuels (génériques, rhétoriques, stylistiques) dont relèvent les textes étudiés. La première partie, introductive et programmatique, présente la démarche et la méthode adoptées en proposant au préalable un état des lieux critiques de la question afin de mettre en valeur la dimension historique, culturelle et matérielle de notre objet d'étude. Nous posons alors la question d'une possible articulation entre la question de la textualité et celle de la matérialise. La deuxième partie examine différentes situations de lecture en prenant pour point d'entrée l'emplacement de l'image dans le livre. Nous nous intéressons d'abord aux images préliminaires, et notamment aux portraits d'auteurs, qui construisent l'identité du livre tout comme elles codifient la lecture du texte. Nous étudions ensuite le cas des images intérieures pour voir de quelle façon elles assurent la structuration du livre et la cohésion du texte. Enfin, la troisième partie éprouve la validité de la démarche et en prolonge les perspectives en proposant une étude détaillée du "discours du songe de poliphile" (1546). Nous montrons comment le récit et la fiction reposent sur une réflexion sur la langue et le langage qui convoque et appelle les imagesThis research concerns an illustrated book from the renaissance examined from the perspective of the insertion between textuality and materiality as it has been defined by historians of books and reading. Emerging from a body of work essentially narrative in nature, our work studies the relationship between the words and images in describing the interpretive process and in reconstructing the hermeneutic analysis by the reader. The task is to define the productive portion of the image in the preparation and construction of meaning and its interaction with textual codes (generic, rhetorical and stylistic) to which the studied texts refer to. The first part, introduction and outline, presents an approach and method adopted, suggesting as apoint of departure the status the critical analysis of the question in order to explore this historic, cultural and material dimension of the subject of our study. The second part examines different situations for reading, talking as a point of departure the placement of the image in the book. We are interested foremost in the preliminary images, and notably in portraits of authors, which construct the identity of the book as they codify the reading of the text. We then study the cas of interior images to see to what extent the contribute to the structuring of the book and to the cohesiveness of the text. Finally, the third part proves the validity of our approach and extends its perspective in suggesting a detailed study of "le discours du songe de Poliphile" (1546). We show how the story and the fiction rest on a reflection on language and speech that evoke and call forth the images
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Krzyżanowska, Justyna. "Cerddoriaeth Telyn Cymru : en undersökning av Robert Ap Huw-manuskriptet." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2361.
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The purpose of this research paper has been to understand the medieval and renaissance tablature of Robert ap Huw through a comparison between Paul Dooley’s and William Taylor’s recordings of the piece Kaniad y Gwyn Bibydd from the manuscript. My text contains a short history of Robert ap Huw’s manuscript and a description of the medieval Welsh culture, in which the music was born. It is then followed by a musical analysis of the chosen piece. My work has led me to delve deep into different versions of how the tablature could be interpreted and made me understand how vast and complex this subject is.Inspelning och mixning av stycket Kaniad y Gwyn Bibydd (arr. Peter Greenhill) av Fabian Rosenberg.
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Connolly, David E. "Problems of textual transmission in early German books on mining "Der Ursprung Gemeynner Berckrecht" and the Norwegian "Bergkordnung" /." Columbus, Ohio : Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1133283981.
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DOKTOROVÁ, Jana. "Malostranský graduál a jeho donátoři: Renesanční iluminovaný rukopis jako nástroj měšťanské reprezentace." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-385268.
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The topic of the diploma thesis is the Malostranský gradual (hymnal, collection of religious songs for the laity), a significant Renaissance illuminated manuscript made in the second half of the 16th century for the literary confraternity at the church of St. Nicholas in the Lesser Town of Prague. In the introductory chapters, the author describes the contextual methodological approach through which she interprets the work, continues with the historical context of its creation, and provides an overview of the current research on this subject. In the main part of the thesis, she presents the individual donors, whose names are recorded on the folios of the manuscript. Based on written sources, the author discloses not only their identity, and profession, familial and friendship ties, or their economic background and social standing, but also answers the question, what is the motivation behind their donation, how did they influence the gradual's decoration, and how did they present themself in this artistic medium.
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Průšová, Kateřina. "Kniha jako klenot - Frankoflámské knihy hodinek z pražského Klementina." Doctoral thesis, 2016. http://www.nusl.cz/ntk/nusl-353527.
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PhDr. Kateřina Průšová Book as a Jewel, Francoflemish Books of Hours from the National Library in Prague Abstract The purpose of this dissertation is to present the first comprehensive catalogue of Franco-Flemish books of hours from the collections of the National Library in Prague (hereafter, NK). Some of the included manuscripts were already published in journals some of them have never been published previously. The core of the catalogue is a formal and stylistic analysis of books of hours, including an attribution to the individual masters and workshops, localization and dating based on a comparison of stylistically related manuscripts. This work is a development from previous my research done on Parisian books of hours [NK Břevnov 297, NK Osek 70 and NK XXIII G 89; Master's thesis and 'rigorous work']. Six books of hours come from the National Library in Prague [NK XXIII H 22, NK Břevnov 296, NK XXIII F 198, NK XXIII G88, NK Osek 65, NK VI D 25] and one manuscript in the collection of the Lobkowicz family at Nelahozeves castle, previously deposited in the Prague National Library [with a shelf- mark VI Fg 67]. The catalogue covers the period of the greatest flowering of Flemish book illumination from the first half of the 15th century to the beginning of the 16th century. The books of hours from the...
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Shapiro, Aaron Charles. "Renaissance cryptophilology: scholars, poets, and the pursuit of lost texts." Thesis, 2014. https://hdl.handle.net/2144/15332.
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This study offers a narrative of literary responses to lost texts, ancient and modern, from the age of Petrarch to the age of Milton. Whether continental scholars or English poets, the authors whom I consider share an abiding belief that the imagination is the right vehicle to access the otherwise irretrievable past, and that absent texts can be put to practical uses. Bringing together the work of textual critics, bibliographers, and literary scholars, the introduction evaluates available methods of studying lost texts and proposes an integrated framework for further research. The four chapters that follow provide four distinct answers to the question, what did early modern scholars and poets make out of lost texts? The first chapter finds Petrarch in his De remediis utriusque fortunae inaugurating a long-lasting tradition, the lament for lost books and libraries. I argue that, with help from Petrarch, the Florentine circle of Leonardo Bruni developed what would become a conventional language for explaining these losses. A chapter on scholarly misbehavior examines fifteenth- and sixteenth-century narratives—i.e., legends, lies, and slanders—about lost texts alongside the emergence of the humanist supplements, the efforts of early modern editors (e.g., Erasmus, Ermolao Barbaro) to fill lacunae in partial classical texts with their original compositions, sometimes surreptitiously. This practice of imitation-as-emendation led English authors—Shakespeare, Chapman, Jonson, and Burton—to complete the partial texts of their recent and medieval predecessors and to apprehend with their imaginations the literary heritage that they could not hold in their hands. In the two latter chapters, I argue that this interest sometimes took the form of an imaginative supplement, as when Spenser completes Chaucer's fragmentary Squire's Tale in The Faerie Queene, and sometimes the form of a meditation, as when Milton in "Il Penseroso" envisions English literary history as a series of incomplete works. Likewise, earlier claims about lost texts could simply be revived (e.g., in the invective of Thomas Nashe), or they could be repurposed in self-conscious tropes, as when Ben Jonson and Edmund Spenser entice their readers with representations of lost, unpublished, and unwritten works.2019-08-01T00:00:00Z
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Campana, Lilia 1975. "Vettor Fausto (1490-1546), Professor of Greek and a Naval Architect: A New Light on the 16th-century Manuscript Misure di vascelli etc. di…proto dell’Arsenale di Venetia." Thesis, 2010. http://hdl.handle.net/1969.1/148455.
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This thesis investigates the significant role that the Venetian humanist Vettor
Fausto (1490-1546), professor of Greek at the School of Saint Mark, played during the
first half of the 16th century in Venetian naval architecture. Early in the 16th century, the
maritime power of Venice was seriously threatened by the Ottoman Sultan Suleiman II
in the East and by the Holy Roman Emperor Charles V in the West. In order to regain its
naval power in the Mediterranean, the Republic of Venice strongly encouraged Venetian
shipwrights to submit new designs for war galleys. The undisputed founder and
champion of this naval program was not a skilled shipwright but a young professor of
Greek in the School of Saint Mark named Vettor Fausto, who in the heat of this renewal
programme, proposed “marine architecture” as a new scientia.
In 1529, Vettor Fausto built a quinqueremis whose design, he claimed, was based
upon the quinquereme “used by the Romans during their wars” and that he had derived
the shipbuilding proportions “from the most ancient Greek manuscripts.” The recovery
of Classical traditions resulted in major changes in many fields. It included shipbuilding practices as well, especially after Fausto introduced in the Venetian Arsenal a new
scientia, that of “marine architecture”, in opposition to the fabrilis peritia, the empirical
shipbuilding practice.
This work examines several Renaissance sources and archival material in order
to illuminate the technical features and the design of Fausto’s quinquereme. Based on
the study of the anonymous 16th-century Venetian manuscript Misure di vascelli etc.
di…proto dell’Arsenale di Venetia from the State Archive of Venice, this thesis presents
a general overview of Fausto’s life and his cultural background in order to better
understand the humanistic foundations that led him to propose the construction of the
quinquereme. Also presented in this thesis is a theoretical reconstruction of Fausto’s
quinquereme and the suggestion that the shipbuilding instructions contained in the
anonymous manuscript are connected to the work of Fausto in the Venetian Arsenal.
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Powell, Daniel James. "Social knowledge creation and emergent digital research infrastructure for early modern studies." Thesis, 2016. http://hdl.handle.net/1828/7241.
Full textAbstract:
This dissertation examines the creation of innovative scholarly environments, publications, and resources in the context of a social knowledge creation affordances engendered by digital technologies. It draws on theoretical and praxis-oriented work undertaken as part of the Electronic Textual Cultures Laboratory (ETCL), work that sought to model how a socially aware and interconnected domain of scholarly inquiry might operate. It examines and includes two digital projects that provide a way to interrogate the meaning of social knowledge creation as it relates to early modern studies. These digital projects – A Social Edition of the Devonshire Manuscript (BL Add. 17,492) and the Renaissance Knowledge Network – approach the social in three primary ways: they approach the social as a quality of material textuality, deriving from the editorial theories of D. F. McKenzie and Jerome McGann; as a type of knowledge work that digital technologies can facilitate; and as a function of consciously designed platforms and tools emerging from the digital humanities. In other words, digital humanities practitioners are uniquely placed to move what has until now been customarily an analytical category and enact or embed it in a practical, applied way. The social is simultaneously a theoretical orientation and a way of designing and making digital tools — an act which in turn embeds such a theoretical framework in the material conditions of knowledge production. Digital humanists have sought to explain and often re-contextualise how knowledge work occurs in the humanities; as such, they form a body of scholarship that undergirds and enriches the present discussion around how the basic tasks of humanities work—research, discovery, analysis, publication, editing—might alter in the age of Web 2.0 and 3.0.
Through sustained analysis of A Social Edition of the Devonshire Manuscript (BL Add 17,492) and the Renaissance Knowledge Network, this dissertation argues argues that scholarly communication is shifting from a largely individualistic, single-author system of traditional peer-reviewed publication to a broadly collaborative, socially-invested ecosystem of peer production and public facing digital production. Further, it puts forward the idea that the insights gained from these long-term digital humanities projects – the importance of community investment and maintenance in social knowledge projects, building resources consonant with disciplinary expectations and norms, and the necessity of transparency and consultation in project development – are applicable more widely to shifting norms in scholarly communications. These insights and specific examples may change patters of behaviour that govern how humanities scholars act within a densely interwoven digital humanities.
This dissertation is situated at the intersection of digital humanities, early modern studies, and to discussions of humanities knowledge infrastructure. In content it reports on and discusses two major digital humanities projects, putting a number of previous peer-reviewed, collaboratively authored publications in conversation with each other and the field at large. As the introduction discusses, each chapter other than the introduction and conclusion originally stood on its own. Incorporating previously published, peer-reviewed materials from respected journals, as well as grants, white papers, and working group documents, this project represents a departure from the proto-monograph model of dissertation work prevalent in the humanities in the United States and Canada. Each component chapter notes my role as author; for the majority of the included material, I acted as lead author or project manager, coordinating small teams of makers and writers. In form this means that the following intervenes in discussions surrounding graduate training and professionalization. Instead of taking the form of a cohesive monograph, this project is grounded in four years of theory and practice that closely resemble dissertations produced in the natural sciences.Graduate
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Raimundo, Nuno de Mendonça Freire Nogueira. "O cancioneiro musical de Paris: uma nova perspectiva sobre o manuscrito F-Peb Masson 56." Master's thesis, 2017. http://hdl.handle.net/10362/22412.
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A presente dissertação tem como objecto de estudo o manuscrito F-Peb Masson 56, conhecido
como Cancioneiro Musical de Paris, ou simplesmente Cancioneiro de Paris, que contém a maior colecção
portuguesa de música profana do século XVI. Passados quase 50 anos desde a tese de doutoramento de
François Reynaud (1968), que era até agora o único estudo exclusivamente dedicado a este manuscrito e
que permanece inédito, o nosso trabalho apresenta uma descrição detalhada dos seus aspectos formais e do
seu conteúdo, revisitando as questões abordadas pelo musicólogo francês e aprofundando-as à luz das novas
fontes e dos novos conhecimentos no âmbito da musicologia histórica que surgiram nas últimas décadas,
com o objectivo de estabelecer uma base cientificamente sólida e rigorosa de análise e transcrição e, a partir
dela, lançar novas linhas de investigação sobre o conteúdo poético-musical do cancioneiro.
Mais concretamente, este trabalho é composto por um estudo codicológico e paleográfico
aprofundados, com descrição exaustiva de todas as mãos textuais e musicais do cancioneiro, não só das suas
características físicas mas também do seu vocabulário textual e musical; e por um estudo do conteúdo do
cancioneiro, com uma análise da sua estruturação em diferentes secções temáticas, acompanhado de um
volume contendo transcrições rigorosas dos textos poéticos e musicais e respectivo aparato crítico,
incluindo o estabelecimento de novas concordâncias que possibilitaram a identificação de novos autores e
a reconstituição das vozes de algumas peças de que o cancioneiro apenas regista apenas uma voz.
Os dados e conclusões recolhidos nestes estudos permitiram-nos avançar com propostas
fundamentadas de datação do repertório e, pela primeira vez, construir uma cronologia da constituição do
cancioneiro, desde a sua elaboração original às sucessivas intervenções de copistas posteriores. Deste modo,
concluímos que o CANCIONEIRO DE PARIS terá sido elaborado entre 1545-70 e que contém repertório que
vai desde o início do século XVI até meados do mesmo século, o que, tendo em conta propostas recentes
sobre esta matéria, faz deste códice o mais antigo cancioneiro musical português renascentista conhecido.
Apresentamos ainda um estudo das formas poéticas e dos géneros musicais representados no
cancioneiro, e exploramos novas linhas de investigação do repertório musical, concretamente na
identificação de recursos de expressividade musical, que poderão contribuir para uma futura caracterização
mais rigorosa do repertório secular português quinhentista. Abordamos também os aspectos práticos da
escrita musical e da interpretação do repertório do cancioneiro, caracterizando o vocabulário utilizado, que
contribui para o esclarecimento da gramática da notação musical da época e informa os critérios de
transcrição por nos utilizados na edição dos textos musicais.The subject of this dissertation is the F-Peb Masson 56 manuscript, also known as Cancioneiro de Paris (Paris Songbook), the largest Portuguese source of 16th-century secular music. After almost 50 years since François Reynaud’s doctoral thesis (1968) – which was until now the only research study dedicated exclusively to this manuscript, and which remains unpublished – our essay presents a detailed description of the formal aspects and contents of the cancioneiro, delving deeper into those questions touched on by the French musicologist in the light of new sources and findings in the domain of historical musicology which have surfaced during the last decades, with the aim of establishing a scientifically solid and accurate basis for analysis and transcription and, beyond that point, launching new lines of research on the poeticmusical content of the cancioneiro. In particular, this dissertation consists of a thorough codicological and palaeographical study, with an extensive description of all textual and musical hands of the cancioneiro, not only of their physical characteristics but also of their vocabulary; and also of a study of the contents of the cancioneiro, with an analysis of its thematical sectioning, accompanied by a volume of accurate transcriptions of all poetic and musical texts and its respective critical apparatus, including the establishing of new concordances which allowed us to put forward proposals for the identification of new authors and the reconstitution of the accompanying parts of some compositions which are given in one voice only. The data and conclusions gathered in these studies allowed us to put forward a solidly grounded proposal for the dating of the repertory and, for the first time, build a timeline of the constitution of the cancioneiro, from its original layer to the successive interventions of later scribes. I thus concluded that the Cancioneiro de Paris was composed between 1545-1570 and that it contains repertory from the early to the mid-16th century, which, considering recent proposals on the subject, makes it the earliest Portuguese Renaissance musical songbook known to date. This dissertation also includes a study of the poetic forms and musical genres represented in the cancioneiro; new lines of research on its repertory, namely, the identification of resources of musical expressiveness, are also explored, which may contribute to a future characterization of Portuguese Renaissance secular music. It touches also on practical aspects of the writing and the interpretation of the cancioneiro repertory, describing the musical vocabulary, which contributes to the clarification of the musical notation grammar and informs the transcription criteria used for the edition of the musical texts.