Dissertations / Theses on the topic 'Santali Manuscripts'

A presente dissertação tem por objetivo - dando ênfase aos aspectos históricos e culturais do município de Santana de Parnaíba e considerando o fenômeno do alçamento vocálico - colocar em discussão a formação e a expansão da variedade lingüística chamada \"dialeto caipira\" em São Paulo. Para tanto, este estudo compreende as edições fac - similar e semidiplomática justalinear de documentos manuscritos, acompanhadas de uma sucinta análise codicológica e paleográfica, e gravações realizadas com falantes naturais da região.
The present research aims - giving some emphasis to the historical and social aspects of the town Santana de Parnaíba and considering the vocalic elevation phenomenon - to put in discussion the linguistic variety formation and expansion called \"peasant dialect\" in São Paulo. In order to do that, this research comprises the fac - similar and semidiplomatic juxtaposed editions of handwritten documents, accompanied by concise paleontologic and codecologic comments, and interviews with natural speakers of the region.

O presente trabalho visa uma aproximação da sensibilidade medieval a respeito do tema da Criação de Eva a partir de códices iluminados, especialmente os presentes nos mosteiros portugueses mais importantes de Coimbra nos séculos XII e XIII. As tensões entre a carne e o espírito, o masculino e o feminino, elementos essenciais na mentalidade medieval serão abordados a partir das imagens e das discussões sobre a Criação e o Pecado e as vivências quotidianas pelos sentidos corporais, ajudando a compor, a partir das imagens, a visão polissêmica da figura feminina em Portugal medieval.
The present work approaches the medieval understanding of the theme of the Creation of Eve through the study of manuscript illuminations, and particularly those in the most important monasteries of Coimbra, in the Kingdom of Portugal, in the 12th and 13th Centuries. The tension between the flesh and the spirit, and between the masculine and the feminine essential elements of the medieval mentality- essential elements of the medieval mentality - will be explored based on images and debates related to Creation, Original Sin and the daily life as experienced through the senses, producing a polysemic view of the feminine figure in medieval Portugal.

Cette thèse porte sur l’activité épigraphique de F. Ximenez, administrateur de l’hôpital trinitaire de Tunis qui, entre 1720 et 1735, a entrepris plusieurs excursions dans la Régence. Ses ouvrages sont restés inédits pour la plupart et, bien qu’ils aient été dépouillés à l’occasion de la publication du huitième volume du Corpus Inscriptionum Latinarum (CIL), une relecture s’avérait nécessaire. En effet, plusieurs des informations relatives aux inscriptions n’avaient pas été relevées, tandis que d’autres n’avaient pas été interprétées de manière satisfaisante. Ces informations concernent les caractéristiques des monuments épigraphiques, leur localisation ainsi que les conditions de leur découverte. Les erreurs d’interprétation faites lors du dépouillement des manuscrits de F. Ximenez ont mené à la création de doublons, mais ont conduit également à situer la provenance de certaines inscriptions loin du site qui leur correspond. Afin de mieux cerner les itinéraires empruntés par F. Ximenez pour déterminer les sites de provenance des inscriptions, il a été indispensable de consulter des cartes archéologiques tant anciennes que récentes et de se rendre sur le terrain afin de suivre les pas de cet auteur et ainsi reconstituer ceux de ses parcours qui apparaissaient comme les plus obscurs. De même, la relecture des manuscrits de F. Ximenez et la comparaison avec les textes des voyageurs qui lui étaient contemporains ont permis de reconstituer les stemmata de la tradition manuscrite des inscriptions. Il s’agissait d’analyser la transmission des informations entre les antiquaires de l’époque et de rendre à chacune des parties en cause ce qui lui était dû. Ces comparaisons nous ont mené à analyser les motivations et les intérêts de F. Ximenez relativement aux inscriptions anciennes. Qu’est-ce qui l’intéresse principalement dans les épigraphes ? Quels types de données collecte-t-il les concernant et quelles informations tente-t-il de déduire à partir de ces documents ? Comment en fait-il les relevés ? Ces aspects nous ont permis de mieux situer F. Ximenez au sein des antiquaires de son époque ; pour cela, il a d’ailleurs été nécessaire d’étudier la réception par quelques-uns de ces antiquaires. Quelle était l’opinion de ces savants le concernant ? Comment se sont-ils servis des informations que F. Ximenez a recueillies ?
This thesis deals with the epigraphical activity of F. Ximenez, the administrator of the Trinitarians hospital at Tunis who, between 1720 and 1735, undertook several excursions in the interior of the Regency. Most of his work remains unpublished, and even and even after being dissected for the publication of the Corpus Inscriptionum Latinarum (CIL), a re-reading have been proved to be necessary. Indeed, a certain amount of the information on the inscriptions was yet to be discerned and a significant part extracted from it hasn’t been correctly interpreted. They concern the features of the epigraphical monuments as well as their localisations and the conditions of their discovery. The major blunders committed interpreting the manuscripts of F. Ximenez have created duplications of inscriptions and have let researchers think that some inscriptions came from what it tourned out to be the wrong places. In order to draw up the itineraries of F. Ximenez and to determine the sites of origin of the inscriptions it has been essential to consult the ancient and recent archeological maps, along with a field visit in the country in order to follow his steps, shedding light on the case of his more unclear journeys. This new reading of the manuscripts of F. Ximenez and the comparison with the works of the contemporary travellers have also allowed to recreate the stemmata of the manuscript tradition of inscriptions. The aim has been to analyse the transmission of information between the antiquarians of that time and give back to all of the parties involved what was due to each one of them. These comparisons have led us to analyse the reasons and the interests of F. Ximenez with regard to the ancient inscriptions. What's his main interest concerning the epigraphs? What kind of data does he gather from them and what kind of information does he try to deduce from them? How does he take the tracings? These approaches have allowed to place F. Ximenez within the antiquarians of his time, but in order to do this it has been essential to study the reception which some of them have made of the manuscripts of F. Ximenez. What was the opinion of those scholars on F. Ximenez? How did they use the data he has gathered? We have attempted to answer these as well as other questions in this thesis

This study examines painted leaves and fragments that were extracted from a set of choir books created in the last decade of the fifteenth century for the basilica of Santa Maria in Aracoeli in Rome. These remnants are currently housed within various library and museum collections throughout Europe and the United States. The set is agreed upon generally by scholars to have been commissioned by Alexander VI (Rodrigo Borgia, 1431-1503), who was pope from 1492 to 1503, as a gift to the church during his time as pontiff. The choir books for Santa Maria in Aracoeli contain the bulk of the known body of work by the enigmatic illuminator Fra Antonio da Monza. The best known items from this set of choir books are a complete gradual (or book of chants for the Mass) currently housed in the Getty Museum, called the Ludwig Aracoeli Manuscript, and a montage of cuttings in the Albertina Museum, Vienna, that features a miniature of the Pentecost. These are studied in the context of the artistic patronage of Alexander VI, and political and diplomatic gift cultures in papal Rome during the last decade of the Quattrocento. Alexander VI's gift to Santa Maria in Aracoeli served multiple functions. It advanced church music, but is also an example of a pontiff using custom luxury books for cultural diplomacy. The intent of the choir books was to build social relationships and augment the prestige of Alexander VI's regime with a local audience. Alexander VI sought to acknowledge the symbolic resonance of Santa Maria in Aracoeli and attempted to recuperate the site's importance for his reign through the gift. This study argues that the choir books were commissioned by the pontiff to promote his cultural and religious authority through abbellimento or "embellishment", the practice of commissioning ostentatious liturgical objects and additions to religious ceremonies for the purpose of developing esteem for an ecclesiastical office. This thesis argues that another purpose of the bestowment was to appease the Observant Franciscans in charge of the basilica in anticipation of Alexander VI's reforms of the Franciscan order.

Dissertação (mestrado) - Universidade de São Paulo. Faculdade de Filosofia, Letras e Ciências Humanas. Departamento de Letras Clássicas e Vernáculas. Programa de Pós-graduação de Filologia e Língua Portuguesa
Made available in DSpace on 2015-03-18T20:10:30Z (GMT). No. of bitstreams: 0 Previous issue date: 2007

This dissertation studies the emergence of literary history and criticism in the Americas during the eighteenth century. It focuses upon the study of 1.) Natural history as a matrix of literary history and criticism; 2.) The geopolitical functions of literary history and criticism in the periodical press; and 3.) The recovery of manuscripts as a residual product of modernity. Texts associated with a hegemonic Enlightenment, such as “Disertación sobre el derecho público universal” by Francisco Javier de Uriortúa, are analyzed. Next, we study modern historical-critical thought as emphasized in the periodical press of Bogotá and Quito. Finally, the circulation of manuscripts is studied as an indicator of the participation of Spanish American authors in discussions about the Enlightenment. For the latter, the dissertation analyzes the development of theories of good taste in El Nuevo Luciano de Quito by Eugenio Espejo and in the Plan elementál del buen gusto en todo genéro de materias by Manuel del Socorro Rodríguez de la Victoria. The study challenges the epistemological conflict provoked by the handwritten condition of a considerable portion of scholarship from the eighteenth century, in which the projects of an American modernity become subjugated by the power of European print.

Le corpus du projet repose sur les Cartapácios de Coimbra, un ensemble de manuscrits du milieu du XVIIe siècle, résolument passionnants et pratiquement inédits, issus de Santa Cruz et conservés à la Bibliothèque Générale de l’Université de Coimbra. Le présent travail s’inscrit dans un projet de recherche multidisciplinaire en cours à l’Université de Coimbra (Mundos e Fundos | CECH), et se concentre sur l´un des seize manuscrits de cette collection : le manuscrit musical 51 (MM 51). Il constitue la première étude détaillée d’un cartapácio comportant également son édition critique complète. Cette étude monographique engage également une confrontation permanente avec les quinze autres cartapácios et avec son contexte spécifique portugais et ibérique.D’après notre étude philologique, le MM 51 s’avère un cahier d’usage personnel d’un musicien à l’œuvre. Il contient un répertoire très varié regroupant des œuvres sur textes latins et sur textes vernaculaires. Les propositions polyphoniques que le manuscrit offre sont multiples et variées, souvent au sein d’une même œuvre, et appartiennent à un langage typiquement ibérique. La majorité de la musique est écrite à huit voix, toujours en polychoralité et accompagnée d’un guião, avec divers contrastes produits notamment par un style concertato.Le travail est fondé sur une approche positiviste, philologique et critique, le tout enrichi par une expérimentation analytique et sensible du répertoire, grâce au laboratoire musicale de la Capella Sanctae Crucis.Notre thèse espère ainsi contribuer à enrichir les fondements d’une meilleure connaissance de l’activité musicale du XVIIe siècle portugais
This study is based on Cartapácios de Coimbra, an ensemble of practically unstudied seventeenth century music manuscripts preserved at Coimbra’s University Library (Biblioteca Geral da Universidade de Coimbra). It is part of a multidisciplinary research project currently in progress at University of Coimbra (Mundos e Fundos | CECH). The research is concentrated on one manuscript among the sixteen that constitute this collection: musical manuscript 51 (MM 51). This study is the first ever detailed study over one cartapácio including its complete critical edition. Although focussing primarily on one cartapácio, a comparative analysis with the respect to the other fifteen cartapácios was also conducted, and located in the specific Portuguese and Iberian context.According to our philological study, the MM 51 seems to be a notebook for private use of a working musician. It contains a very diverse repertoire comprising both vernacular and Latin works. The polyphonic settings in the manuscript are multiple and varied, often within the same work, and belong to a typically Iberian language. The majority of the music is written for eight voices, always in polychorality and accompanied by a guião, with various contrasts produced in particular by a concertato style.A positivist, philological and critical approach was taken in the research, which was supplemented by an experimental performance of the repertory, thanks to the musical laboratory Capella Sanctae Crucis.It is hoped that this thesis study will substantially enrich the knowledge base of Portuguese seventeenth century musical activity

O Mosteiro de Arouca, fundado em data incerta entre os séculos IX e X, tornou-se numa das instituições religiosas mais importantes em Portugal com a chegada da Infanta Mafalda no início do século XIII. A partir desse momento, a vida litúrgica e musical deste mosteiro renovou-se e teve um papel fundamental na implementação da espiritualidade cisterciense no norte do país, a prova disso é o rico espólio que ainda hoje conserva. O espólio de Arouca também se destaca entre os outros por ser enriquecido com manuscritos de rara preciosidade como é o caso de quatro códices que integram dois antifonários completos, dos quais se deve frisar o P-AR Res. Ms. 25 de c. 1200, que apresenta a peça polifónica mais antiga até hoje encontrada em Portugal (hino em honra de S. Bernardo de Claraval). O antifonário com o Ofício para a Festa da Rainha Santa Mafalda, mais recentemente descoberto, também se destaca, entre outros. Apesar do espólio já ter sido alvo de estudo por parte de musicólogos nacionais e internacionais, o último manuscrito acima designado, P-AR Res. Ms. 17, é aqui pela primeira vez objecto de investigação científica. A sua descrição e contextualização afiguram-se uma contribuição relevante para o conhecimento do património litúrgico-musical português devido à raridade e relevância do seu conteúdo.
The Monastery of Arouca, founded at an uncertain date probably between the 9th and 10th centuries, became one of the most important religious institutions in Portugal, with the arrival of Princess Mafalda of Portugal in the early 13th century. From this moment on, the liturgical and musical life of this monastery was deeply changed and it became a key institution in the spread of Cistercian influence in northern Portugal: the proof of this is the extant book collection. The collection of the Monastery of Arouca also stands out for its inclusion of manuscripts of rare preciousness, as is the case of four codices that represent two complete antiphoners, e.g P-AR Res. Ms. 25 of c. 1200, which has the oldest polyphonic piece found in Portugal, a hymn in honor of Saint Bernard of Clairvaux; the antiphonary with the Office for the Feast of Holy Queen Mafalda, recently discovered, among others manuscripts. Although the collection has already been studied by national and international musicologists, the manuscript P-AR Res. Ms. 17 is here for the first time the subject of scientific research; its description and contextualization are a relevant contribution to the knowledge of the Portuguese liturgical-musical heritage, due to the rarity and meaningfulness of its contents.

In this thesis, the Books of Birds from Hugh of Fouilloy produced in the Portuguese monasteries of São Mamede of Lorvão, Santa Maria of Alcobaça and Santa Cruz of Coimbra, were studied for the first time through an interdisciplinary and holistic approach. This investigation opened doors to a customized methodology for the study of manuscript circulation, by converging their history, codicology, iconography, colour – both molecular and symbolic – text analysis and conservation state. This allowed proposing new chronologies and correlations between each copy. Santa Cruz still lacked a comprehensive study from a material and technical point of view, contrarily to Alcobaça and Lorvão, which could ultimately support the research on the Books of Birds. Therefore, the Santa Cruz manuscripts were subject of a detailed investigation on their painting materials and techniques, as well as its bindings, used in their production. Since the collection had been previously analysed in a MOLAB access, the experimental work developed in this thesis was compared with the MOLAB data and the advantages of an in situ and micro-sampling approach were discussed. The three collections were compared, which allowed establishing more in-depth the colour palette used in Romanesque manuscripts, their singularities and main degradation issues. In order to study the meaning behind the usage of these colours, a colour mapping tool was developed and systematically applied in the three scriptoria. It was established that this complementary technique can bring new insights to art history, by correlating colour patterns to specific historical periods. Finally, it was also developed a new methodology for the study and characterization of dyes in illuminated manuscripts, by combining microspectrofluorimetry and SERS for the first time. It allowed establishing that lac dye was used to paint dark reds and pinks in Portuguese scriptoria, during the Romanesque period.

Tese de Doutoramento em Estudos Artísticos apresentada à Faculdade de Letras da Universidade de Coimbra
Música e liturgia no Mosteiro de Santa Cruz de Coimbra (c.1650): os sons de um cartapácio através da edição crítica do manuscrito musical 51 da Universidade de Coimbra A música portuguesa do século XVII permanece ainda hoje em grande medida um património pouco conhecido. Nesse período, o Mosteiro de Santa Cruz de Coimbra parece ter desenvolvido uma extraordinária actividade musical. Porém, poucos são os estudos detalhados sobre a matéria, privilegiando principalmente o repertório vernacular e a presença instrumental, sem que um trabalho mais aprofundado tenha sido elaborado, até hoje. O corpus deste projecto são os Cartapácios de Coimbra, um conjunto de manuscritos do século XVII extremamente aliciantes e praticamente inéditos, oriundos do extinto Mosteiro de Santa Cruz e conservados na Biblioteca Geral da Universidade de Coimbra. O trabalho insere-se num projecto de investigação multidisciplinar em curso na Universidade de Coimbra (Mundos e Fundos | CECH) e concentra-se sobre um dos dezasseis manuscritos da referida colecção: o manuscrito musical 51 (MM 51). Constitui-se como o primeiro estudo detalhado sobre um cartapácio incluindo a sua edição crítica integral. Este estudo monográfico mas elabora igualmente uma análise comparativa permanente com os outros quinze cartapácios da colecção e com o seu contexto português e ibérico. O conteúdo do MM 51 é bastante variado, composto por obras musicais polifónicas sobre textos latinos e sobre textos vernaculares. São múltiplas as propostas polifónicas que o manuscrito nos oferece, muitas vezes dentro de uma mesma obra, e pertencem a uma linguagem tipicamente ibérica. Grande parte das obras estão escritas para oito vozes, sempre em policoralidade com guião, apresentando diversos contrastes produzidos nomeadamente recorrendo ao estilo concertato. Encontramos igualmente a Résumé | Portugais vi presença de melodia acompanhada (a solo ou em duo) bem como polifonia a três e a quatro vozes, com e sem guião. A clareza do texto é francamente respeitada através da utilização frequente da declamação homofónica enriquecida permanentemente através de vários tipos de antifonia, de passagens com contraponto imitativo ou em contraponto sobre cantus firmus. O MM 51 apresenta-se sem dúvida como um testemunho exemplar de uma diversidade de formas polifónicas. A grande maioria do repertório musical escrito sobre textos latinos destina-se muito provavelmente a três momentos específicos e festivos do calendário cristão: Natal (de 1649), Ascensão (de 1650) e Corpo de Deus. A proximidade entre textos latinos e vernaculares, partilhando inclusivamente os mesmos processos composicionais, testemunha a importância da música vernacular dentro do espaço litúrgico. O nosso estudo sobre a variedade de géneros presentes no MM 51 permite-nos também uma perspectiva sobre géneros que circulam principalmente em fontes manuscritas e que são frequentemente invisíveis na historiografia recente. Procuramos desenvolver igualmente um estudo filológico do manuscrito que fundamente a hipótese de estarmos perante um caderno de uso privado, característico do ofício de um músico. Repleto de inúmeras correcções e várias variantes, o manuscrito traduz na sua maioria uma fase de rascunho, predominantemente próxima da finalização. Os diversos gestos analisados são efectivamente típicos de um manuscrito de trabalho, normalmente denominado borrador na península ibérica. Trata-se muito provavelmente da obra de um único calígrafo, na nossa opinião o mais activo na confecção do conjunto dos Cartapácios, parecendo-nos que a maioria das peças do MM 51 são autógrafas, para as quais avançamos um autor possível. O trabalho está construído segundo uma abordagem positivista, filológica e crítica, e enriquecido pela experimentação analítica e sensível do repertorio através do laboratório musical da Capella Sanctae Crucis. O exercício interpretativo destas fontes inéditas levou-nos ao desenvolvimento de uma grande versatilidade musical, respondendo à diversidade encontrada nas fontes. Sem dúvida, feita esta primeira reflexão sobre o MM 51 e os Cartapácios, parece-nos evidente que uma das palavras-chave na leitura deste repertório é a diversidade: nos géneros, na música, nos textos, na continuidade. A nossa tese espera assim contribuir para o enriquecimento das bases para um conhecimento mais profundo da actividade musical em Portugal no século XVII. ABSTRACT Music and liturgy of the Monastery of Santa Cruz in Coimbra (c.1650): the sounds of one cartapácio revealed through the critical edition of Music Manuscript 51 of the University of Coimbra Portuguese seventeenth century music remains, for the most part, an unknown heritage. The quantity of musical sources from this period is enormous, its diversity and richness are indubitable. However, the musicological work still to be done is immense. During this period, Coimbra’s Monastery of Santa Cruz, in the centre of Portugal, seems to have been very active musically. Nevertheless, and despite its immense significance, few studies about the musical heritage of this monastery have been conducted. This study is based on Cartapácios de Coimbra, an ensemble of practically unstudied seventeenth century music manuscripts preserved at Coimbra’s University Library (Biblioteca Geral da Universidade de Coimbra). It is part of a multidisciplinary research project currently in progress at University of Coimbra (Mundos e Fundos | CECH). The research is concentrated on one manuscript among the sixteen that constitute this collection: musical manuscript 51 (MM 51). This study is the first ever detailed study over one cartapácio including its complete critical edition. Although focussing primarily on one cartapácio, a comparative analysis with the respect to the other fifteen cartapácios was also conducted, and located in the specific Portuguese and Iberian context. The MM 51 contains a very diverse repertoire comprising both vernacular and Latin works. The analysis led to the following insights. The polyphonic settings in the manuscript are multiple and varied, often within the same work, and belong to a typically Iberian language. The majority of the music is written for eight voices, always in polychorality and accompanied by a guião, with various contrasts produced in particular by a concertato style. One can also find accompanied melody (solo and duet) as well as Résumé | Anglais viii polyphony for three and four voices, with or without guião. The clarity of the text is widely respected through the frequent use of homophonic declamation and constantly diversified by means of several antiphonic features, as well as imitative counterpoint or over a cantus firmus. The MM 51 undoubtedly represents an example of the diversity of polyphonic forms. Almost all of the music with Latin texts is intended for three very special and festive occasions of the Christian calendar: Christmas (1649), Ascension (1650) and Corpus Christi. The connexion between the Latin and vernacular texts, sharing also the same compositional proceedings, demonstrates the importance of vernacular music within the liturgical space. Finally, the variety of genres present in the MM 51 directed us to an analysis across genres that are found mainly in manuscript sources and often invisible in recent historiography. According to our philological study, the MM 51 seems to be a notebook for private use of a working musician. Filled with all sorts of corrections and variants, the manuscript appears to be a draft, in the middle stage of the compositional process, often close to finished work. The various gestures studied are indeed quite typical of a manuscript for private use, often called borrador in the Iberian Peninsula. It is most probably the work of a single calligrapher, in our opinion the most active in the making of the Cartapácios. Most of the musical works collected in the manuscript seem to be autograph, for which we advance the attribution of a possible author. A positivist, philological and critical approach was taken in the research, which was supplemented by an experimental performance of the repertory, thanks to the musical laboratory Capella Sanctae Crucis. The diversity encountered in these overlooked musical sources required great musical versatility in the performance. Indeed, it seems to us that a keywords in the reading of this repertoire is its diversity: genres-wise, music-wise, texts-wise, continuity-wise. It is hoped that this thesis study will substantially enrich the knowledge base of Portuguese seventeenth century musical activity.

Edição crítica de dois discursos latinos compostos pelo Jesuíta Duarte de Sande no século XVI em louvor da Rainha Santa Isabel. Inclui tradução, notas e introdução sobre os manuscritos, os critérios de fixação dos textos, o aparato crítico, o orador, as fontes históricas, a origem dos panegíricos jesuíticos à Rainha, e o conteúdo, a estrutura e os recursos estilísticos dos discursos.
Critical edition of two latin speeches composed by the Jesuit Duarte de Sande in the sixteenth century in praise of Queen Saint Elizabeth. It includes translation, notes and introduction on the manuscripts, the criteria for reconstructing the texts, the critical apparatus, the speaker, the historical sources, the origin of the jesuitic panegyrics for the Queen, and the content, the structure and the stylistic resources of the speeches.

Cette thèse est une étude analytique et comparative des conceptions éthiques autochtones, à travers des discours coloniaux de deux régions de l'Amérique : le Pérou et le Québec. Le but ultime de cette étude est permettre de découvrir les principes de ces éthiques des communautés autochtones et de les faire participer au débat et à la création d'éthiques interculturelles et écologiques pertinentes pour le monde contemporain. À cette fin, ce travail se consacre à l'étude des traditions orales autochtones, et plus particulièrement à la littérature de source orale coloniale. Plus précisément, nous étudions deux chroniques coloniales autochtones des Andes : le Manuscrit de Huarochirí et la Relation de Joan Santa Cruz Pachacuti, ainsi que les relations de deux missionnaires jésuites en Nouvelle-France : Paul Lejeune et Jean de Brébeuf. Étant donné que ces textes ne peuvent être considérés comme des transcriptions littérales des traditions orales autochtones, nous optons pour une méthodologie qui prend en compte à la fois les locus de l'énonciation, les traditions discursives et les processus de textualisation de la mémoire, ainsi que les relations contextuelles (référentielles, intertextuelles et interpersonnelles) et les instances d’une analyse « éthicologique ». Du côté des textes des Andes, des dynamiques éthiques synthétisées comme une « éthique de la réciprocité » sont dégagées. Cette dernière se veut hautement écologique, prend en considération la cohabitation avec toutes les entités de l’environnement (humaines et non humaines) et, par conséquent, peut être considérée comme un effort pour répondre aux défis imposés par le contexte dans lequel elles vivent. En ce qui concerne les textes québécois, leurs principes éthiques se résument en une « éthique du respect », celle-ci pouvant également être considérée comme une éthique écologique. De fait, on y observe l’absence d’une réelle séparation entre l’être humain et les autres entités de son milieu, remplacée par une continuité fluide de relations entre celles-ci, formant un « cercle sacré » de relations. À partir de ces résultats, un bilan comparatif est dressé et montre que les différences sont pour la plupart de nature formelle. En effet, les éthiques sont ancrées dans des réalités sociohistoriques différentes puisqu’elles se réfèrent à différents environnements et aux coutumes qui y sont reliés. En termes de similitudes, celles-ci se résument au concept de « cosmoéthique du cercle » qui révèle une conception de l'éthique comme un processus dynamique mettant en jeu non seulement les humains, mais aussi l'environnement et ce qui échappe à l’appréhension palpable du monde. Enfin, une tentative est faite, celle de donner une perspective à certains principes dégagés lors des analyses, montrant qu’elles peuvent impliquer une complexité parfois niée ou écartée par certains philosophes occidentaux contemporains. Ainsi, ce travail montre que l’étude de discours proprement autochtones est une porte d’accès à leurs manières de concevoir l’éthique et peut donc contribuer au travail interculturel de la philosophie et, plus précisément de l’éthique.
This thesis is a comparative study of indigenous ethical conceptions, through the analysis of colonial discourses from two regions of the Americas: Peru and Quebec. The aim of this study is to discover the principles of indigenous ethics and have these participate in the creation of and discussion about intercultural and ecological ethics that are relevant to the contemporary world. To this end, this paper is devoted to the study of indigenous oral traditions, and more particularly to colonial literatures based on oral sources. Specifically, we study two indigenous colonial chronicles from the Andes: the Huarochiri Manuscript and the Relation, by Joan and Santa Cruz Pachacuti; we also examine the relations of two Jesuit missionaries in New France: Paul Lejeune and Jean de Brébeuf. Since these texts cannot be considered as direct transcriptions of indigenous oral traditions, we use a methodology that takes into account the locus of enunciation, discursive traditions and processes of textualization of memory; as well as contextual relationships (intertextual, referencial, and interpersonal) and the different instances of an “ethicologic” analysis. Regarding the Andean texts, ethical dynamics are highlighted and then synthesized as an “ethics of reciprocity”. This highly ecological ethics takes into consideration the coexistence of all environmental entities (human and non-human), and may be viewed as an effort of Andean people to respond to the specific challenges they faced. Concerning the texts from Quebec, the ethical principles identified may be summarized as an “ethics of respect”. These may also be viewed as an ecological ethics as they do not perceive a real separation between man and the other entities that inhabit their environment. Rather, they view the relationship between human and non-human entities as a fluid continuity that forms a “sacred circle”. Based on these results we draw a comparative assessment that demonstrates that the difference is mostly formal: ethics are anchored in different socio-historical realities related to environmental differences and the customs associated with these environments. Regarding the similarities between the Peruvian and Quebec indigenous ethics, they may be summarized by the concept of a “cosmoethics of the circle”. This reveals a conception of ethics as a dynamic process that brings into play not only humans, but also the environment, as well as that which escapes a palpable apprehension of the world. Finally, this thesis attempts to lend a perspective on some of the principles outlined in the analysis, by showing that they can involve a complexity that is at times denied or dismissed by contemporary Western philosophers. In summary, this dissertation shows that the study of indigenous discourses, or discourses which give a voice to indigenous people, is a gateway to their ways of thinking about ethics and therefore can contribute to the intercultural work of philosophy and ethics.
La presente tesis es un estudio analítico y comparativo de las concepciones éticas indígenas, a través de discursos coloniales de dos regiones de América: Perú y Quebec. La finalidad última de este estudio es la de permitir descubrir los principios de esas éticas indígenas y de hacerlas participar en el debate y creación de éticas interculturales y ecológicas pertinente al mundo contemporáneo. A ese fin, este trabajo se consagra al estudio de las tradiciones orales indígenas, y más particularmente al de la literatura de fuente oral colonial. Concretamente, se hace un estudio de dos crónicas coloniales indígenas de los Andes: el Manuscrito de Huarochirí y la Relación de Joan Santa Cruz Pachacuti; y de las relaciones de dos misioneros jesuitas en Nueva Francia: Paul Lejeune y Jean de Brébeuf. Puesto que estos textos no pueden ser considerados como trascripciones literales de las tradiciones orales indígenas, se ha optado por una metodología que toma en consideración tanto los locus de enunciación, las tradiciones discursivas y los procesos de textualización de la memoria, como las relaciones contextuales (intertextuales, referenciales e interpersonales) y las diferentes instancias de un análisis “eticológico”. Del lado de los textos andinos, se destacan dinámicas éticas que se sintetizan en una “ética de la reciprocidad”, ética altamente ecológica que toma en consideración el convivir con todas las entidades del entorno (humanas y no humanas) y, en consecuencia, que se puede considerar como un esfuerzo para responder a los desafíos impuestos por el contexto en el cual viven. Por lo que se refiere a los textos quebequenses, se identifican principios éticos que pueden ser resumidos como una “ética del respeto”, que también puede ser considerada como una ética ecológica, ya que no se concibe una real separación entre el ser humano y las demás entidades de su entorno, sino más bien una continuidad fluida de relaciones entre ellos, formando un “círculo sagrado” de relaciones. A partir de estos resultados, se elabora un balance comparativo que muestra que las diferencias son sobre todo de orden formal, ya que las éticas se anclan en realidades socio-históricas diferentes por tener que ver principalmente con las diferencias del medio ambiente y de las costumbres que les están asociadas. En cuanto a las similitudes, estas se resumen en el concepto de “cosmoética del círculo”, que releva una concepción de la ética como una dinámica que pone en juego no sólo a los humanos, sino también el medio ambiente y lo que escapa a la aprensión palpable del mundo. Para terminar, se intenta dar perspectiva a algunos principios destacados en el análisis, mostrando que pueden conllevar una complejidad que a veces es negada o descartada por los filósofos occidentales contemporáneos. Así, este trabajo muestra que el estudio de discursos propiamente indígenas, o que dan la palabra al indígena, es una puerta de acceso a sus maneras de concebir la ética y que, por tanto, puede contribuir en una labor intercultural de la filosofía y de la ética.