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1
Tammen, Björn R. "Musik und Bild im Chorraum mittelalterlicher Kirchen 1100-1500 /". Berlin : D. Reimer, 2000. http://catalogue.bnf.fr/ark:/12148/cb39221968q.
Testo completo
2
Rawlinson, Kent. "The English household chapel, c.1100-c.1500 : an institutional study". Thesis, Durham University, 2008. http://etheses.dur.ac.uk/2232/.
Testo completoAbstract (sommario):
This thesis examines the English medieval household chapel. Such chapels have only been studied previously in a partial and disjointed manner, as 'private', 'domestic' or 'castle' chapels, to name some categories. Past scholarship has assumed them to be maintained in an ad hoc manner, as the extraordinary consequence of individual piety, or the desire for social display. Instead, this thesis defines, for the first time, a discrete class of chapels based upon their primary function: the religious provision of medieval lordly households. It argues that individual households were instances of a wide-ranging and well- established ecclesiastical institution: 'the household chapel'. It posits that this institution had five principal elements: a basis in canon law; systems of maintenance and regulation; personnel (household chaplains); architectural and material expressions (household-chapel buildings and furnishings); and domestic religious routines. It argues that these elements were common to most household chapels between c. 1100 and c. 1500 (up to the English Reformation).Although aspects of these elements have received scholarly attention, none has-been examined from an institutional perspective. This thesis focuses primarily upon two: the canonical basis of the household chapel; and methods of establishment, maintenance and regulation. It argues that the household chapel possessed a clear remit in canon law, which enabled the widespread and uncontentious maintenance of such chapels; and that this canonical character was shaped in parallel with that of the English parish (and in some respects pre-dated its formation). This thesis also demonstrates that household chapels were maintained in an institutional manner, by the receipt of chapel grants, episcopal licences and papal privileges. Close examination of these demonstrates that household chapels were maintained on a large scale - by the majority of greater and gentle households - throughout this period, and that this maintenance was actively facilitated and supported by the contemporary ecclesiastical hierarchy. Alongside other classes of chapel (as yet unstudied), household chapels were a ubiquitous element of the English medieval church. This examination of the canonical and regulatory foundations of the household chapel establishes a framework within which chapel buildings, chaplains and domestic religious routines may be further studied, in an interdisciplinary manner, as elements of one institution. For instance, the disposition and form of some 250-350 extant chapel buildings must be considered in light of their institutional functions. Finally, this thesis challenges the scholarly assumption that household chapels were maintained either for the spiritual satisfaction of individual lords, or as a form of social display. Rather, it argues that the household chapel, as an institution, was a necessary and ubiquitous means of enabling the orthodox religious provision of greater and gentle medieval households who could not, for a variety of reasons, be served by the medieval parish, or fully belong to its communities.
3
Stephenson, M. J. "The productivity of medieval sheep on the Great Estates, 1100-1500". Thesis, University of Cambridge, 1986. https://www.repository.cam.ac.uk/handle/1810/272811.
Testo completo
4
Kanzler, Cheryl Marie-France. ""Amis and Amiloun" : roman de l'amitié à l'époque moyen-anglaise". Paris 4, 1986. http://www.theses.fr/1986PA040238.
Testo completoAbstract (sommario):
Amis and Amiloun, œuvre moyen-anglaise de la première moitié du XIVe siècle, est un parfait exemple de roman de l'amitié. L'étude se divise en trois parties : historique thématique et littéraire. Le problème des sources est considéré en relation avec les textes latin, anglo-normand et français. Les thèmes s'enchainent de façon logique et forment un ensemble de symétries, de correspondances et d'oppositions du fait de la gémellité des personnages. L'étude de l'art prouve l'originalité de l'auteur moyen anglais et la grande cohésion de l'œuvreAmis and Amiloun is an excellent example of a Middle English romance of friendship during the first half of the 14th century. The thesis is divided into three sections: historic, thematic and literary. The origin of the romance is considered in relation to the Latin, Anglo-Norman and French texts. The themes encompass correspondences and oppositions due to the fact that the main characters are twins. The literary aspect proves the originality of the Middle English author and his structural skill
5
Sauveplane, Daniel. "Le subjonctif en anglais : étude diachronique et synchronique dans une perspective énonciative". Toulouse 2, 2000. http://www.theses.fr/2000TOU20111.
Testo completoAbstract (sommario):
Dans le cadre d'une démarche diachronique, l'objectif de ce travail de recherche a été de comprendre le fonctionnement du subjonctif dans son opposition dialectique avec l'indicatif dans le système verbal du Vieil-Anglais et son rôle dans le discours à l'aide d'un corpus d'occurences relevées dans des textes de diverses époques mais dont les copies datent pour la plupart du XIe siècle. Ce travail de recherche s'appuie sur les concepts d'analyse du discours de la linguistique des opérations énonciatives. L'étude est ensuite poursuivie dans des textes du Moyen-Anglais, du XIIe au XIVe siècles afin d'établir le type d'évolution que subit le mode subjectif. Un chapitre spécial est consacré à deux auteurs majeurs à deux siècles de distance : Chaucer et Shakespeare. La comparaison de la langue de ces deux auteurs manifeste une évolution significative. Dans une deuxième étape, il s'est agi de voir comment un certain nombre de grammairiens et linguistes depuis le XIIe siècle jusuqu'à nos jours (il n'était pas possible de faire une étude exhaustive) ont analysé le système verbal de l'anglais et de voir comment ils ont intégré les formes appelées subjonctives dans les conjugaisons du verbe anglais. Il est fort instructif de constater que certains ne l'ont pas fait et n'ont pas pris en compte ces formes-là dans leur construction du système verbal. Ces recherches en linguistique diachronique et l'analyse grammaticale permettent d'aborder dans une troisième partie l'étude de l'anglais actuel à travers l'analyse d'un corpus d'occurences de formes traditionnellement considérées comme des subjonctifs. Cette analyse du fonctionnement en discours des formes BVØ et V-ED modal nous conduit dans un dernier chapitre à dire qu'il n'y az plus de mode subjonctif opératoire en anglais actuel et à préciser quels types d'opérations énonciatives sont effectuées en discours au moyen de ces deux structuresStarting from a diachronic point of view, the objective, in a first part of this research paper, has been to understand the workings of the subjunctive versus the indicative in the verb system of Old English and its part in discourse thanks to a corpus of utterances selected in texts from various periods but whose copies were established for the most part in the 11th century. Our work has been carried out along the lines of the linguistics of mental operations in speech production. We then move on to study Middle English texts from the XIIth to the XIVth centuries in order to assess the type of evolution that the subjunctive underwent through that period. A whole chapter is devoted to two majors authors in the history of the English Language : Chaucer and Shakespeare. Being two centuries apart, their use of English helps bring out another significant evolution of the verb system within that time frame. A second part aims at assessing how linguistis and grammarians from the middle of the XVIIth century up to the present time have analysed and accounted for those verb phrases traditionally labelled as subjunctive forms. Equipped with the data from the diachronic study of Present-Day English with a large set ot uttererances from various sources. In the final chapters, we contend that there is no such thing as a subjunctive mood in P-D English and we analyse the type of mental operations carried out in speech production with such verb phrases as the verb base, VBØ, and the modal use of V-ED
6
Armas, Castro José. "Pontevedra en los siglos XII a XV : configuración y desarrollo de una villa marinera en la Galicia medieval /". [La Coruña?] : Fundación "Pedro Barrié de la Maza Conde de Fenosa, 1992. http://catalogue.bnf.fr/ark:/12148/cb358662193.
Testo completo
7
Dedieu, Fabienne. "A propos de quelques intensifs en moyen-anglais (12-14è siècle)". Paris 7, 2003. http://www.theses.fr/2003PA070044.
Testo completoAbstract (sommario):
Les adverbes intensifs se caractérisent par un cycle de vie particulièrement court. L'efficacité de la référence au plus haut degré possible (le type) ou imaginaire (l'attracteur) dépend de l'usure sémantique. En employant un ou plusieurs intensifs, l'énonciateur vise à exprimer la référence à un haut degré la plus stable possible afin que le degré indiqué soit compris du co-énonciateur. En moyen-anglais, le renouvellement des intensifs varie dans les principaux dialectes (le Nord et les Midlands-Est, les dialectes de l'Ouest, le Kent et le Sud-Est). Le statut d'un intensif est également conditionné par l'éventail des possibilités de collocation, le statut dans les cumuls d'intensifs, le comportement prosodique et le point d'insertion dans les poèmes. L'intensif usé peut être renforcé par un ou plusieurs intensifs ou porter un accent focalisant ou bien apparaître dans une structure syntaxique contrainte. Les intensifs sont renouvelés une première fois dans tous les dialectes. L'influence du vieux-norrois et de l'ancien français sur certains dialectes entraînera un second renouvellement au 14è siècleIntensifiers are words that wear out very quickly. The expression of the highest possible degree (the Organizing center) of the highest degree imaginable (the Attracting center) depends on how much they have been eroded. The utterer aims at expressing the most stable expression of a high degree so that the co-utterer knows exactly what degree he refers to. In Middle-English the turnover of intensifiers varies greatly in the six main dialects (the Northern and the East-Midland dialects, the West-Midland and the South-Western dialects, the South-Eastern dialect and Kentish). The position an intensifier holds in the system of intensification is determined by its range of collocation, prosody and its place in verse. Its syntactic role as the qualifier or the qualified in piled-up intensification helps determine how much obsolescent an intensifier can be. The obsolescent intensifier can be thus reinforced by one or several intensifiers ; it can also stand out prosodically or syntactically in a strained word arrangement. All intensifiers are replaced at least once in the main dialects. However, the most frequent intensifiers in the corpus are replaced again in the 14th century in the dialects influenced by Old Norse and Old French
8
Watson, Katherine. "The genius and construction of our Saxon poetry: old and middle English verse". Thesis, The University of Sydney, 2010. https://hdl.handle.net/2123/29224.
Testo completoAbstract (sommario):
Today, 'Anglo-Saxon origins, even in the educated or culturally Iiterate mind, remain a blank: nothing happened before 1066' 1. T. A. Shippey makes the point that the Anglo-Saxon world 'has no presence at all in modern life' ,2 particularly in contrast to the powerful presence of both the Viking World and the Arthurian one.3 England failed to retain or develop a flag, anthem, national symbology, etc., even in an era of violent European nationalism'.4 Why did England fail to develop an origin myth? Shippey suggests that England 'forfeited' its national identity in the nineteenth century, when 'the developing and potentially powerful image of Anglo-Saxon origins was sacrificed', and 'Englishness became an unwelcome political stance within the ''three kingdoms" of Britain and Ireland, as tending to exclude the non-English among Queen Victoria's subjects'; while 'the "invention" of Scottish, Welsh and lrish tradition was encouraged as compensation for progressive loss of independence and erosion of the Celtic anguages' .5 Walter Scott and many others 'created an image of co-operative British history which played a major part in reconciling contemporary Britons to British politics and the English language' .6
My aim is to examine this phenomenon in relation to England's literature, specifically its poetry. The forfeiture of Anglo-Saxon origins is apparent in the history of English poetry today, but the genesis of this history is located not in the nineteenth century, but in the eighteenth, in Thomas Warton's History of English Poetry. The present work examines the mechanisms which led to the omission of Old English poetry from Warton's History, and how this omission has affected the way we think about the origins of English poetry today.
Specifically, it is still widely held that English poetry began with Chaucer, and that there was a gap in poetry produced in England, between the 'Saxon' poetry produced by the Anglo-Saxons before the Norman Conquest, and the 'English' poetry which emerged - transformed by French prosody- two centuries or so after the Conquest. For this reason, the particular focus of the present work will be on poetry produced during the late Anglo-Saxon and Early Middle English periods, and how the prosody of that poetry has been theorised, both in the early nineteenth century, when it was first noticed, and today. As David Matthews has explained, the idea of Middle English was not invented until the 1870s, and 'even when scholars began agreeing' that there was a middle between Saxon and English, 'they did not agree on where exactly it occurred'. In these 'conditions of uncertainty', he argues, 'different ideologies could stake
different claims' .7
Although Matthews refers to the question of where the English language began, the same conditions of uncertainty applied to literature, and the question of where English poetry began has still not been resolved unanimously today. This 'diversity' of texts is still troubling to theorists today. For instance, it is still widely held that the Anglo-Saxons did not use rhyme. (This issue is a major focus of Part 3.)
The thesis of this work is that Old English verse did not die: there is no discontinuity of verse forms occurring at the time of the Norman Conquest. The dissertation presents a substantial reconsideration of a classic controversy, providing fresh perspective, in a context of reception histories relating to national and cultural identity, and with particular focus on developing ideas about prosody in medieval English verse. It presents Old and Middle English verse texts in a new way, collecting in appendices a comprehensive set of verse pieces from both periods which combine the use of alliteration and rhyme.
The approach taken focuses on the reception of early English verse and offers an analytical account of critical opinion across three centuries, tracking primary material and providing historical analysis of how critical views developed and influenced each other over a long period. There is an examination of the commonly held view that there is a break in the tradition of English poetry at the end of the Old English period and that when English poetry resumes, after a gap of a couple of centuries, its poetic forms are derived from French rather than earlier English models. In particular Old English poetry has been seen as based solely on alliteration and Middle English poetry on rhyme. An obvious problem with this view is the existence of a substantial body of alliterative poetry in the later Middle English period which has obvious similarities to Old English alliterative poetry. The processes by which the notion of a discontinuity between Old and Middle English poetry developed are explained, in particular how a tendency to ignore rhyme in Old English and explain away alliteration in Middle English has contributed to the development of this notion.
Part 1 traces the beginnings of commentary about Old English verse in the eighteenth century, when the understanding of Old English verse was uncertain and it was generally taken to be Danish in character, amounting to a refusal to regard it as English at all. The most influential text of the period, Warton's History of English Poetry, set the beginnings of English poetry at the Conquest.
Part 2 focuses on the growing understanding of Old English and Middle English verse in the early nineteenth century, characterised particularly by conflict between the scholars involved, and argues that the work of the influential antiquarian Thomas Wright recapitulated and fostered the old eighteenth-century position.
However, the main work of the dissertation is carried out in Part 3, which presents criticisms of the persistence in the twentieth century of the model of discontinuity and the idea of the 'death' of English verse at the hands of the Normans. It is shown that rhyme was present in Old English poetry and that the alliterative poetry of the Middle English period follows from an Old English tradition; and a case is made that Lawman should not be seen as a man who had lost the secret of Old English verse. lt is further demonstrated that even the key figure, J.P. Oakden, who began by assuming the death of alliterative verse, had to acknowledge ultimately that native English alliterative fom1s did not die.
Since it is the thesis of this dissertation that there is no significant boundary between Old and Middle English verse, the terms 'Old English' and 'Middle English' become problematic. In general I have used the term 'Old English' as it is generally used, to refer to the body of vernacular verse produced in England prior to the Norman Conquest, but the terms 'Saxon' and' Anglo-Saxon' sometimes refer to verse produced up until the thirteenth century.
9
Moreau-Guibert, Karine. "Le "Pore Caitif" : éditions critique et diplomatique d'après le manuscrit de la Bibliothèque Nationale de Paris, Anglais 41, avec introduction, notes et glossaire". Poitiers, 1999. http://www.theses.fr/1999POIT5021.
Testo completo
10
Guyénot, Laurent. "La mort merveilleuse : la féerisation des morts dans le roman médiéval français et anglais : essai d'anthropologie littéraire". Paris 4, 2008. http://www.theses.fr/2008PA040019.
Testo completoAbstract (sommario):
La thèse explore l'origine et la fonction de l'Autre Monde et des créatures féeriques (fées et chevaliers faés) dans les lais et romans médiévaux en vers français et anglais, en particulier ceux de la"matière de Bretagne". L'auteur soutient que ces motifs féeriques ne sont pas les vestiges d'une mythologie paienne, mais sont empruntés à une tradition vivante et cohérente de contes et légendes évoquant le monde des morts et ses multiples interactions avec les vivants. L'auteur s'interroge sur la genèse et l'évolution de ce féerique romanesque, qui détourne au profit d'une idéologie courtoise un imaginaire folklorique peuplé de héros conquérants de l'immortalité, mais aussi de morts assignés à la fonction de passeur ou encore de morts prématurés dont le destin brisé s'apparente à un enchantement ou un rapt et qui attendent des vivants leur délivrance. L'auteur rattache la thématique mélusinienne à une tradition de récits sur les jeunes filles mortes tragiquement, et la thématique du Graal à une tradition similaire sur les morts assassinés que seule la vengeance peut guérirThis thesis explore the origin and function of fairy lands, fairy damsels and fairy knights in medieval romances in old French and Middle English verse related tho the Matter of Britain. It argues that they stem not from any lost and degraded pagan mythology, but primarily from a living and widespread oral tradition of legend and tales relating to death, the heroic after-life, rescue from the death and earth-bound ghosts. It uses literary motifs as a window into lay concepts of death and dead, and it studies the narrative process by which this folklore of legends and tales gave rise to a fairy mythology which soon took a life of its own. Beside timeless stories of heroes supernaturrally conceived and physically rapt, two types of unquiet dead(or undead) are shown to have been prevalent in medieval folklore, and to have provided the raw material for some of the most influential works(including le conte du Graal and Le Roman de Mélusine) : the murdered dead awaiting healing by vengeance, and the dead maiden seeking union with a mortal
11
Sheen, Ding-Taou. "The historical development of reciprocal pronouns in middle English with selected early modern English comparisons". Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/558329.
Testo completoAbstract (sommario):
In Modern English, EACH OTHER and ONE ANOTHER are morphologically fixed as reciprocal compound pronouns. The reciprocal construction has been developed and used in every period of the English language. The main purpose of this study, nevertheless, was to investigate the ways to express the notion of reciprocity in Middle English and Early Modern English.The morphological analyses of the citations demonstrate that Middle English employed a great variety of head words and phrases than does Modern English in reciprocal structures. EACH, EITHER, EVERY, and ONE most frequently appear as head words of Middle English reciprocal construction, and OTHER usually occurs as a subsequent elements. OTHER, however, may also serve as the head word. Middle English also permits EACH MAN, ILLC MANN, EACH ONE, ILLC ONE, EVERY MAN, EVERY ONE, and THE ONE to function as head phrases. In Early Modem English, Malory employs various structures in his writings, but he prefers EITHER, EITHER OF (US, YOU, THEM) as the head of reciprocal patterns. Shakespeare, nevertheless, more frequently uses ONE as the head word.In Middle English, according to the data, the reciprocal sequence (EACH, EITHER, ONE) / OTHER stands in subject position in twenty examples between c. 1200 - c.1450. Rarely, however, do the pronouns function as a compound subject (subject / complement). The underlying structure of the sentence pattern SOV, nevertheless, is SVO. The need to rhyme, therefore, may cause the change of the word order in the period.(EACH, EITHER, EVERY, ONE, OTHER) may be compounded with the pronoun OTHER in forty examples between c. 1285 - c.1513, but the sequence most frequentlyoccur as direct / indirect object. (EACH, EITHER, EVERY, ONE, OTHER) + OTHER functions as object of preposition in four examples between c.1328 - c.1440.The modem usage of EACH OTHER as a compound object is established in Early Modern English learned, imaginative texts, and the use of ONE ANOTHER as the compound direct object and object of preposition are being established in that period.Since the rules for compounding reciprocal pronouns and for their morpho-syntatic features were not restrictly established before the time of Shakespeare, OTHER could function as an uninflected, separable pronoun in Middle English. In position except modification. the development of OTHER as a nominal occured after Middle English except where the head word is ONE. In Modem English, OTHER must be used as a nominal if the reciprocal pronouns are not compounded.Department of English
12
Greentree, Rosemary. "An annotated bibliography of the Middle English lyric /". Title page, contents and abstract only, 1999. http://web4.library.adelaide.edu.au/theses/09PH/09phg815.pdf.
Testo completo
13
Knox, Philip. "The Romance of the Rose in fourteenth-century England". Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:d55e2158-a9ee-4bf2-b8e4-98d7e0c6a598.
Testo completoAbstract (sommario):
This thesis traces the afterlife of the Romance of the Rose in fourteenth-century England. Whether it was closely imitated or only faintly recalled, I argue that the Rose exercised its influence on fourteenth-century English literature in two principal ways. Firstly, in the development of a self-reflexive focus on how meaning is produced and transmitted. Secondly, in a concern with how far the author's intentions can be recovered from a work, and to what extent the author must claim some responsibility for the meaning of a text after its release into the world of readers. In the Rose, many of these issues are presented through the lens of a disordered erotic desire, and questions of licit and illicit textual and sexual pleasures loom large in the later responses. My investigation focuses on four English writers: William Langland, John Gower, the Gawain-Poet, and Geoffrey Chaucer. In my final chapter I suggest that the Rose ceased to be a generative force in English literature in the fifteenth century, and I try to offer some explanations as to why. In examining the influence of the Rose in England I am not trying to suggest a linear transmission of cultural dominance, but rather a complex and plural process of interaction that expands to include texts that both antedate and post-date the Rose - especially Neoplatonic allegories and Ovid, on the one hand, and, on the other, Deguileville and Machaut. The individual English writers I look at are not seen as having a single and stable attitude towards the Rose; instead, I argue, the Rose emerges as a way of thinking about the interaction between texts, how meaning is produced, and how authorial ownership is claimed or refused. Using not only literary evidence but also detailed archival research into the manuscript circulation of the Rose, I question the usefulness of 'English' and 'French' as critical categories for the study of late-medieval literature, and attempt to show that, for a certain kind of literary activity, the Rose occupied a central position in England: not a stable foundation of cultural authority, but a realm of self-questioning subversion and instability.
14
Rogers, Janine. "The woman's voice in Middle English love lyrics /". Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69671.
Testo completoAbstract (sommario):
Courtly love lyrics, like other courtly genres, are dominated by male-voiced texts that privilege male perspectives. In conventional courtly love lyrics, women are silenced and objectified by the male speaker. Still, a handful of women-voiced lyrics--"women's songs"--exist in the courtly love lyrical tradition. This thesis studies women's songs in Middle English and their role in the androcentric courtly love tradition.In the first chapter, I discuss critical perspectives on conventional courtly representations of women. In the second chapter, I locate Middle English women's songs in literary contexts other than courtly love: the Middle English lyrical tradition, the cross-cultural phenomenon of medieval women's songs, and the manuscript contexts of Middle English women's songs. In Chapter Three, I discuss the individual songs themselves and examine the range of perspectives found in woman-voiced lyrics.
My discussion of Middle English women's songs includes texts not previously admitted to the genre. This expanded collection of women's songs creates an alternative courtly discourse privileging female perspectives. Middle English women's songs create a space for women's voices in courtly love.
15
Djordjevic, Ivana. "Mapping medieval translation : methodological problems and a case study". Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82856.
Testo completoAbstract (sommario):
The extent to which translation moulded Middle English romance as an emerging genre remains largely unexamined. In this dissertation I identify the principal methodological difficulties that have prevented scholars from giving due attention to this problem, and offer a case study in which I look at how translational procedures shaped the romance of Sir Beves of Hampton, a translation of the Anglo-Norman Boeve de Haumtone .Having outlined the practical difficulties posed by the intricate textual tradition of Boeve and Beves, the multilingualism of medieval England, and the scarcity of concrete evidence regarding the audience for Middle English romance, I focus on methodological issues: the inability of equivalence-based definitions of translation to accommodate medieval translation practice, the futility of attempts to demarcate translation from adaptation, and the difficulty of integrating different textual levels in the study of translations.
In the first two analytical chapters of the dissertation I concentrate on those aspects of Beves that can best highlight the importance of translation processes in the constitution of the genre. I begin by examining the way in which the translator dealt with the most important translational constraints, some of which, like language, were beyond his control, while others, such as versification, were partly self-imposed. I then proceed to study the workings of the so-called laws of translation (explicitation, simplification, and repertorization) in the process whereby Boeve became Beves. The analyses carried out in these two chapters allow me to contest the received opinion according to which the author of Beves treated his original very freely. I show that, on the contrary, the distinctive features of the Middle English text result from a constant productive tension between source and target.
My study ends with an analysis of what happens when the translator's impulse to be faithful to his source is frustrated by the inaccessibility of the socio-historical context of the original. I examine the most closely translated sections of the poem to show how unrecognized topical references are flattened into literary cliches, which bring into the text their own generic connotations and disassemble some of the carefully constructed thematic parallels and analogies of the Anglo-Norman romance.
16
Clout, Karen. "Mi suete leuedi, her mi béne : the power and patronage of the heroine in Middle English romance". Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21202.
Testo completoAbstract (sommario):
This thesis examines the heroines in Middle English romances and argues that, like the noblewomen who lived in England during the Plantagenet period, they are not helpless princesses simply waiting to be rescued by the brave, strong hero. In fact, these heroines show an enormous amount of intelligence, ingenuity, perseverance, and strength of character. Many play a pivotal role in the hero's success in his quest by giving him a token, providing knowledge, or teaching him a lesson. Also, it is the heroines who provide the heroes with rewards after the quests are completed. The present thesis offers a contribution to the study of Medieval English Romances in providing a revision of standard feminist analyses. In many of these studies there seems to be a lack of appreciation for the role of female characters and their relation to the outcome of the hero's quest. Even studies written from a feminist perspective tend to overlook the strength of the heroine's character, the attainment of her goals, and the fact that she is often a powerful figure who is of much higher status than her suitor. In these romances the female characters wield a substantial amount of both private and public power, an aspect of the genre which has often been ignored.
17
Génin-Panhalleux, Hélène. "La magie dans la littérature anglaise du XIVème et du XVème siècles". Paris 4, 2000. http://www.theses.fr/1999PA040149.
Testo completoAbstract (sommario):
La magie est étudiée ici dans quelques œuvres de la littérature anglaise du XIVème et du XVème siècles, notamment chez Chaucer, Gower et Malory. Apres avoir tenté de définir le terme de magie, et d'expliquer les mots magiques rencontres au cours de nos lectures, nous constatons que pour Chaucer, la magie des contes de Canterbury est superficielle et inutile, et que celle de ses autres œuvres ne mène à rien de bon. Mandeville présente un aspect merveilleux de la magie et montre qu'une chose exotique peut être perçue comme magique. La magie du monde arthurien est largement développée dans sire Gauvain et le Chevalier vert et le Morte d’Arthur, particulièrement avec les personnages de Merlin et de Morgane. Gower paraphrase ses sources antiques, et annonce l'évolution de la magie des siècles à venir. De nombreux poèmes ou textes courts mêlent magie et religion, formules magiques faisant allusion à dieu, ou bien prières révélant des procédés païens. Les textes médiévaux présentés ici laissent percevoir plusieurs influences en ce qui concerne la magie, principalement antiques et bibliques, mais aussi celtes, scandinaves et orientales. Finalement, cette magie traitée de diverses manières dans certaines œuvres médiévales anglaises est-elle le reflet d'une réalité historique ou bien la cause de débordements fanatiques ? Quel rôle a-t-elle joue dans l'évolution de la pensée médiévale : fermeture sur un passe ? Ouverture vers un avenir ? Telles sont les questions que nous nous posons ici, auxquelles nous apportons notre réflexion et peut-être une esquisse de réponse.
18
Hauwaerts, Evelien. "The Lyve of Cryste de Ludolphus de Saxonia : Édition critique avec commentaires, glossaires et indexes". Poitiers, 2012. http://www.theses.fr/2012POIT5025.
Testo completoAbstract (sommario):
The Lyve of Cryste est la traduction en moyen anglais de la traduction en moyen français que Guillaume Lemenand a faite de la Vita Christi de Ludolphus de Saxonia (ca. 1300 – 1378). Une seule copie incomplète de The Lyve of Cryste nous est parvenue. Elle est conservée dans deux volumes manuscrits, à savoir British Library, Ms. Additional 16609 (désormais indiqué par le sigle BL) et Edinburgh, University Library, Ms. 22 (sigle ED), qui contiennent chacun des chapitres différents de la même copie. Le présent travail constitue la première édition de cette traduction anglaise. Le texte de The Lyve of Cryste est précédé d'une introduction, qui comprend, entre autres, la première description codicologique détaillée des manuscrits de The Lyve of Cryste. Le texte même est annoté d'un apparat d'interventions éditoriales ainsi que d'un apparat comparatif, qui renvoie au texte de la traduction française faite par Guillaume Lemenand. Les interventions éditoriales sont commentées dans le chapitre des Commentaires. Ce chapitre contient en plus des observations à propos de caractéristiques saillantes du texte anglais ainsi que l'identification des sources des citations présentes dans The Lyve of Cryste. L'édition est enrichie de quatre outils visant à faciliter la consultation du texte : le glossaire des mots dont la signification ou la graphie ne sont pas facilement reconnues par le lecteur moyennement familiarisé avec le moyen anglais, l'index des citations bibliques, l'index des citations non bibliques et le glossaire et index des noms propres et des lieux. La présente thèse contient également une étude de la traductionThe Lyve of Cryste is the english translation of a middle french translation made by Guillaume Lemenand of the latin Vita Christi by Ludolph of Saxony (ca. 1300 – 1378). The edition is based on the sole fifteenth-century manuscript witness, which has survived in two volumes, i. E. British Library, Ms. Additional 16609, and Edinburgh, University Library, Ms. 22. They both contain different chapters of the same manuscript copy. This doctoral thesis offers the first critical edition of the middle english translation. The edition itself of The Lyve of Cryste is preceded by an introduction, which contains, among others, the first detailled codicological description of the two manuscripts in which the The Lyve of Cryste survives. The text itself contains an apparatus listing all the editorial interventions, and a comparatif apparatus, which refers to the text of the french translation by Guillaume Lemenand. The editorial interventions are commented in the chapter of the ‘Commentaires'. This chapter also contains various observations and the identification of the quotations which occur in The Lyve of Cryste. The edition is supplemented with four tools : a glossary, an index of biblical quotations, an index of other quotations, and a glossary and index of proper names and places. The thesis also offers a brief study of the Lyve of Cryste as a translation, and a bibliography
19
Madrinkian, Michael Alex. "Producing 'Piers Plowman' to 1475 : author, scribe, and reader". Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:1d0f9bd5-04d8-4edd-bccb-2f95b403165e.
Testo completoAbstract (sommario):
My doctoral thesis, "Producing Piers Plowman to 1475: Author, Scribe, and Reader," charts a new material history of William Langland's fourteenth-century dream vision, Piers Plowman, from its earliest composition to the onset of print in England. The study is divided into three sections, which examine the production of Piers from three perspectives: textual history, manuscript circulation, and medieval reception. The first section of the thesis conducts a study of Langland's revisionary process, presenting a new theory of authorial revision from the A to B version that has important implications for our understanding of authorship in Piers Plowman and for the future editing of the poem. The second section transitions into an examination of the early circulation of the Piers manuscripts in various geographical and social milieux. It examines two case studies of manuscript circulation in the Southwest Midlands and East Anglia, linking them to regionalized networks of scribes and patrons. Finally, Section III moves into a discussion of the literary contexts in which Piers circulates, particularly in multi-text manuscripts, examining how the poem's reception by a medieval audience affected its development as a literary text. This section treats production from a more theoretical standpoint, investigating the relationship between the poem's audience and the "production" of meaning in a social and historical context. As I will argue, each of these sections acts as an important frame of reference for understanding the multifaceted formation of Piers Plowman as a literary text and cultural landmark. In particular, the thesis emphasizes the importance of Piers's various contexts, from its textual genesis in the author's composition and revision to its circulation and reception in an unstable manuscript culture. It suggests that the people and the places that surrounded Piers Plowman in its early development fundamentally shaped the poem we have today.
20
McNamara, Rebecca Fields. "Code-switching in medieval England : register variety in the literature of Geoffrey Chaucer, Thomas Usk and Thomas Hoccleve". Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669980.
Testo completo
21
Tixier, René. "Mystique et pédagogie dans "The Cloud of unknowing"". Nancy 2, 1988. http://www.theses.fr/1988NAN21013.
Testo completoAbstract (sommario):
The cloud of unknowing, texte anonyme anglais ascétique et mystique du 14ème siècle, appartient à la tradition chrétienne de la lettre de direction spirituelle. A travers la relation qu'il entretient avec son dirigé, le directeur stimule ce dernier à l'effort anagogique, le renseigne sur l'objectif à atteindre -- l'union à Dieu -- ainsi que sur les moyens d'y parvenir. Ce-faisant, le maitre s'efface devant le maitre -- le christ enseignant -- permettant ainsi à la relation pédagogique qui unit deux hommes de fonctionner. A cet effacement du maitre correspond l'effacement de l'auteur devant son texte, lequel est fait pour travailler et faire travailler. Il apparaitra que cette loi d'effacement, caractéristique de toute écriture mystique, est régie par l'amour. D'autre part, l'utilisation pédagogique d'un certain nombre de techniques de la rhétorique médiévale (parallélismes, oppositions, accumulations, répétitions, allitérations, etc. ) n'empêche pas l'auteur de se tenir dans une indétermination fondamentale et "fonctionnelle" qui affecte l'ensemble de son texte. Bien plus, cette indétermination est imposée par la nature même du sujet traite: la recherche de la perfection par l'union d'amour à Dieu, dans la contemplation. Elle est rattachée à la tradition dionysienne apophatique de la "connaissance par inconnaissanceThe cloud of unknowing is an anonymous 14th-century english mystical and ascetical text belonging to the christian tradition of the letter of spiritual direction. In this text the spiritual director stimulates his "disciple" in his anagogical effort, while teaching him the goal to be reached (man's loving union to god) as well as the means to be used. Meanwhile, the director endeavours to withdraw and leave his disciple in the presence of christ the teacher, thus making it possible for the pedagogical relationship between two men to "work". This withdrawal of the director corresponds to the author's withdrawal from his text -- a text meant to "work" and to make the disciple work. This "law of withdrawal", which is characteristic of mystical writing, will prove to be ruled by love. On the other hand, the use of number of medieval rhetorical techniques (parallelisms, oppositions, accumulations, repetitions, alliterations, etc. ) Will not prevent the author from remaining in a form of fundamental as well as "functional" indetermination which will affect his whole text
22
Nicol, Fabrice. "Syntaxe minimaliste et sémantique conceptuelle : recherches sur la syntaxe et la sémantique comparées du français et de l'anglais". Paris 10, 1997. http://www.theses.fr/1997PA100017.
Testo completoAbstract (sommario):
La theorie syntaxique dite minimaliste de noam chomsky a permis de resoudre de nombreux problemes theoriques et empiriques. Ces acquis se limitent toutefois au domaine de la stricte syntaxe combinatoire, l'intervention de conditions semantiques sur les derivations syntaxiques etant exclue. Comment les conditions semantiques peuvent-elles s'appliquer ? le modele elabore par ray jackendoff, la semantique conceptuelle, permet de formuler des contraintes precises sur la combinaison de primitives semantiques, et sur leur correspondance avec les structures syntaxiques. La premiere partie resume les deux theories envisagees. La deuxieme partie a pour objet d'evaluer l'adequation descriptive de ces deux modeles dans la grammaire de la phrase. La troisieme partie porte essentiellement sur l'application du modele minimaliste au sein du groupe nominal. Les hypotheses de la syntaxe minimaliste sont utilisees, dans la deuxieme partie, pour analyser l'evolution diachronique des conditions sur la coreference pronominale, du vieil-anglais a l'anglais moderne. La theorie du cas inherent est reformulee dans les termes de la theorie des traits formels du programme minimaliste, et appliquee aux constructions moyennes, au placement des clitiques en francais, aux constructions ditransitives anglaises, et a la grammaire comparee de la possession inalienable en anglais et en francais. Il est propose de lier l'analyse de l'evolution du systeme pronominal anglais, vers la fin du xveme siecle, a l'affaiblissement morphologique des traits d'accord-sujet. L'incorporation prepositionnelle semble mieux formulee dans le composant semantique de la grammaire que dans son composant syntaxique, de meme que les contraintes lexicales sur l'interpretation de la possession inalienable, qui font principalement intervenir les concepts d'affecteur et de cible affectee. La troisieme partie a pour objet la syntaxe du groupe nominal anglais moderne, et defend l'hypothese qu'existent deux noeuds fonctionnels intermediaires entre le determinant et la tete nominale : le site de la quantification discrete et le site de la quantification continue. Ces resultats permettent alors de confirmer une hypothese centrale de la semantique conceptuelle : l'impossibilite de reduire l'interpretation semantique a la combinatoire syntaxiqueNoam chomsky's minimalist programme has make it possible to solve many theoretical and empirical problems in the theory of syntax. Nevertheless these advances have been made essentially in the field of computational syntax, the intervention of semantic conditions in syntactic derivations being now barred. How can semantic conditions apply? in ray jackendoff's model, conceptual semantics, semantic primitives may be combined so as to impose accurate constraints on the syntax-semantics interface. The first part of this thesis summarises the two theories. The second part evaluates the descriptive adequacy of the two models in the domain of the sentence. The third part presents some consequences of minimalist principles in the domain of the noun phrase. The hypotheses of minimalist syntax are used, in the second part, to analyse the diachronic evolution of conditions on pronominal coreference, from old english to modern english. The theory of inherent case is reformulated in the terms of the theory of formal features of the minimalist programme, then applied to middle constructions, french cliticisation, english ditransitive constructions, and the comparative syntax of inalienable possession in french and english. The analysis of the evolution of the english pronominal system towards the end of the 15th century is linked with the weakening of the morphology of subject agreement (agrs). The incorporation of p to v, nevertheless, is better formulated in the semantic component than in the syntactic component, and the same conclusion is reached for lexical constraints on inalienablepossession, which crucially involve the concepts of actor and affected target. The third part is a study of the syntax of the noun phrase in modern english and defends the hypothesis that there are two functional nodes between d and n - respectively the locus of discrete quantification and the locus of continuous quantification. These results confirm the central hypothesis of conceptual semantics, which is the impossibility of reducing semantic interpretation to a combination of syntactic primitives
23
Clouet, Richard. "Robin des Bois : le hors-la-loi légitime des ballades médiévales". Paris 4, 1998. http://www.theses.fr/1998PA040057.
Testo completoAbstract (sommario):
Robin des Bois est le protagoniste d'un des plus importants cycles de ballades dans la littérature anglaise ainsi qu'une figure omniprésente dans la littérature de tous les temps. Il est pourtant difficile de comprendre et d'identifier les sources des versions modernes de la légende, qu'elles soient littéraires ou cinématographiques. L'étude des textes que l'on considère pour l'instant comme étant les plus anciens au sujets des péripéties du héros de Sherwood (à savoir « A gest of Robyn Hode », « Robin Hood and the monk3, « Robin Hood and the potter », « Robin Hoode his death » et « Robin Hood and guy of Gisborne ») ne peut qu'aider à mieux cerner et concevoir les caractéristiques intrinsèques du héros devenu mythique, ces mêmes caractéristiques qui ont fait de ses aventures une légende à la fois pérenne et mystérieuse. A l'instar des "bandits-héros" que sont Ned Kelly, Jesse James, Dick Turpin ou Billy the kid, Robin essaie de sauver une société menacée par des transgressions et des injustices continuelles. C'est en ce sens que le personnage prend une dimension intemporelle : il se bat pour des valeurs qui ne sont pas seulement propres à son époque, mais qui peuvent concerner tous les pays à différents moments de leur histoire : la fidélité, la loyauté, l'hospitalité, l'humilité ou bien l'amitié ; c'est précisément ce qui nous permet d'apprécier et de découvrir le sens moralisateur des aventures du héros. D'autre part, le thème sempiternel de la corruption de la société - en particulier la corruption du système judiciaire et politique - que l'on retrouve dès le XVe siècle dans les ballades médiévales a rendu au hors-la-loi légendaire toute la légitimité qui lui est due. Les ballades étudiées sont en ce sens les documents les plus authentiques sur la légende de Robin des Bois. Elles dressent le portrait du héros comme il l'a certainement été au début du XIVe siècle : un hors-la-loi certes violent (à l'instar de tous les criminels de l'époque), mais un bandit légitime parce que se battant de plein droit contre un système d'autorité coercitif et injuste. Un personnage central et une force oppressive ; des incidents choisis dans lesquels le héros est toujours présent ; un héros garant de valeurs sempiternelles : voilà le terrain sur lequel s'est bâti un mythe potentielRobin Hood is the protagonist of one of the most important cycles of ballads in English literature, as well as an omnipresent figurehead in literature from time immemorial. Nevertheless, it is difficult to understand and identify the sources of the modern versions of the legend, whether literary or cinematic. The study of the texts, which are currently regarded as the earliest concerning the adventures of the Sherwood hero (namely A gest of Robyn Hode, Robin Hood and the monk, Robin Hood and the potter, Robin Hoode his death and Robin Hood and guy of Gisborne), can only help us define and understand the intrinsic characteristics of the now mythical hero; those very characteristics have turned his adventures into a legend which is both durable and mysterious. As in the case of later "bandit-heroes", such as Ned Kelly, Jesse James, Dick Turpin or Billy the kid, Robin attempts to rescue a society that is threatened by continuous infringement and injustice. As such, the character takes on a timeless dimension : he struggles for some values which are not only peculiar to his time but which can also concern all countries at different moments in their history : faithfulness, loyalty, hospitality, humility and friendship ; this is precisely what allows us to appreciate and discover the moral sense of the adventures of the hero. Moreover, the never-ending theme of the corruption of society - particularly the corruption of the judicial and political system - that is present as early as the XVth century in the medieval ballads has served to reinforce the legitimacy of the legendary hero. The ballads which have been investigated are, in this respect, the most authentic documents on the legend of Robin Hood. They draw the portrait of the hero as he would have been at the beginning of the XIVth century : an admittedly violent hero (after the fashion of all the criminals of his time), but also a legitimate bandit, rightfully fighting against coercive and unjust authorities. A central character and an oppressive force ; some chosen incidents in which the hero is always present ; the guarantor for eternal values ; this is the ground on which a potential myth was created
24
Iyeiri, Yoko. "Negative constructions in selected Middle English verse texts". Thesis, University of St Andrews, 1993. http://hdl.handle.net/10023/2795.
Testo completoAbstract (sommario):
The objective of the present study is to investigate the historical development of negative constructions in ME verse and to provide a descriptive account of it. The central issues analyzed in this thesis are: (1) the usage of the negative adverbs 'ne', 'not' and some other negative elements such as 'never', 'no', etc.; (2) the occurrence of negative contraction as illustrated by 'nam' (< ne am) and 'nolde' (< ne wolde); and (3) the development and the decline of multiple negation. The thesis has both a chronological and a geographical perspective, since it examines changes in usage which took place during the ME period and various dialectal types. The thesis also includes a discussion of pleonastic negation and the omission of negative elements (termed 'unexpressed negation'). For the purpose of these analyses, twenty manuscripts of eighteen verse texts ranging chronologically from early ME to later ME are selected from various geographical areas of England. The texts investigated are: (1) Poema Morale, (2) The Owl and the Nightingale, (3) King Horn, (4) Havelok, (5) The South English Legendary, (6) English Metrical Homilies, (7) The Middle English Genesis and Exodus, (8) The Poems of William of Shoreham, (8) Cursor Mundi, (10) Sir Ferumbras, (11) Confessio Amantis, (12) Handlyng Synne, (13) Kyng Alisaunder, (14) Sir Gawain and the Green Knight, (15) The Affiterative Morte Arthure, (16) Alexander and Dindimus, (17) The Destruction of Troy, and (18) The Stanzaic Morte Arthur. Due to the paucity of suitable material for linguistic analysis at the beginning of the ME period, Poema Morale is investigated in three selected manuscripts (MS Lambeth, MS Trinity, and MS Digby), all of which are localized in different areas of England.
25
Fruoco, Jonathan. "Evolution narrative et polyphonie littéraire dans l'oeuvre de Geoffrey Chaucer". Thesis, Grenoble, 2014. http://www.theses.fr/2014GRENL003/document.
Testo completoAbstract (sommario):
Geoffrey Chaucer, grand traducteur, rhétoricien et poète courtois, fut longtemps considéré par la critique comme le père de la poésie anglaise. Or, un tel positionnement a non seulement tendance à occulter tout un pan de l'histoire de la littérature anglo-saxonne, mais également à mettre de côté les spécificités mêmes du style de Chaucer. Le but de cette étude est ainsi de démontrer que sa contribution à l'histoire de la littérature est bien plus importante qu'on ne le pensait. Car en décidant d'écrire en moyen-anglais à une époque où l'hégémonie du latin et du vieux-français était incontestée (en particulier à la cour d'Edouard III et de Richard II), Chaucer s'inscrivit dans un mouvement intellectuel visant à rendre aux vernaculaires européens le prestige nécessaire à une véritable production culturelle ayant permit l'émergence du genre romanesque. Ainsi, en assimilant successivement les caractéristiques de la poésie de Chrétien de Troyes, Guillaume de Lorris et Jean de Meun, Chaucer redonna à la poésie anglaise ses lettres de noblesse. Mais ce ne fut qu'après sa découverte de la Divina Commedia qu'il prit conscience du potentiel de la littérature : Dante lui permit, en effet, de libérer son art dialogique et d'ainsi donner à sa poésie une dimension polyphonique de premier ordre. De fait, si Chaucer ne peut être considéré comme le père de la poésie anglaise, il est en revanche le père de la prose anglaise et l'un des précurseurs de ce que Mikhaïl Bakhtine nomme le roman polyphoniqueGeoffrey Chaucer, translator, rhetorician and courtly poet, has long been considered by the critics as the father of English poetry. However, this notion not only tends to forget a huge part of the history of Anglo-Saxon literature, but also to ignore the specificities of Chaucer's style. The purpose of this thesis is accordingly to try to demonstrate that his contribution to the history of literature is much more important than we had previously imagined. Indeed, Chaucer's decision to write in Middle-English, in a time when the hegemony of Latin and Old-French was undisputed (especially at the court of Edward III and Richard II), was consistent with an intellectual movement that was trying to give back to European vernaculars the prestige necessary to a genuine cultural production, which eventually led to the emergence of romance and of the modern novel. The assimilation of the specificities of the poetry of Chrétien de Troyes, Guillaume de Lorris and Jean de Meun thus allowed Chaucer to give back to English poetry some of its respectability. Nonetheless, it was his discovery of the Divina Commedia that made him aware of the true potential of literature: Dante thus allowed him to free the dialogism of his creations and to give his poetry a first-rate polyphonic dimension. As a result, if Chaucer cannot be thought of as the father of English poetry, he is however the father of English prose and one of the main artisans of what Mikhail Bakhtin called the polyphonic novel
26
Kokorian, Nathalie. "Le même et l'ajouté en moyen anglais tardif. : Also et Eke au XIVème et XVème siècles". Paris 7, 2004. http://www.theses.fr/2004PA070002.
Testo completoAbstract (sommario):
Etude linguistique du remplacement de l'adverbe "EKE" par l'adverbe "ALSO" dans l'expression de l'addition intra-énoncé et inter-énoncés dans la prose à la fin de la période moyen-anglaise. L'analyse s'inscrit dans la Théorie des Opérations Enonciatives d'Antoine Culioli et porte principalement sur six textes littéraires des XIVème et XVème siècles ainsi que sur un recueil de sermons du XVème siècle. Les textes du corpus sont traités dans un ordre chronologique, les occurrences de "EKE" et de "ALSO" font l'objet de relevés statistiques ainsi que d'une analyse détaillée à partir d'une typologie des emplois répertoriés depuis le vieil-anglais. La démarche, qui privilégie l'analyse linguistique, inclut aussi la prise en compte des conditions de production de chacun des textes étudiés. Elle est fondée sur le concept de "situation d'énonciation" et orientée vers une étude des différents types de discours : discours didactique, discours dialectique, discours homilétique, récit et témoignageA linguistic study of the replacement of the adverb "EKE" by the adverb "ALSO" in the expression of addition within an utterance and between utterances in the prose of the late Middle English period. This analysis is based upon the Theory of Enunciative Operations of Antoine Culioli, it deals principally with six literary texts of the XIVth and XVth centuries, and it also includes a collection of sermons of the first half of the XVth century. The texts of the corpus are treated in chronological order, the occurrences of "EKE" and "ALSO" are first listed and categorized, then they are analysed according to a typology of all the uses since the Old English period. Linguistic analysis is central in the study, but the conditions of text-production are also taken into account. The reflexion is founded on the concept of "situation of enunciation" and it is oriented towards the study of different types of discourse: the didactic type, the dialectic type, the homiletic type, and the narrative type
27
Taylor, Deborah L. "Malory's Lancelot : "trewest lover, of a synful man"". Thesis, Kansas State University, 1986. http://hdl.handle.net/2097/9974.
Testo completo
28
Wright, Michelle. "Time, consciousness and narrative play in late medieval secular dream poetry and framed narratives". Thesis, University of South Wales, 2017. https://pure.southwales.ac.uk/en/studentthesis/time-consciousness-and-narrative-play-in-late-medieval-secular-dream-poetry-and-framed-narratives(7cbf5e12-c655-4177-84f8-1445f1ffef85).html.
Testo completoAbstract (sommario):
This thesis considers time and narrative play in dream poems and framed narratives. It begins with a chapter on the history of time perceptions and time-telling, and explores how ideas about time influenced medieval writers. It also surveys some modern views on the history of time-measurement a nd its influences on culture and the collective consciousness. Chapter two, after analysing the treatment of time in the Roman de la Rose, surveys some of the ways in which modern criticism has evaluated and conceived the genre of secular dream literature that developed from the Roman de la Rose. Chapter three examines the innovative use of the convention of beginning a poem with a seasonal opening and theorises that this becomes a `language' open to adaptation and variation. Chapter four looks in detail at Froissart's L`Orloge amoureus and discusses the clock as a new object which, contrary to the views of cultural historians, was embraced by medieval writers, religious and secular, to symbolise a range of virtues, qualities and ideas. I argue that the clock inspired creativity rather than heralding a rationalisation of the mind that would stifle imaginative responses to this new technology. Chapter five explores metafictional and self-reflexive devices in Froissart's Joli Buisson de Jonece and Chaucer's House of Fame. I consider how these texts play with narrative time and sequence by writing the genesis of the text into the poem. Finally, chapter six examines ideas of closure in medieval dream poetry and looks specifically at the reciprocity and inconclusiveness of the Judgement poems of Guillaume de Machaut. Because the second poem reverses the decision of the first poem, it brings into question the authority of the text and the unity of the authorial voice.
29
Thonneau, Marie-José. "La mélancolie dans le système de pensée médiévale anglais (treizième quatorzième siècles)". Paris 4, 1998. http://www.theses.fr/1997PA040152.
Testo completoAbstract (sommario):
Familièrement maladie de langueur ou de complaisance dans le désespoir, la mélancolie se définit au moyen âge par une affirmation ambigüe : état d'âme et maladie mentale, humeur - constituant du corps et humeur - disposition de l'esprit. Dans un monde clos où dieu a placé l'homme au centre des quatre points cardinaux avec un corps habité par quatre humeurs dans un univers défini par quatre éléments, la conception de la mélancolie apparait dans sa grande complexité, complexité dont le présent ouvrage tentera de rendre compte, en s'appuyant sur plusieurs poèmes de Geoffrey Chaucer, par le schéma suivant : en premier lieu, il parait nécessaire de situer la notion de mélancolie par des considérations sur la définition de la maladie et du mécanisme de la médecine des humeurs. Vient ensuite l'étude des enseignements de la pharmacopée végétale médiévale dans la recherche de l'apaisement du désordre mélancolique. Enfin, et c'est là que réside tout le paradoxe de la présente réflexion, si la mélancolie est envisagée comme une menace, il est remarquable qu'elle ne va pas sans quelque privilège : telle est la marque de l'ascendance de saturne. Véritable monstre fantastique, le mélancolique est soumis à une tension violente qui lui fait rechercher les plaisirs licencieux comme une protection nécessaire : la domination de la douleur est une manière de ruser avec la natureAlways referred to as a feeling of great sadness, the loss of all hope, melancholia is the sickness of the heart. In the middle ages, through the attendant theory of humors, melancholy is to be thought about in two ways as a character trait and as a state of mind. As a trait, it amounts to a permanently gloomy disposition. Considered as a psychic state, it is a dysfunction or a malady brought on by a poor mixture of the body humors. The physiological humor theory finds a valid illustration in Geoffrey Chaucer’s poems which exemplify a doctrine of causes and remedies that is its physiology and its medicine. Far from being a historical curiosity, the notion of melancholy is a complex and fascinating species of behavior which is to be anatomized through medical texts, encyclopedic treatises and collections of herbals. The ancients have invested the melancholy disposition with centrality on the wheel of human character: is it relevant to make an antidote of melancholy? Indeed, in any discussion of melancholy's myriad forms, the imagination, its main faculty, is never far out of the picture. No one bothered to write texts, or to write in any detail for that matter, on the choleric or the phlegmatic, probably because they are so clearly what they are. Melancholy is but, if we may say so, a response, to the loss of a sanguine faith in the accountability of the world
30
Aumercier-Vial, Claire. "Fêtes et littérature en Grande-Bretagne aux XIVe et XVe siècles". Paris 4, 1999. http://www.theses.fr/1998PA040282.
Testo completoAbstract (sommario):
Les fêtes dans la littérature anglaise de la fin du moyen âge sont traitées par les auteurs de façon ambivalente. Extraordinairement fréquentes dans la littérature de cour, elles sont souvent réduites à quelques traits généraux au lieu du spectacle poétique auquel on s'attendrait, spectacle auquel nous a habitués la littérature des siècles précédents. Que signifie cette ambiguïté dans la représentation des fêtes ? Les fêtes littéraires constituent un choix des auteurs à partir d'un réservoir forme d'expériences directes des fêtes et d'images véhiculées par la tradition littéraire. Pour trouver derrière les représentations littéraires les intentions des auteurs, il est nécessaire en un premier temps d'effectuer un panorama ethnohistorique des fêtes en Grande-Bretagne à la fin du moyen âge. Ce panorama, jusqu'à présent inexistant, permet de connaitre l'arrière-plan sur lequel se détachent les images littéraires de la fête. Celles-ci sont alors analysées en trois étapes. Tout d'abord un inventaire de la présence festive dans les récits permet d'esquisser une "société en fête" qui est en fait une projection sublimée, magnifiée, de la société aristocratique. Une analyse stylistique et linguistique des œuvres dites de "divertissement", mais également de la littérature historique (les chroniques), conduit à mettre en évidence un discours de la fête fondé sur la récurrence de topoi, de "types" littéraires et l'utilisation du motif de la fête à des points-clés du récit. Enfin, l'on montre comment ce discours est au service de la narration, où il combine une fonction diégétique et une fonction structurante. Un nouveau genre littéraire émerge au tout-début du XVIe siècle : la "chronique de fête", stade ultime de la structuration du récit par la fête, mais aussi outil littéraire dans la propagande royale et civique.
31
Sawyer, Daniel. "Codicological evidence of reading in late medieval England, with particular reference to practical pastoral verse". Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:8c21053f-e347-4349-9cc4-b1fa0229e95a.
Testo completoAbstract (sommario):
This study advances and adds detail to our history of the reading of verse in England c.1350-1500. Scholarship has established major twelfth- and thirteenth-century changes in reading, and linked these changes to manuscripts containing the modern Middle English verse canon. Historians of early modern reading have also argued for distinctive changes in their own period. But the examination of reading between these two clusters of change has been limited. This study therefore asks how later medieval Middle English verse was read. The surviving copies of The Prick of Conscience and Speculum Vitae, two hugely successful religious instructional poems, form the primary body of evidence. This body is augmented by reference to hundreds of other manuscripts containing Middle English verse. Together, these can reveal much about what was normal and abnormal in reading. They are also an important part of the context for the reading of more canonical Middle English verse. Manuscript studies often proceeds through case studies of individual books and unusual evidence such as marginalia. This thesis turns to codicology to understand more widespread evidence for reading, combining qualitative case studies with quantitative techniques borrowed and developed from continental scholarship. The first chapter examines evidence of provenance, revealing that both The Prick of Conscience and Speculum Vitae were read by an impressive range of people and remained current into the sixteenth century. The second chapter considers the navigational aids used in copies of both poems. Reading in this period has been characterised as 'discontinuous', but it could be discontinuous in diverse ways, and readers also read continuously. The third chapter is a large-scale study of books' size and shape, showing how these features can reveal books' reading histories, sometimes in counterintuitive ways. The fourth chapter contends that readers in this period attended closely to rhyme and probably read for balanced rhyme structures. The fifth chapter uncovers the ways in which these poems were rewritten for new readers and investigates the composition of the Southern Recension of The Prick of Conscience, arguing that this new text was partly a formalist intervention. The conclusion summarises the new 'baseline' history of the reading of Middle English verse which is offered here, and gestures towards implications for our reading of the Middle English poems which are canonical today.
32
Brookman, Helen Elizabeth. "From the margins : scholarly women and the translation and editing of medieval English literature in the nineteenth century". Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609521.
Testo completo
33
Bellis, Joanna Ruth. "Language, literature, and the Hundred Years War, 1337-1600". Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609852.
Testo completo
34
Neufeld, Christine Marie. "Xanthippe's sisters : orality and femininity in the later Middle Ages". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38251.
Testo completoAbstract (sommario):
This dissertation contributes to medieval feminist scholarship by forging new insights into the relationship between gender theory and developing notions of orality and textuality in late medieval Europe. I examine three conventional satirical depictions of women as deviant speakers in medieval literature---as loquacious gossips, scolding shrews and cursing witches---to reveal how medieval perceptions of oral and textual discursive modes influenced literary representations of women. The dissertation demonstrates that our comprehension of the literary battle between the sexes requires a recognition and understanding of how discursive modes were gendered in a culture increasingly defining itself in terms of textuality. My work pursues the juxtaposition of the rational, literate male and the irrational, oral female across a wide range of texts, from Dunbar and Chaucer's courtly literature, to more socially diffused works, such as carols, sermon exempla and the Deluge mystery plays, as well as texts, like Margery Kempe's autobiography and witchcraft documents, that pertain to historical women. I demonstrate the social impact of this convention by anchoring these literary texts in their socio-historical context. The significance of my identification of this nexus of orality and femininity is that I am able to delineate an ideology profoundly affecting the way women's speech and writings have been received and perceived for centuries. This notion of gendered discourse can also redefine how we perceive medieval literature. Mikhail Bakhtin's discursive principles---ideas that stem from his application of the dynamics of oral communication and performance to the literary text---help to liberate new meanings from old texts by allowing us to read against the grain of convention. Both Bakhtin's theory of dialogism and Walter Ong's summary of the psychodynamics of orality suggest that orally influenced discourse is less interested in monolithic truth than in the art of tellin
35
Pauthier, Moghaddassi Fanny. "Géographies du monde, géographies de l’âme : le voyage dans la littérature anglaise de la fin du Moyen Âge". Paris 4, 2007. http://www.theses.fr/2007PA040064.
Testo completoAbstract (sommario):
La littérature anglaise de la fin du Moyen Age fait une large place au thème du voyage. Récits d’exploration du monde (Mandeville’s Travels, Saint Brendan ou encore Kyng Alisaunder), de découverte de l’Au-delà (Saint Patrick et The Vision of Tundale) et d’aventures chevaleresques (Sir Orfeo, Sir Degarre et Floris and Blauncheflour) prétendent tous, à des degrés divers, représenter la réalité du monde. Ils dessinent une géographie de la terre marquée par la proximité entre les vivants et les morts et la prégnance du merveilleux. Toutefois, la visite ne débouche pas sur une prise de possession de l’espace. Au contraire, tout se passe comme si c’était l’ailleurs qui pénétrait le voyageur et se saisissait de lui. Le voyage se révèle alors visite d’un espace intérieur : parcours psychologique individuel, le trajet éclaire aussi l’image qu’une société toute entière se fait d’elle-même. L’altérité engage donc une réflexion sur l’identité dont l’enjeu véritable, aux yeux des auteurs, s’avère le progrès de l’âme vers Dieu, quête paradigmatique de tous les voyagesEnglish literature from the late Middle Ages largely resorts to the theme of travelling. Narrating explorations (Mandeville’s Travels, Saint Brendan, or Kyng Alisaunder), travels in the beyond (Saint Patrick, The Vision of Tundale) or the adventures of wandering knights (Sir Orfeo, Sir Degarre and Floris and Blauncheflour), such literature always aims, in different ways, at representing the real world. It traces a geography of the earth characterised by the proximity between the living and the dead and the presence of the marvellous. Nevertheless, the exploration does not lead to the conquest of the places visited : on the contrary, the otherness of the new worlds makes its way into the traveller and takes possession of him. The journey then appears as the visit of an inner space : it reflects the psychological evolution of an individual and the way a society looks at itself. What is ‘other’ questions the identity of the traveller and in the eyes of the writers, the real stake of this movement is the soul’s quest for God
36
Touchard, MacDonald Nathalie. "La confession en Angleterre au moyen âge à partir de l'édition de cinq manuels de confession en langue vernaculaire du quinzième siècle". Poitiers, 2000. http://www.theses.fr/2000POIT5012.
Testo completoAbstract (sommario):
La thèse comprend tout d'abord une étude historique et littéraire de la confession en Angleterre au moyen âge. Cette étude préalable à l'édition apporte de nombreuses précisions quant au contexte ecclésiastique du moyen âge en Angleterre. L'étude présente également un grand nombre de textes en latin et en anglais à la disposition des confesseurs à cette époque afin que ceux-ci appliquent les règles imposées par les autorités ecclésiastiques en matière de confession. Cependant, l'élément essentiel de ce travail de recherche représente l'édition de cinq manuels de confession, en moyen anglais, rédigés au quinzième siècle. Les cinq manuels de confession sont décrits, datés avec le plus de précision possible, étudiés linguistiquement. Ils font ensuite l'objet d'une édition dont les règles sont formulées au préalable de l'édition. Ces cinq manuels sont contenus dans les manuscrits suivants : Cambridge, St John's College, MS S 35 ; Londres, British Library, MSS Harley 4172, Cotton Vespasian A xxv, Sloane 1584 ; Oxford, Bodleian Library, MS Rawlinson D 913. Les cinq manuels représentent les seuls exemplaires existant de ce genre littéraire rédigé par des confesseurs pour leur propre usage. L'édition des textes est suivie de notes sur les citations, bibliques ou non, présentes dans les cinq textes. Un glossaire, une bibliographie, ainsi qu'une annexe d'illustrations sont également inclus.
37
Reed, Delanna Kay. "Readers Theatre in Performance: The Analysis and Compilation of Period Literature for a Modern Renaissance Faire". Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500784/.
Testo completoAbstract (sommario):
The thrust of this study was twofold: to research and compile a script of English Medieval and Renaissance literature and to direct a group performance of the script in the oral interpretation mode at Scarborough Faire in Waxahachie, Texas. The study sought to show that a Readers Theatre script compiled of literature from the oral tradition of England was a suitable art form for a twentieth-century audience and that Readers Theatre benefited participants in the Scarborough Faire workshop program. This study concluded that the performed script appealed to a modern audience and that workshop training was enhanced by Readers Theatre in rehearsal and performance.
38
Grecu, Veronica. "Transparence et ambiguïté de la "semblance" : interpréter et traduire les figures du déguisement au Moyen âge". Poitiers, 2006. http://www.theses.fr/2006POIT5010.
Testo completoAbstract (sommario):
Malgré le nombre important d'épisodes de travestissement à l'intérieur de la littérature narrative médiévale, le mot "desguisement" n'y est pas fréquemment employé. C'est la "semblance", dont le sens premier est celui de ressemblance, d'image, qui exprime l'apparence trompeuse, la feinte et la nature double. En raison de la relation ambiguë qui unit la copie à son modèle, des multiples modalités de la "semblance", de la fascination qu'elle a pu susciter, de ses nombreuses condamnations aussi, nous nous sommes attachée à analyser les figures de déguisement dans quelques romans français, datant de la fin du XIIe et du début du XIIIe siècle, ainsi que dans leurs adaptations en moyen anglais. Cette étude comparative nous a permis de rendre compte de l'évolution des figures du travestissement car, lors de la traduction, les parcours narratifs de la "semblance" sont à même de recevoir des significations différentes. Cela a mis en évidence la complexité des liens établis entre le texte source et sa traduction/adaptation. L'adaptation littéraire est un "art double"
39
Bauguion, Carole. "Les poèmes anglais de Charles d'Orléans". Paris 4, 2000. http://www.theses.fr/2000PA040232.
Testo completoAbstract (sommario):
Cette étude a pour objectif d'analyser les poésies moyen-anglaises d'un manuscrit n° 682 de la collection Harleian de la British library, poésies attribuées à un prince de Valois : "Charles, duc d'Orléans" (1394-1465). En comparant ce recueil anglais au manuscrit autographe contenant les poésies françaises de Charles d'Orléans (manuscrit français 25458 de la Bibliothèque nationale de Paris), nous démontrerons par une étude thématique et stylistique que Charles est bien l'auteur des deux œuvres lyriques. Bien que la poésie de Charles laisse deviner l'influence du Roman de la rose de Guillaume de Lorris, le symbolisme et les images allégoriques de ses poèmes d'amour reflètent aussi les aléas de sa propre vie. Après avoir été fait prisonnier à Azincourt en 1415, l'écriture devint pour Charles une formule magique qui l'aida à supporter ses vingt-cinq longues années d'exil en Angleterre. Cette étude comparative souligne la façon dont le poète courtois personnalise sa poésie lyrique en établissant sa paternité littéraire dans ses poèmes anglais et français. Cette prédilection onomastique indique un nouveau thème poétique : le moi du poète. Le moi est le protagoniste des images allégoriques de Charles d'Orléans. L'allégorie devient ainsi un genre introspectif, un moyen de transformer ses sentiments en des personnages jouant sur un théâtre mental. Enfin, notre recherche portera sur la présence féminine à travers l'œuvre orléanaise. L'identification de la "dame sans égale" sera notre dernière énigme à résoudre.
40
Alamichel, Marie-Françoise, e Layamon. "Le Brut de Lawamon". Paris 4, 1991. http://www.theses.fr/1991PA040125.
Testo completoAbstract (sommario):
Cette étude du Brut de Lawamon (épopée en moyen-anglais archaïsant de la fin du douzième siècle) comporte, en première partie, une étude thématique (555 pages) de l'œuvre entière. Les thèmes retenus ont été l'espace, le temps, la guerre et les guerriers, le roi humain et roi céleste, les femmes et, enfin, la vie quotidienne. Chacun de ces chapitres montre que le poète cherchait à faire d'œuvre d'historien en s'appuyant sur les œuvres anglo-saxonnes des siècles précédents que Lawamon considérait comme témoignages du passé. Le poète, qui traduisait le texte du normand Robert Wace - Le roman de brut - gomma systématiquement, en effet, les références au cadre courtois dans lequel le français avait placé son récit ; tout ce qui tient de la vie publique dans le brut de Lawamon est ainsi modelé sur les poèmes épiques vieil-anglais. Les éléments de la vie privée, en revanche, - n'ayant pas de place dans la poésie anglo-saxonne - sont dépeints sous les traits du douzième siècle ou empruntes à des légendes celtes : le poème est au carrefour de multiples traditions. En seconde partie (246 pages), on trouvera la traduction de 60 pour cent du brut - les extraits ayant été sélectionnés pour leur importance dans l'intrigue générale ou dans la littérature (anglaise), leur originalité ou leur intérêt stylistique. Un troisième volume (301 pages) comprend le texte original des extraits traduits avec, en regard, les passages correspondants du Roman de brut de Wace : la dépendance ou l'émancipation de Lawamon par rapport à sa source directe (question fréquemment posée dans la partie thématique) saute ainsi, littéralement, aux yeuxThis study of Lawamon's brut (an epic of the end of the 12th century written in archaistic middle-English) contains, in a first volume (555 pages), a thematic study of the whole work. The subjects that have been dealt with are space, time, warfare and warriors, human kings and the divine king, women, and everyday life. Each of the chapters show that the poet wished to act as a historian relying on the Anglo-Saxon works of the preceding centuries - that he considered as truthful accounts of the past. The English poet (who was translating Robert Wace’s Middle English poem known as roman de brut) systematically deleted the courtly background of the Norman text. In Lawamon's brut, all that concerns public affairs is modelled on the old English epic poems. On the other hand, when depicting private life - that plays no role in Anglo-Saxon poetry - Lawamon described his own 12th century world or resorted to Celtic legends: his poem is at a crossroads of traditions the second volume (246 pages) is made up of a translation into French of sixty per cent of the poem; the passages have been selected for their significance in the plot or in (English) literature, their originality of their stylistic interest. The third volume (301 pages) consists of the original text of the translated extracts together with Wace’s corresponding passages of the roman de brut on the opposite page: Lawamon's faithfulness or emancipation from his main source (an issue frequently dealt with in the thematic study) is - literally - made visual
41
Bourgne, Florence. "Écriture et philosophie dans le "Troilus" de Chaucer". Paris 4, 1996. http://www.theses.fr/1996PA040227.
Testo completoAbstract (sommario):
Le Troilus de Chaucer fourmille d'allusions à la Consolatio de Boece, traduite simultanément. Sa réception insiste sur les qualités de traducteur de Chaucer, et le qualifie de philosophe. Ce qualificatif est replacé dans le contexte de la philosophie mediévale, au large champ d'application et à l'enseignement oral, favorisant l'instauration de figures d'autorité, dont les oeuvres sont commentées. Les gloses contenues dans les manuscrits du Troilus se répartissent en "titres courants", marques dialogiques, notation généalogiques et mythologiques, calquant les commentaires universitaires. L'influence de la consolation sur le Troilus est essentiellement structurelle, mais les insertions d'éléments boeciens constituent un mode de réécriture particulier, qui doit être examiné a la lumière des débats contemporains de Chaucer entre nominalistes et réalistes (Chaucer était lié d'amitié avec un ancien logicien oxonien). Cette intrusion de la philosophie dans l'écriture soumet la littérature à l'oralité, alors même qu'elle tente de s'en détacher. La technique de traduction dont Chaucer use dans Troilus et sa politique de néologismes l'incluent dans le mouvement de traduction dit Translatio Studii défendant le vernaculaire. Chaucer prétend traduire du latin et non du florentin : l'accent est mis la translatio, transfert spatial et chronologique du savoir. Chaucer, soucieux d'établir un corpus de ses oeuvres, s'inscrit dans la droite ligne de Dante ou Machaut. Cependant, le narrateur du Troilus se fait moinillon, et les références aux livres ne parviennent pas à degager l'écrit de sa dépendance envers l'oralitéChaucer's Troilus seethes with allusions to Boethius' Consolatio, translated simultaneously. Contemporaries praised Chaucer's qualities as a translator, and called him a philosopher. This must be set against the backdrop of medieval philosophy, its width and its oral teaching, which promotes figures of authorities whose works are commented upon. The glosses in the Troilus manuscripts are summary notes, dialogical marks or genealogical and mythological notations, inkeeping with school commentaries. Boece's influence on Troilus is mostly structural, yet the interpolating of boethian elements entails a new re-writing mode, to be examined in the light of the nominalist realist debates (Chaucer was friends with a former oxonian logician). This intrusion of philosophy in the realm of writing submits literature to orality, although literature is seeking its independence. The translating technique used by Chaucer in Troilus and his coining policy make him part and parcel of the Tanslatio Studii movement, which upholds vernaculary languages. Chaucer is eager to establish a canon of his works, as were Dante or Machaut. Yet, Troilus' narrator poses as a monk, and references to books are unable to counter orality's supremacy over literacy
42
Walther, James T. "Imagining The Reader: Vernacular Representation and Specialized Vocabulary in Medieval English Literature". Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2592/.
Testo completoAbstract (sommario):
William Langland's The Vision of Piers Plowman was probably the first medieval English poem to achieve a national audience because Langland chose to write in the vernacular and he used the specialized vocabularies of his readership to open the poem to them. During the late thirteenth and fourteenth centuries, writers began using the vernacular in an attempt to allow all English people access to their texts. They did so consciously, indicating their intent in prologues and envois when they formally address readers. Some writers, like Langland and the author of Mankind, actually use representatives of the rural classes as primary characters who exhibit the beliefs and lives of the rural population. Anne Middleton's distinction between public-the readership an author imagined-and audience-the readership a work achieved-allows modern critics to discuss both public and audience and try to determine how the two differed. While the public is always only a presumption, the language in which an author writes and the cultural events depicted by the literature can provide a more plausible estimate of the public. The vernacular allowed authors like Gower, Chaucer, the author of Mankind, and Langland to use the specialized vocabularies of the legal and rural communities to discuss societal problems. They also use representatives of the communities to further open the texts to a vernacular public. These open texts provide some representation for the rural and common people's ideas about the other classes to be heard. Langland in particular uses the specialized vocabularies and representative characters to establish both the faults of all English people and a common guide they can follow to seek moral lives through Truth. His rural character, Piers the Plowman, allows rural readers to identify with the messages in the text while showing upper class and educated readers that they too can emulate a rural character who sets a moral standard.
43
Sansy, Danièle. "L'image du juif en France du nord et en Angleterre du XIIe au XVe siècle". Paris 10, 1994. http://www.theses.fr/1994PA100035.
Testo completoAbstract (sommario):
L'imaginaire du juif en France du nord et en Angleterre, aussi bien dans les textes que dans les représentations figurées, s'articule entre le douzième et le quinzième siècle autour de deux figures principales : le meurtrier du christ et l'infidèle. La responsabilité des juifs dans la crucifixion du christ est sans cesse réaffirmée, réactualisée dans les accusations de meurtre d'enfants chrétiens qui apparaissent en Angleterre et en France dans la seconde moitié du douzième siècle, puis, à partir du milieu du treizième siècle, dans des accusations de profanation d'hostie, en particulier lors du miracle des billettes de 1290. Au fur et à mesure que se développe la dévotion au christ souffrant, le juif est peint de plus en plus comme le bourreau du christ, prenant vie sur la scène des mystères de la passion de la fin du Moyen Age. En tant que non-chrétien, représentant de l'ancienne loi, le juif est conçu comme l'enfant de la synagogue, source permanente de blasphème au sein d'une société chrétienne. Il devient une figure emblématique de l'infidélité, de préférence au musulman, mais ne semble pas avoir été perçu comme un réel danger d'apostasie ou d'hérésie. Les associations entre le juif et le diable demeurent limitées, même si certains attributs iconographiques du juif puisent dans l'iconographie diabolique. L'étude des déformations physiques et des écarts vestimentaires (les signes distinctifs et les couvre-chefs) dans les représentations figurées confirme l'absence de portrait type du juifThe imaginary of the Jew in northern France and in England, as well in the texts as in the pictures, is represend from the twelfth to the fifteenth century by two main figures: the murderer of Christ and the infidel. The Jew’s guilt of Christ’s crucifixion is alleged and repeated in the allegations of christian children murders which occur in the second half of the twelfth century and in the charges of host desecration, particularly in the miracle of billettes in 1920. As the devotion to the suffering Christ is increasing, the Jew is described as Christ’s torturer, becoming a character of the passion plays in the end of the middle ages. As a non-christian, the Jew is considered as synagogue's child and as a permanent source of blasphemy within the Christian society. He becomes an emblematic figure of the infidelity, more than the Saracen, but he is not considered as a real danger of apostasy or heresy. Surprisingly, the associations between the Jew and the devil are very exceptional, even if some iconographic attributes of the Jew come from those of the devil. The study of the physical distortions, the clothing differences, the Jewish badge, and the headdress in the pictures confirms that there is not a typical representation of the Jew
44
Varnam, Laura. "The howse of God on Erthe : constructions of sacred space in late Middle English religious literature". Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670140.
Testo completo
45
Murray, Kylie Marie. "Dream and vision in Scotland, c.1375-1500". Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669934.
Testo completo
46
Flight, Tim. "Apophasis, contemplation, and the kenotic moment in Anglo-Saxon literature". Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:16f34b87-8c3a-4fe1-9dbb-d8c6e3545bd8.
Testo completoAbstract (sommario):
This thesis reveals the considerable influence of contemplation (sometimes referred to as mysticism) on Anglo-Saxon literature, manifested through the arrangement of narratives according to the theological concepts of apophasis and kenosis. This is demonstrated through a lengthy contextual discussion of the place of contemplation in Anglo-Saxon spirituality, and close analysis of four poems and a prose text. Although English mysticism is commonly thought to start in the High Middle Ages, this thesis will suggest that this terminus post quem should instead be resituated to the Anglo-Saxon period. The first chapter seeks to reveal the centrality of contemplation to Anglo-Saxon spirituality through analysing a range of diverse material, to evidence the monastic reader borne from this culture capable of reading and composing the texts that make up the rest of the thesis in the manner suggested. The thesis places chronologically diverse Anglo-Saxon texts in a contemplative context, with close reference to theology, phenomenology, and narrative structure, to suggest that our interpretation of them should be revised to apprehend the contemplative scheme that they advocate: to cleanse the reader of sin through inspiring penitence and kenosis (humility and emptying of one's will) and direct the mind intellectually beyond the words, images and knowledge of the terrestrial sphere (apophasis), so as to prepare them for the potential coming of God's grace in the form of a vision. This reading is supported by the close taxonomical resemblance of each text's narrative structure. The thesis thus suggests that contemplation was central to Anglo-Saxon spirituality, producing an elite contemplative audience for whom certain texts were designed as preparative apparatus.
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Grimes, Jodi Elisabeth. "Rhetorical Transformations of Trees in Medieval England: From Material Culture to Literary Representation". Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc12130/.
Testo completoAbstract (sommario):
Literary texts of medieval England feature trees as essential to the individual and communal identity as it intersects with nature, and the compelling qualities and organic processes associated with trees help vernacular writers interrogate the changing nature of this character. The early depiction of trees demonstrates an intimacy with nature that wanes after the tenth-century monastic revival, when the representation of trees as living, physical entities shifts toward their portrayal as allegorical vehicles for the Church's didactic use. With the emergence of new social categories in the late Middle Ages, the rhetoric of trees moves beyond what it means to forge a Christian identity to consider the role of a ruler and his subjects, the relationship between humans and nature, and the place of women in society. Taking as its fundamental premise that people in wooded regions develop a deep-rooted connection to trees, this dissertation connects medieval culture and the physical world to consider the variety of ways in which Anglo-Saxon and post-Norman vernacular manuscripts depict trees. A personal identification with trees, a desire for harmony between society and the environment, and a sympathy for the work of trees lead to the narrator's transformation in the Dream of the Rood. The Tree of Knowledge of Good and Evil in the Junius 11 manuscript, illustrated in Genesis A, Genesis B, and manuscript images, scrutinizes the Anglo-Saxon Christian's relationship and responsibility to God in the aftermath of the Fall. As writers transform trees into allegories in works like Genesis B and Geoffrey Chaucer's Parson's Tale, the symbolic representations retain their spontaneous, organic processes to offer readers a visual picture of the Christian interior-the heart. Whereas the Parson's Tale promotes personal and radical change through a horticultural narrative starring the Tree of Penitence and Tree of Vices, Chaucer's Knight's Tale appraises the role of autonomous subjects in a tyrannical system. Forest laws of the post-Norman period engender a bitter polemic about the extent of royal power to appropriate nature, and the royal grove of the Knight's Tale exposes the limitations of monarchical structures and masculine control and shapes a pragmatic response to human failures.
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Scheidgen, Andreas. "Die Gestalt des Pontius Pilatus in Legende, Bibelauslegung und Geschichtsdichtung vom Mittelalter bis in die frühe Neuzeit Literaturgeschichte einer umstrittenen Figur /". Frankfurt am Main : Lang, 2002. http://catalog.hathitrust.org/api/volumes/oclc/50921230.html.
Testo completo
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Douglas, Blaise. "La littérature prophétique anglo-écossaise au XIVe siècle". Paris 4, 1999. http://www.theses.fr/1999PA040147.
Testo completoAbstract (sommario):
Au XIVe siècle, la Grande-Bretagne a produit un nombre considérable de prophéties écrites en langue vernaculaire. Cette étude en retient essentiellement six : "qwhen the koke in the northe. . . , "whan rome ys remeuyd in-to Englonde. . . ", fragments of an alliterative poem containing Thomas a-becket's prophecies, the romance and prophecies of Thomas of Erceldoune, the prophecy of the six kings et Adam Davy's five dreams about Edward II. Ces textes sont reproduits, traduits et décrits. L'analyse qui en est donnée s'appuie non seulement sur leur contenu, mais aussi sur la définition même de la notion de prophétie, ainsi que sur leur inscription dans une tradition littéraire large. Les expressions prophétiques antique, biblique et médiévale sont ainsi mises en relation, permettant de mieux comprendre la nature et la portée des pièces anglo-écossaises. La valeur politique de ces textes semble en effet moins fondamentale qu'on l'a généralement suppoée et serait davantage le fruit d'une évolution propre au genre.
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Pouzet, Jean-Pascal. "Les réécritures versifiées de la Bible dans la littérature moyen-anglaise (XIIIe-XVe siècles) : Genesis and Exodus et Cursor Mundi, manuscrits, textes et contextes". Paris 4, 2005. http://www.theses.fr/2005PA040216.
Testo completoAbstract (sommario):
Comment lire les productions versifiées moyen-anglaises ayant la Bible pour matière, entre la fin du XIIIe et le milieu du XVe siècle ? Cette question, qui mêle intimement l'esthétique de la création littéraire et celle de sa réception, est posée à la lumière d'une étude de Genesis and Exodus et du Cursor Mundi. Ces deux poèmes du début du XIVe siècle révèlent deux versants complémentaires de la culture vernaculaire insulaire. Les manuscrits et les textes de l'Historia Scholastica de Pierre Comestor et du Château d'amour de Robert Grosseteste, offrent d'abord deux paradigmes essentiels pour comprendre les origines d'un discours scripturaire anglais qui s'autorise d'illustres précédents théologiques et exégétiques en langue latine et française. Construites à la confluence de plusieurs territoires discursifs solidaires (paléographie, codicologie, lexicographie, éléments de prosopographie, et surtout théorie littéraire), deux études s'attachent ensuite à déchiffrer la constitution des deux poèmes à leurs horizons respectifs, selon leurs manuscrits, leurs textes et leurs contextes originaux. En inscrivant le projet esthétique dont ils sont spécifiquement porteurs dans la culture du livre manuscrit et les conditions de la composition et de la transmission des œuvres en langue anglaise, on cherche à proposer les rudiments d'une poétique de la réécriture biblique vernaculaire aux derniers siècles du Moyen Age en AngleterreHow can we approach Middle English versified productions with the Bible as subject matter, between the late thirteenth and the mid fifteenth centuries? This question, which intimately combines the aesthetics of literary creation and reception, is asked in the light of a study of Genesis and Exodus and Cursor Mundi. Those two early fourteenth century poems reveal two complementary aspects of insular vernacular culture. The manuscripts and the texts of Peter Comestor's Historia Scholastica and Robert Grosseteste's Château d'amour initiate two essential paradigms for envisioning the sources of an English scriptural discourse which finds its authorizations in illustrious theological and exegetical precedents in the Latin and French languages. Drawing from a confluence of several interrelated discursive territories (palæography, codicology, lexicography, rudiments of prosopography, and primarily literary theory), two studies proceed to unravel the constitution of the two poems by looking at their respective original manuscripts, texts, and contexts. As the æsthetic project which they specifically develop is inscribed within the culture of insular book production and the conditions of the composition and transmission of works in English, this project attempts to lay the groundwork for a poetics of vernacular biblical rewriting in the later Middle Ages in England