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Thesis advisor: Steven F. Brown / Despite several centuries of scholarly activity, one of the most outstanding figures of the twelfth-century renaissance, Honorius Augustodunensis, remains an elusive figure. Almost nothing is known of his life--where he was born, where exactly he lived, or where he died. Yet in his own day, Honorius's considerable literary output was extremely popular, was copied in profusion, and housed in libraries across Europe. Unfortunately, most studies of Honorius's works have consisted of very general surveys that oversimplify his thought and present Honorius himself as a `simplistic' thinker. Based upon a new critical edition of the two surviving recensions of Honorius's dialogue, Inevitabile, this study seeks to redress this problem. After a careful review of the scholarly literature on the text, from 1552 to 1996, several passages from both redactions of the Ineuitabile are carefully analyzed to illustrate both the complexity of Honorius's use of his sources (auctores/auctoritates), and his masterful blending of literary allusion with dialectic, which is the foundation of his theological methodology. Finally, it is shown that the doctrine of predestination in the earliest recension of the Inevitabile, which has traditionally been labelled `Augustinian', is in fact based, in large measure, on the teachings of John Scottus Eriugena. This study seeks to change the way that Honorius's texts are read and interpreted, in the firm conviction that only by engaging with the intricacies of his sources and methodology, can his true achievement be understood and the purpose behind his vast corpus of writings be grasped. / Thesis (PhD) — Boston College, 2013. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.

O objetivo desta pesquisa é analisar a imagem do casamento ao longo dos séculos XI e XII, a partir dos novos ideais reformadores da Igreja. A intenção é fazer um estudo comparativo das representações da literatura e dos novos ideais religiosos de casamento, que estavam sendo propostos pela Igreja aproximadamente no mesmo período, a partir de quatro documentos diferentes: o Decretum de Burchard de Worms, o Concordia discondantium canonum de Graciano, os três primeiros Concílios de Latrão e os decretais de Alexandre III, presentes no Líber Extra.. Como fontes literárias serão utilizadas as obras Eric et Enide, Cligès, Lancelot ou Le Chevalier de la Charrette, e Ivain ou Le Chevalier au Lion, todas de Chrétien de Troyes, autor do século XII. Houve transformações na constituição da doutrina do casamento nesse período? Se houve, é possível percebê-las também na literatura? Através destas comparações seria possível identificar como a sociedade era afetada por tais transformações? Estas são as perguntas que orientarão o estudo. / The goal of this research is to analyse the image of marriage throughout the 11th and 12th having the reforming ideals of the Church as the basis. The intention is to make a comparitive study of the literary representations and the new religious ideals for marriage proposed by the Church at the same period. Four documents will be used: the Decretum by Burchard de Worms, the Concordia discordantium canonum by Gratian, the first three Lateran Councils and the decretal letters of Alexandre III, found in the Liber Extra. The literary sources will be Eric et Enide, Cliges, Lancelot, and Ivain, all written by Chretien de Troyes, a 12th century author. Were there transformations in the marriage doctrine in this period? If there were, is it possible to see them in the literature? Could we identify how the society was affected by such transformations through a comparative study? These are some of the questions that will guide the present study.

The present study revises the chronology for the twelfth-century "artifex" Nicholaus, demonstrating that his career began just after c.1122 in Piacenza and ended in Verona c. 1164, not c. 1150 as often proposed. The first sculpted entranceway with the Nicholaus imprimatur was executed at the Sagra di San Michele. It is documented that Nicholaus was put in charge of supervising the construction and decoration of the new cathedral in Ferrara in 1135, including the western entranceway with his self-laudatory signature inscription. His activity here ended around 1150, at which time the interior of the cathedral was functional. In the early 1140s, members of the Nicholaus atelier and possibly the "artifex" himself crossed the Alps to execute certain sculptures at the imperial burial church at Königslutter. The signed Verona Cathedral entranceway was executed in the 1150s. Work at San Zeno began after 1164: the elegiac tone of two signature inscriptions here seems to indicate that Nicholaus died around this time. To determine the date of the Nicholaus Verona projects, given the lack of firm documentary evidence for their dating, because their subject matter could be associated with a known historical incident or situation and those dates fit with my stylistic evaluation as to the sculpture's date, I used the dates for these occurrences as the "termini post quem" for the project. Luigi Simeoni had proposed that the formation of the commune of Verona in 1135 is celebrated by the scene on the lunette at San Zeno depicting the patron saint of Verona signing blessing in the midst of the troops. This supported a date of 1138 for this work. However, my research into the relationship between Verona and various emperors led me to conclude that the image on the lunette at San Zeno actually memorializes the formation in 1164 of the Veronese League opposing Emperor Frederick Barbarossa. A second subject here, The Hunt of Theodoric, seems to have been chosen to insult Barbarossa, previously well received in Verona. The San Zeno frontispiece with Nicholaus's sculptures, the famous bronze doors, and the Wheel of Fortune window was assembled c.1200.

O objetivo desta pesquisa é analisar a imagem do casamento ao longo dos séculos XI e XII, a partir dos novos ideais reformadores da Igreja. A intenção é fazer um estudo comparativo das representações da literatura e dos novos ideais religiosos de casamento, que estavam sendo propostos pela Igreja aproximadamente no mesmo período, a partir de quatro documentos diferentes: o Decretum de Burchard de Worms, o Concordia discondantium canonum de Graciano, os três primeiros Concílios de Latrão e os decretais de Alexandre III, presentes no Líber Extra.. Como fontes literárias serão utilizadas as obras Eric et Enide, Cligès, Lancelot ou Le Chevalier de la Charrette, e Ivain ou Le Chevalier au Lion, todas de Chrétien de Troyes, autor do século XII. Houve transformações na constituição da doutrina do casamento nesse período? Se houve, é possível percebê-las também na literatura? Através destas comparações seria possível identificar como a sociedade era afetada por tais transformações? Estas são as perguntas que orientarão o estudo. / The goal of this research is to analyse the image of marriage throughout the 11th and 12th having the reforming ideals of the Church as the basis. The intention is to make a comparitive study of the literary representations and the new religious ideals for marriage proposed by the Church at the same period. Four documents will be used: the Decretum by Burchard de Worms, the Concordia discordantium canonum by Gratian, the first three Lateran Councils and the decretal letters of Alexandre III, found in the Liber Extra. The literary sources will be Eric et Enide, Cliges, Lancelot, and Ivain, all written by Chretien de Troyes, a 12th century author. Were there transformations in the marriage doctrine in this period? If there were, is it possible to see them in the literature? Could we identify how the society was affected by such transformations through a comparative study? These are some of the questions that will guide the present study.

Bernard of Morlaix was a Cluniac monk who flourished around 1140. What little is known about him, including his visit to Rome, is examined in relation to the affairs of the Cluniac family in his day. A new conjecture is advanced that he was prior of Saint-Denis de Nogent-le-Rotrou. His poems are discussed as examples of the genre of complaint literature. His treatment of the end of the world, and of death, judgement, heaven and hell, is discussed in relation to twelfth-century monasticism. His castigation of the sins of his time includes some of the earliest estates satire. His anticlericalism and his misogyny are compared with those of his contemporaries, and discussed in the context of twelfth-century monastic culture. Bernard’s classical learning is analysed and compared with that of his contemporaries, especially John of Salisbury and Saint Bernard of Clairvaux. His use of metre and rhyme is examined in the context of the development of metre based on stress rather than quantity and of systematic and sustained rhyme in the Latin verse of the twelfth century. Bernard’s use of interpretive and compositional allegory is explored. Bernard is seen as a man of his time, exemplifying a number of twelfth-century characteristics, religious, educational and cultural. Special attention is paid to the Latin literary tradition, and it is suggested that the culture of the twelfth-century was in many respects a culmination rather than a renaissance.

Over the last fifty years or so, historians have largely neglected Gilbert Foliot, the man who was Bishop of London during the 1160s and 1170s, as representative of any larger theoretical position, dismissing his famous polemic letter Multiplicem nobis as the product of envy and thwarted ambition. In this dissertation I argue that Gilbert Foliot was neither out of step with the attitudes of his contemporaries nor driven blindly by anger and envy. Rather, his position was the result of legal training combined with his experience as a cleric in the tumultuous years of twelfth century England. Foliot’s legal training inculcated in him a political theory stressing a bifurcated authority structure in which the clerical and lay “swords” would be drawn to complement one another, but were at the same time necessarily separate and independent. Thus he believed that the Church’s success in its goal of saving souls was reliant on the goodwill and protection of an effective and powerful king. During the Anarchy of King Stephen’s reign, Foliot urged his clerical brethren to unleash the sword of excommunication against barons who committed crimes, and he was frustrated by the lack of coercive power he felt King Stephen ought to have exercised over the rebellious knights who terrorized the countryside. Later, during the reign of Henry II, Foliot feared that the archbishop’s new insistence on clerical superiority would limit the king’s lawful coercive power, while pushing the king to work against the Church rather than with it. Foliot, the jurist, found the archbishop’s argument not only ill-advised, but legally illegitimate and dangerous. Thus Foliot’s diatribe in Multiplicem should be understood not simply as a moment of anger, but as representative of a valid strain of thought in the English clergy, and that the attitude toward the crown on the part of churchmen was more dynamic than historians have recognized. / text

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by Wilma Waggoner Mayo / English, French and Old French text / The text of / Typescript / M.A. Florida State College for Women 1932 / Includes bibliographical references (leaves 153-155)

Thesis (MLitt.) -- Stellenbosch University, 1964. / No Abstract Available