Le Goladīpikā (L’illumination de la sphère) est un traité composé par Parameśvara. Il existe deux versions de ce texte : l’une a été éditée avec une traduction anglaise et l’autre n’est qu’une édition utilisant trois manuscrits. Cette thèse donne une nouvelle édition de la deuxième version en utilisant onze manuscrits dont un commentaire anonyme nouvellement trouvé. Elle se compose aussi d’une traduction anglaise et de notes explicatives. Pour l’essentiel, le Goladīpikā est une collection de procédures pour déterminer la position des objets célestes. Cette thèse décrit les outils mathématiques qui sont utilisées dans ces procédures, en particulier les Règles de trois, et discute de la manière dont Parameśvarales fonde. Il y a une description d’une sphère armillaire au début du Goladīpikā. Donc ce doctorat examine aussi comment cet instrument a pu être utilisé pour expliquer ces procédures. Ce travail tente aussi de positionner le Goladīpikā au sein du corpus des oeuvres Parameśvara et d’autres auteurs / The Goladīpikā (Illumination of the sphere) is a Sanskrit treatise by Parameśvara, which is extant in two distinctly different versions. One of them has been edited with an English translation and the other has only an edition using three manuscripts. This dissertation presents a new edition of the latter version using eleven manuscripts, addinga newly found anonymous commentary. It further consists of an English translation of the base text and the commentary as well as explanatory notes. The main content of the Goladīpikā is a collection of procedures to ind the positions of celestial objects in the sky. This dissertation highlights the mathematical tools used in these procedures, notably Rules of Three, and discusses how the author Parameśvara could have grounded the steps. There is a description of an armillary sphere at the beginning of the Goladīpikā, and the dissertation also examines how this instrument could have been involved in explaining the procedures. In the course of these arguments, the dissertation also attempts to position the Goladīpikā among the corpus of Parameśvara’s text as well as in relation to other authors

By examining five types of astronomical and celestial phenomena—comets, constellations, the zodiac, planets, and the music of the spheres—this thesis posits not only that early modern dramatists were influenced by established and emerging natural philosophy as habits of thought that manifested in their writing, but also that astronomical phenomena operate within the drama, performance, and in the theatre as elements for creating and developing a distinctly spatial dramaturgy. Using theories from the spatial turn, this thesis maps the positions, edges, disturbances, and motions of celestial properties within the imaginary and physical space of early modern drama and theatre. It argues that the case study plays examined within this thesis demonstrate a period-wide engagement, rather than an authorial-, company-, theatre-, or even genre-specific practice. Dramatists developed techniques using astronomical phenomena as dramatic methods that occasionally underscored early modern astronomical thought. However, in many cases constructed plots, characters, visual and sound effects, and movements transgressed astronomical expectations. Dramatists broke down constellations, inserted new stars in the heavens, created zodiacal females, launched pyrotechnical comets, moved planets unexpectedly across the stage, and played (and refrained from playing) celestial "music" for the audience. Recognising composite and often contradictory astronomical constructions within the drama, this thesis moves the critical discussion away from an intellectual history of natural philosophy and gravitates toward an active astronomical dramaturgy.