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This dissertation examines the procedure of musical borrowing, in which melodies are recycled or reworked, in the sung, vernacular poetry of the troubadours. Their usage of the practice (specifically, that of contrafacture, wherein pre-existing melodies are retexted) is attested to in poetic treatises, confirmed by a small number of examples transmitted with musical notation, and further supported by a large body of poems that share a versification structure. The paucity of extant melodies, however, has prevented scholars from fully exploring the musical implications of the technique. Through close and multidisciplinary analysis of music, text, image, and material object, this study uses intermusicality as an entry point to address larger questions about the musical practice of the Occitan poet-composers: how were songs crafted, and what is the relationship between music and text? How was this repertoire spread, and what roles did oral and notated transmission play? How would audiences have interpreted the songs of the troubadours? To that end, I examine a series of case studies drawn from Paris, Bibliothèque nationale de France, f. fr. 22543. Throughout, I characterize musical borrowing as a generative procedure used commonly by the troubadours, and foreground the connections (aural and otherwise) that arise as a consequence. As such, the dissertation offers a new way of understanding the musico-poetic practice of the troubadours, with respect to both mechanics and meaning, through the lens of a well-attested but largely-silenced compositional practice.

Among the considerable manuscript production of the twelfth and thirteenth centuries, the Bible moralisee stands out by the number of miniatures and by the conception of the manuscript itself. The composition and many iconographical themes recall stained glass windows of contemporary cathedrals, such as Chartres, Sens, Bourges, or Canterbury in England. / The manuscript of the Bible moralisee to which this study is partly dedicated, is located in the Treasury of the Toledo cathedral chapter in Spain. This study deals also with the duplicate copy which was realized soon afterwards. The interpretation and illustrations of the verses vary in number according to the books of the Bible. Though being one of the smallest biblical books, the Song of Solomon is given outstanding consideration, more than any other book in the Bible. The central theme--the espousal of the Bride and the Bridegroom, Christ and Ecclesia being its allegory--enjoyed a considerable success in medieval theology. It corresponded to the courtly love atmosphere of its time. Abundant commentary literature and the development of mariology made this book even more popular. About a quarter of the commentary illustrations are dedicated to the theme Christus-Ecclesia. Ecclesia, always crowned, holds the chalice which confirms her sacramental significance. In no other known iconographical medieval programme has Ecclesia such a position. / The question raised by the problematic around this Bible is the eventual intention being at the origin of this order which, without any doubt, emanates from French royalty. Has it been produced to enhance the prestige of royalty? Is it a pedagogical work intended for the education of the royal children? Was it meant to be a royal political gift? The Ecclesia theme in the Bible is the exaltation of, or an hommage to the Church, spiritual or temporal, by the French royalty of the thirteenth century.

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Submitted by Irvana Coutinho (irvana@ufpa.br) on 2017-04-07T13:27:04Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_MilUmaTransfiguracoes.pdf: 1420893 bytes, checksum: 725093e2b2f590f1e5eb89cbe25a55f6 (MD5) / Approved for entry into archive by Irvana Coutinho (irvana@ufpa.br) on 2017-04-07T13:28:04Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_MilUmaTransfiguracoes.pdf: 1420893 bytes, checksum: 725093e2b2f590f1e5eb89cbe25a55f6 (MD5) / Made available in DSpace on 2017-04-07T13:28:04Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_MilUmaTransfiguracoes.pdf: 1420893 bytes, checksum: 725093e2b2f590f1e5eb89cbe25a55f6 (MD5) Previous issue date: 2016-04-29 / CNPq - Conselho Nacional de Desenvolvimento Científico e Tecnológico / Ponson du Terrail foi considerado um dos principais romancistas populares franceses da segunda metade do século XIX. Tendo circulado amplamente em folhetins e no formato livro em seu país de origem, teve seus romances traduzidos para a língua portuguesa e, ainda naquele século, publicado por inúmeros editores portugueses. Parcela das edições portuguesas de seus romances foram enviadas à Belém do Pará e passaram a fazer parte do acervo do Grêmio Literário Português do Pará, gabinete de leitura fundado na capital da Província em 1867. Considerando que um dos principais sucessos de público do autor foi a série Rocambole, na qual são narradas as aventuras do personagem de mesmo nome em 12 romances, esta dissertação teve por objetivo descrever, do ponto de vista bibliográfico, as edições dessa série que constam no acervo dessa instituição até o presente momento. Para tanto, foram coletados os dados editoriais dos exemplares do gabinete de leitura paraense, os quais foram comparados com os exemplares de edições francesas disponíveis na Bibliothèque Nationale de France, de modo a verificar os diferentes arranjos editoriais da série, no que diz respeito à organização das partes que a compõe. Feito isto se empreendeu a síntese do enredo dos romances que compõe a série como um todo, bem como a análise da narrativa com foco nas transformações físicas e psicológicas da personagem, enfatizando a importância do disfarce e reconhecimentos para a economia do enredo. / Ponson du Terrail was considered one of the leading French popular novelists the second half of the nineteenth century. Having circulated widely in serials and in book form his country of origin, he had his novels translated into Portuguese language and, that century, published by numerous Portuguese publishers. Part of Portuguese editions of his novels have been sent to Belém of Pará and became part of the Grêmio Literário Português of Para collection, reading room established in the capital of the province in 1867. Whereas one of the main author of blockbusters was Rocambole series, which are narrated the adventures of the eponymous character in 12 novels, this work aimed to describe the bibliographic point of view, the issues of this series contained in the collection of this institution to date. Therefore, we collected the editorial data of the copies of paraense reading room, which were compared with specimens of French editions available at the Bibliothèque Nationale de France, so check the different editorial arrangements of the series, with regard to the organization the parts that compose it. Done this was undertaken the synthesis of the plot of the novels that compose the series as a whole, as well as the analysis of the narrative focused on the physical and psychological transformations of character, emphasizing the importance of disguise and recognition for the plot economy.

Paris . Rés. Vmd. Ms. 27, known as Tl.1, or the Thibault Manuscript, is one of the earliest extant sources of lute music, containing twenty-four solos and eighty-six accompaniments for vocal compositions. The manuscript was copied in Italian lute tablature lacking rhythm signs, which makes it inaccessible for modern performance. Each selection contains a full score of the four-part vocal concordance, and the reconstructed lute part in both the original notation and keyboard transcription. The introductory study elaborates upon the creation dates for Tl.1 (ca. 1502-1512) through its relationship with the sources of the time and with the older unwritten tradition of Italian secular music that is apparent in the formal treatment of the music.

Depuis son écriture en 1480, le Baratre infernal de Regnaud le Queux reste, à ce jour, une œuvre méconnue, dont l'aspect littéraire est principalement étudié. Cet imposant volume rassemble les informations relatives à l'enfer de l'Antiquité au Moyen Age, créant une véritable encyclopédie de l'enfer où se mêlent prose et vers, latin et moyen français, antique et médiéval. Nous proposons une recherche multidisciplinaire concentrée sur un extrait défini, à savoir les folios 127 à 143, dans lesquels le poète discute de la structure de l'enfer et fait une description du diable et des démons. Nous avons effectué une analyse codicologique et paléographique du manuscrit Paris, BnF, fr. 450, en plus d'une analyse littéraire en deux temps consacrée aux folios 127 à 143 : nous nous intéressons dans un premier temps à la structure du passage à l'étude et la stylistique de l'auteur ; nous examinons dans un second temps les auctoritates déployées par Regnaud et leur usage au sein de son discours. L'objectif, après avoir réalisé une édition des folios à l'étude, est d'approfondir la connaissance acquise sur ce manuscrit et d'exposer l'harmonie délicate entre la séparation et le mariage d'éléments opposés qu'instille l'auteur. Le fruit de notre recherche est donc une édition partielle du manuscrit, ainsi qu'une analyse détaillée du prosimètre et des sources employées par Regnaud pour soutenir son discours. Le choix de restreindre l'étude à un extrait qui n'a pas été étudié jusqu'à aujourd'hui permet un nouvel angle précis d'interprétation qui contribue à la compréhension globale de l'œuvre. On comprend soit dit au passage que les opportunités de recherches relatives à cette œuvre médiévale ne manquent pas. / Since it has been written in 1480, Regnaud le Queux's Baratre infernal remains, to this day, a relatively unknown work. The studies are mainly on its literary aspect. This imposing volume gathers information about hell from Antiquity to the Middle Ages, creating an authentic encyclopedia on hell, in which prose and poetry, Latin and French, the antique and the medieval coexist. We suggest a multidisciplinary research dedicated to a studied excerpt of the manuscript Paris, BnF, fr. 450 : the folios 127 to 143, in which the poet elaborates on hell's structure and describes the devil and demons. We use three different approaches: codicology and paleography help us understand the manuscript's context of production and its purpose. We also do a literary analysis around the folios 127 to 143 in two steps: firstly, we observe the poetic structure and the author's style ; secondly, we examine the auctoritates used by Regnaud, and their application in his discourse. The objective, after rendering an edition of the studied passage, is to gain knowledge about this manuscript. Furthermore, we expose the intricate harmony between the union and separation of disparate elements infused by the author : prose cohabits with poetry, the Ancients coexist with the medieval authors, just as Latin and French. Thus, this study's results is a partial edition of the manuscript, and a detailed analysis of the prosimetra and the sources deployed by the poet. Focusing on a delimited and until now unstudied passage gives place to a new and precise interpretation, which contributes to the global comprehension of the volume. Ultimately, so much more can still be done regarding this medieval opus.

Depuis son écriture en 1480, le Baratre infernal de Regnaud le Queux reste, à ce jour, une œuvre méconnue, dont l'aspect littéraire est principalement étudié. Cet imposant volume rassemble les informations relatives à l'enfer de l'Antiquité au Moyen Age, créant une véritable encyclopédie de l'enfer où se mêlent prose et vers, latin et moyen français, antique et médiéval. Nous proposons une recherche multidisciplinaire concentrée sur un extrait défini, à savoir les folios 127 à 143, dans lesquels le poète discute de la structure de l'enfer et fait une description du diable et des démons. Nous avons effectué une analyse codicologique et paléographique du manuscrit Paris, BnF, fr. 450, en plus d'une analyse littéraire en deux temps consacrée aux folios 127 à 143 : nous nous intéressons dans un premier temps à la structure du passage à l'étude et la stylistique de l'auteur ; nous examinons dans un second temps les auctoritates déployées par Regnaud et leur usage au sein de son discours. L'objectif, après avoir réalisé une édition des folios à l'étude, est d'approfondir la connaissance acquise sur ce manuscrit et d'exposer l'harmonie délicate entre la séparation et le mariage d'éléments opposés qu'instille l'auteur. Le fruit de notre recherche est donc une édition partielle du manuscrit, ainsi qu'une analyse détaillée du prosimètre et des sources employées par Regnaud pour soutenir son discours. Le choix de restreindre l'étude à un extrait qui n'a pas été étudié jusqu'à aujourd'hui permet un nouvel angle précis d'interprétation qui contribue à la compréhension globale de l'œuvre. On comprend soit dit au passage que les opportunités de recherches relatives à cette œuvre médiévale ne manquent pas. / Since it has been written in 1480, Regnaud le Queux's Baratre infernal remains, to this day, a relatively unknown work. The studies are mainly on its literary aspect. This imposing volume gathers information about hell from Antiquity to the Middle Ages, creating an authentic encyclopedia on hell, in which prose and poetry, Latin and French, the antique and the medieval coexist. We suggest a multidisciplinary research dedicated to a studied excerpt of the manuscript Paris, BnF, fr. 450 : the folios 127 to 143, in which the poet elaborates on hell's structure and describes the devil and demons. We use three different approaches: codicology and paleography help us understand the manuscript's context of production and its purpose. We also do a literary analysis around the folios 127 to 143 in two steps: firstly, we observe the poetic structure and the author's style ; secondly, we examine the auctoritates used by Regnaud, and their application in his discourse. The objective, after rendering an edition of the studied passage, is to gain knowledge about this manuscript. Furthermore, we expose the intricate harmony between the union and separation of disparate elements infused by the author : prose cohabits with poetry, the Ancients coexist with the medieval authors, just as Latin and French. Thus, this study's results is a partial edition of the manuscript, and a detailed analysis of the prosimetra and the sources deployed by the poet. Focusing on a delimited and until now unstudied passage gives place to a new and precise interpretation, which contributes to the global comprehension of the volume. Ultimately, so much more can still be done regarding this medieval opus.

Le Cabinet des médailles et antiques de la Bibliothèque nationale conserve les « bijoux savants » aux origines du collectionnisme occidental avec son médaillier universel, des pierres gravées et des collections d’antiques d’une diversité étonnante. Si celles-ci proviennent pour les parties les plus anciennes, des collections de la maison royale et de trésors ecclésiastiques, cette thèse ne remonte pas aux origines du département mais s’occupe de son destin à l’âge des musées, entre la Restauration, avec l’arrivée au département en 1819 de Désiré Raoul-Rochette (1789-1854) et la période qui suit la première guerre mondiale jusqu’à la mort d’Ernest Babelon (1854-1924). Elle cherche à comprendre, comment ce « parangon des cabinets d’amateurs de jadis » s’est développé, pris comme il l’était entre une tradition antiquaire aristocratique et les exigences de la modernité, républicaine et spécialiste. Elle aborde les différents aspects de la vie du département à l’intérieur du quadrilatère Richelieu. Tout d’abord, comme le portrait d’un lieu d’histoire d’un point de vue institutionnel et architectural qui permet de comprendre la place accordée historiquement à la culture matérielle au sein de la Bibliothèque nationale. Ensuite l’histoire du développement des collections et puis celle de leur valorisation muséographique et scientifique sont examinées au prisme de l’expansion du domaine de l’archéologie et de l’essor des sciences auxiliaires de l’histoire au XIXe siècle. / The Cabinet des médailles et antiques in the French National Library holds a particular place in the vast constellation of Parisian museums. Home to the so-called « bijoux savants » that founded western collecting culture since the Renaissance, it is at once a universal coin cabinet, one of the worlds foremost collections of cut stones and gems, but also a miscellaneous collection of antiquities representing all periods and places. As described in 1930 by one of its curators, it represents a « parangon of amateur cabinets from another time ». This thesis does not directly deal with its prestigious origins but tells one chapter of its long history, looking at how, from the period of the Restoration onwards (beginning with the direction of Désiré Raoul-Rochette in 1819) until the passing of Ernest Babelon in 1924, this cabinet of antiquarian culture and collections adapted and developed to the modern Republican museum age. The life of the department is first considered as a means of understanding the role of material culture and the place of the museum inside France’s national library in the nineteenth century. It then goes on to consider the development of the collections themselves and their scientific and museological exploitation in light of the rapidly expanding practice of archaeology and highly specialised auxiliary sciences of history.