Bielefeld, Universiẗat, Diss., 2000.

Rapport de stage DCB : Ecole nationale supérieure des sciences de l'information et des bibliothèques : 2001.

Mémoire d'étude diplôme de conservateur des bibliothèques : Bibliothéconomie : Villeurbanne, ENSSIB : 2004.

Despite its monumental scale, its position at a turning point in the development of Gothic architecture and its visionary spatial conception, the cathedral of Bourges has remained an anomaly of medieval architectural history. Conceived and built concurrently with the cathedral of Chartres, Bourges has persistently been viewed as the lesser of the two buildings. This thesis attempts to contextualize supposed irregularities of Bourges' design and to review existing historiographical notions of the building in order to rearticulate its artistic character and redefine its historic position. Historically, Bourges has been overshadowed by the greater success of Chartres as a model on which subsequent buildings were based. In turn, the somewhat fragmented acceptance of Bourges' ideals has led to an historiography in which the building is perceived as a series of individual elements rather than as the embodiment of a powerfully focused vision. These factors, and the resulting insistent comparisons of Bourges with Paris as an antecedent and with Chartres as a contemporary, have nurtured a significant bias against Bourges and a consequent disparity in studies of High Gothic architecture. In seeking to redefine the role of Bourges in the history of Gothic architecture, it is essential to identify the unifying force which motivated the first architect of the building who envisioned the original design which was preserved, virtually intact, throughout the building's sixty-year period of construction. At Bourges, it was a fascination with spatial amplitude on a very large scale which fueled the builder's efforts, and it was toward the goal of spatial equilibrium that all elements of the building were oriented. The designer's highly integrated spatial conception was concretized through his use of form and structure, resulting in a building of powerful homogeneity. In the creation of its spatial configuration, and with respect to those buildings influenced by it, Bourges' elevation and structure are its most distinctive features. Bourges' elevation consists of five levels distributed over three planes, resulting in simultaneously two and three dimensional characteristics. The complete three-story elevation of the inner aisle is amply visible through the very tall main arcades so that the two elevations form a single aesthetic unit. At the same time, the three planes differentiate the volumes of the building without being spatially divisive. The elevation's individual components provide an element of vertical continuity while the multiplicity of its planes assures an expansiveness of space throughout the building. Although the elevation is perhaps a more obvious feature of the building's spatial configuration, Bourges' singular vision is no less a function of its structure. The flying buttress, which was introduced towards the end of the twelfth century, provided a powerful structural tool for the builders of both Chartres and Bourges because it provided the technology necessary to build very high, vaulted buildings without using a cumbersome, galleried construction. The artistic emancipation resulting from the use of the flying buttress provided a strong impetus, not only to re-evaluate the Early Gothic aesthetic, but also to develop an entirely new appreciation of structure itself. The Bourges architect capitalized on both aspects of the flying buttress, availing of the artistic opportunities it gave to the building as a whole, and of the aesthetic properties inherent within it. Bourges' flyers manifest a clear understanding of the structural dynamics of masonry construction and a profound desire to exalt those structural properties to a point where they visually contribute to the realization of the designer's spatial concept. They are daringly slender, steeply profiled, supporting members which transfer the thrust of the main vaults to the heads of similarly slight pier buttresses. The designer audaciously employed very spare supporting members, not only to economize on the amount of material used, but also to reduce the elements to essential visual minima. The flyers create the characteristically erect exterior profile of the building and provide a unifying element for its three tiers which correspond to the interior volumes. They are not only vital to the stability of the building but also to its appearance, betraying the designer's awareness of the aesthetic potential of structure which sets him apart from his contemporaries. Unlike Chartres, Bourges' vision was rarely reformulated in its entirety; its success as a whole was too heavily dependent on the building's size and particular configuration. Although its elevation was rearticulated in several buildings in France, Spain, and even Italy, and the building's structural system was extremely precocious, Bourges' design never became an architectural formula because it was ill-adapted to the thirteenth-century liturgy. Its lack of a transept and the consequent unification of space failed to reflect the separation of laity and clergy which became increasingly marked in the liturgy from the twelfth century on. Furthermore, the building did not provide the variety of liturgical spaces requisite to thirteenth-century worship. Although Bourges failed to make as visible and lasting an impression on subsequent buildings as Chartres, it represents a profoundly unique architectural statement which marks a particular, creative moment in the history of medieval architecture. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Thesis--Greifswald. / Cover title. Vita. Includes text of first part of Paris manuscripts f. fr. 22555 and f. fr. 351.

Thesis--Greifswald. / Cover title. Vita. "Fortsetzung der drei Dissertationen von Krickmeyer, Wilhelm und Scholvien, in denen Studien über die früheren Teile der 'Chanson de Lion de Bourges' niedergelegt sind." Includes index of names from Paris manuscript f. fr. 22555. "Textprobe": p. 45-84.

Thesis--Greifswald. / Cover title. Vita. Includes text of third part of Paris manuscripts f. fr. 22555 and f. fr. 351. Includes bibliography.

Thesis--Greifswald. / Cover title. Vita.

Thèse 3 cycle--Histoire de la musique--Poitiers, 1972. / Bibliogr. p. 267-294. Index. En appendice, choix de documents.

Cette recherche part de l'hypothèse générale que le concept de risque présente une grande portée heuristique pour analyser les comportements et les discours des individus dans les sociétés modernes. Elle s’appuie sur un travail de caractérisation des contextes institutionnels où le risque est présent, le terme "institution" étant défini comme une structure stabilisée de croyances, de représentations et de modes de conduites juridiquement ou culturellement institués et réglées par la collectivité. Ce travail a permis de poser deux hypothèses opératoires : - le risque est à la fois réel et construit : il faut prendre en compte la crainte du risque et la réalité du danger - le risque révèle les visions du monde à l'œuvre dans la Modernité : la signification du risque n’est pas seulement indigène à un groupe social mais s’inscrit dans un contexte social qui en fait un objet sociologique d’ordre général. La confrontation des hypothèses à l’expérience du terrain s’appuie sur une étude de l’application des dispositifs de gestion du risque au sein de l’Etablissement Technique de Bourges (ETBS), un centre d’essais de matériels d’armement du Ministère de la Défense. L’analyse des matériaux empiriques (40 entretiens, observation in situ, documents) rend complémentaires l'étude des aspects formels des institutions et l’étude du social comme vécu et expose les relations entre aspects objectifs et subjectifs du risque. Elle montre que le rapport au(x) risque(s) des acteurs des essais pyrotechniques de l’ETBS créé une attitude de responsabilisation à la fois individuelle et collective dans la gestion des risques, chacun, maillon dans une chaîne, contribuant à produire et à reproduire une "chaîne de responsabilité dans les essais pyrotechniques". / This research is based on the general hypothesis that the concept of risk is very useful for analyzing and understanding behavior and discourses in modern societies. It draws on a work that characterizes the institutional contexts where risk appears, the term institution meaning a stabilized structure of beliefs, representations and behavior juridically or culturally constituted and established by the community. This work made it possible to propose two operational hypotheses: - Risk is both real and socially constructed : we must take into account the fear of risk and the reality of danger; - Risk is revealing of modern visions of the world in action: the significance of risk is not only indigenous to a social group but also part of a social context that makes risk a general sociological issue. The confrontation of these hypotheses with field experiences relies on a study of the implementation of risk management devices in the Etablissement Technique de Bourges (ETBS), a French military armament testing center. The analysis of empirical materials (field observations, interviews, and documents) combines the study of formal aspects of institutions and the study of the actors' point of view and exposes the relationship between objective and subjective aspects of risk. It shows that the staff involved in pyrotechnic tests at ETBS assume a collective and individual responsibility in the management of risk where each of the staff members is aware of his responsibilities to the others that contribute to produce and reproduce a "chain of responsibility in the pyrotechnic tests".