Texte remanié de: Mémoire de diplôme d'études supérieures--Histoire--Bordeaux, 1962. Titre de soutenance : Restitution du cartulaire de l'abbaye cistercienne N.-D. de Dalon. / Bibliogr. p. 23. Index.

Inaugural diss.--Bern. / "Der erster Teil dieser Dissertation erscheint voraussichtlich 1953 als erster erweiterter Katalogband der Corpus vitrearum Medii Aevi." Bibliography: p. 77-78.

Inaugural diss.--Bern. / "Der erster Teil dieser Dissertation erscheint voraussichtlich 1953 als erster erweiterter Katalogband der Corpus vitrearum Medii Aevi." Bibliography: p. 77-78.

Th. Univ.--Lettr.--Paris 4, 1980.

Texte remanié de: Thèse de doctorat--Histoire. / En appendice, choix de documents. Bibliogr. p. 125.

No description available.

Th. 3e cycle--Géogr. de l'aménage.--Paris 10, 1986.

The north transept portal at Notre-Dame in Paris depicts the legend of Theophilus. This legend is about a church official who sells his soul to the devil but then repents and is granted salvation with the help of the Virgin. This legend was one of the most popular Marian miracles in the medieval period, but it was extremely rare in sculpture. The rare subject, combined with the location’s importance (over a ceremonial door), lead me to propose a supplementary reading of this relief. The general consensus is that the Theophilus legend was used didactically or to honor the Virgin, and while I do not disagree that these reasons hold true at Notre-Dame as well, I propose an additional, site-specific reading. Considering the social and political environment of the cathedral and its hierarchy, especially the relationship between the bishop and his canons over the jurisdiction of the cathedral during the medieval period and particularly during the construction of the Gothic church, I contend that the Theophilus legend depicted on the north transept portal is a visual manifestation of the relationship between the bishop and his chapter. The lack of the bishop’s authority is portrayed, for a specially educated audience, in the inclusion of the bishop in a legend where he was a minor figure and in a sculpture in a physical location—the entrance from the canons’ cloister— where he had no authority. I argue further that, because of the exegetical identification of the Virgin with the church, the canons’ special devotion to the Virgin, and the canons’ association with the church they were in charge of building and running, the Marian imagery was a device used by the canons to mark their presence in their cathedral and, by asserting their presence, to demonstrate their authority and independence from the bishop. / text

Notre-Dame de Paris 1482, by Victor Hugo, is a work which collects many genres. This poetry however gives all signs of clumsiness (let us think of Gringoire's play or of Quasimodo's "verses"), of vulgarity (the language used by the rogues, Jehan Frollo's drinking songs), of analphabetism (a condition shared by Esmeralda, Quasimodo, and "le peuple"), of the secular, even more of the profane (the heresy and anticlericalism present in the novel). The poetry of Notre-Dame de Paris is scattered (dissipated) into a number of under-texts which appear to perturb the rules of "good" literature. / A first part of this thesis examines a few characteristics of the writing of Hugo: its tendency toward a certain declassification, as well as some of its most important aesthetics, such as the grotesque and the excessiveness. A second section is an analysis of different aspects of Gringoire's morality, songs of Jehan and Esmeralda, Quasimodo's "poem"--these aspects being studied through the element of locality and the theme of the volatile.

Thèse--Lettres--Bordeaux, 1901.