À partir d’un corpus iconographique de cent vingt-sept miniatures issues de quatre-vingt-un manuscrits copiés et enluminés en France aux XIVe et XVe siècles, ce travail de thèse examine la construction de la figure de « la dame » à travers les textes, mais aussi par et dans l’image. Entre imaginaire et réalité historique, il s’agit d’étudier la manière dont les représentations de cette figure idéalisée, louée par les troubadours et les auteurs du Moyen Âge tardif, influence la vision des rapports sociaux élaborés autour de la femme noble médiévale. En cela, il apparaît nécessaire de distinguer ces entités féminines, l’une réelle, l’autre idéelle, toutes deux partageant néanmoins certaines similitudes au travers des images. Notre approche iconographique repose sur deux principaux axes : les rituels sociaux et l’identité. Pour mener à bien ce travail, nous utilisons une méthodologie d’analyse sérielle, telle que la conçoit Jérôme Baschet, attentive aux répétitions et aux modulations de formules, ainsi qu’à la singularité des œuvres étudiées. Cette démarche conduit à une mise en réseau des images, révélatrice de certains caractères formels permettant de mieux définir le statut d’objet, agent ou sujet, octroyé à la dame au sein des représentations. La thèse explore ainsi la place de la dame dans l’imaginaire et la société chevaleresque, l’approche « courtoise » des rites vassaliques et la question de l’identité du féminin désiré, entre allégorie, genre et transgression. / With a corpus of one hundred and twenty-seven illuminations, from eighty-one manuscripts painted in France in the 14th and 15th centuries, my thesis examines the construction of the lady’s character, through the texts and the imagery.Between imagination and historical reality, we studying how the representations of this idealized figure, praised by troubadours and authors of the late Middle Ages, influence social relationship about the medieval noble woman. It is necessary to distinguish these feminine entities, one real, the other ideal, both sharing some similarities through the images.Our iconographic study is based on two main axes: social rituals and identity. This work uses the serial method of medieval imagery, developped by Jérôme Baschet. It considering recurrences and iconographic modulations, as well as the singularity of the illuminations. This method requires a connection between the images, revealing certain gestures and manners to define the lady’s identity as an object or a subject in the representations.The thesis then explores the role of the lady in the imaginary and the chivalrous society, the "courtly" culture of vassalic rites and the identity of this loved character, between allegory, gender and transgression.

The eleven illuminated missals at the core of this thesis share a distinctive scale that sets them apart from the majority of other decorated missals. Their scale was a key factor in the visual and ritual experiences they offered their patrons and their earliest users. Missals made in the later fourteenth century and the early fifteenth century included some of the physically largest examples of this genre of book ever made. Containing the text of the late medieval Mass, and read by its priest during the ritual’s performance, they were essential components of the ritual that resulted in the physical embodiment of Christ in the Eucharist. Large missals were a distinctive variation of the Mass book. However, existing scholarship has not offered sufficient reasons for a wide-ranging phenomenon of large missal patronage and manufacture. This thesis argues that the scale of these books was a central rhetorical device that magnified their significance and reception. At the heart of this adoption of the large-scale format was the aggrandisement of the Mass itself, reaffirming its place as the central rite of the Christian Church and contemporary devotions about the ritual. Study of these eleven manuscripts suggests that their exceptional size and the treatment of their interior designs supporting their visuality were issues for this particular period. Explanations for the adoption of large Mass books are given by examining their visibility in the Mass, as part of what is termed here the ‘altarscape’. Having established this, this thesis offers reasons for why patrons and clerics used a cumbersome large format for the text of the ritual. The missals unmistakeably reasserted orthodox values in the face of challenges to conventional understanding of the Eucharist from those holding non-conforming views. Simultaneously, the emphasis on expanded proportions arguably reflects contemporary practices of commemoration where being remembered was an essential part of dying well. And finally, the interior and exterior scale of these books was used for new devotional themes, including the Virgin.

Thesis (M. A.)--University of Notre Dame, 2007. / Thesis directed by Donald B. Pope-Davis for the Department of Psychology. "December 2007." Includes bibliographical references (leaves 45-55).

No description available.

L’objectif de la thèse était de réaliser la première édition critique du manuscrit français 9198 de la BnF attribué à Jehan Miélot et commandité, au XVe siècle, par Philipe le Bon, duc de Bourgogne. Ce manuscrit contient la compilation intitulée : La Vie et miracles de Nostre Dame qui constitue la mise en prose de miracles en vers du XIIIe siècle. D’un point de vue philologique, le but était d’étudier le rapport entre les formes des textes versifiés en ancien français et les formes en moyen français de la compilation. Le travail philologique comprend la transcription du manuscrit, un apparat critique, un glossaire, un index lemmatisé, l’index des noms propres et une analyse grammaticale des traits dialectaux de l’œuvre qui reflètent la phonétique du dialecte picard. La problématique sur laquelle repose cette recherche est double. D’un point de vue philologique, il est question d’éclairer le rapport entre les formes anciennes, qu’offrent les textes versifiés en ancien français du XIIIe siècle, et les formes modernes en moyen français du recueil de Jehan Miélot. En puisant des exemples à la fois dans les récits de miracles versifiés du XIIIe siècle et dans la compilation du XVe siècle, cette étude permet de situer le recueil dans le contexte de la tradition médiévale des récits miraculaires de la Vierge Marie

Thèse de 3e cycle : Sciences de l'éducation : Lyon 2 : 1984. / Titre provenant de l'écran-titre. Bibliogr.. Iconographie de 46 planches.

If one painstakingly analyzes and compares the novel, the theatrical and the libretto versions of Marguerite-Violetta, a several-time reborn character from the novel and drama Camille, one notices striking differences and gleans useful insights as to the peculiarity of the three genres involved (novel, theatre and opera) and as to the reductive work of the libretto writer who, by modifying the roles of the characters and the values they channel, achieves a synthesis that has no match in the works he draws from. / This thesis aimed precisely at highlighting the intervening differences among the three genres, while pointing out the changes which were introduced and the peculiar nature of the final product, the libretto of La Traviata .

There is no abstract available for this thesis.

Alexandre Dumas fils' La Dame aux Camélias has existed in various media for more than 150 years, originating from life events that were mediated through the novel and remediated via theater, opera, and film. I examine in my thesis how this particular narrative has survived the centuries and how each depiction relates the social expectations, desires, and fears of the time period in which the revised story is generated. The relationship between Dumas and the famous courtesan Marie Duplessis and its fictional recreations in Dumas' novel La Dame aux Camélias, his play Camille, Giuseppe Verdi's opera La Traviata, and Baz Luhrmann's film Moulin Rouge! reflects a human compulsion to create narratives in order to grasp daily events and to potentially escape those events or comment upon those which do not fit concisely into their socially expected codes of understanding.

The church and monastery of Brou, Bourg-en-Bresse were built under the attentive patronage of Margaret of Austria (1480--1530), Duchess of Savoy, Regent of the Netherlands and daughter of Maximilian I and Mary of Burgundy. Brou was intended to symbolically and economically secure the region for the Habsburgs as well as memorialize the glory of its patron. Located in Savoy, a strategic territory in the battle for Italy between the Habsburg Empire and France, Brou's secular and religious references, chosen by the patron herself, reflect her and her family's political needs. This paper explores Margaret of Austria's role as patron and creator of Brou, her political and propagandistic agenda, her pivotal role in its planning and construction, her architectural and stylistic choices and the results of her efforts and their reception.