Estudi i edició crítica de les Històries troianes, traducció catalana del s. XIV, obra del protonotari Jaume Conesa, de la Historia destructionis Troiae de Guido delle Colonne. Repàs de les principals fites de la matèria troiana, des de la tradició homérica i fins a l’època medieval. Recopilació de dades y aportació de nova informació sobre el traductor. Dades sobre la identitat de Pere Sescomes, possible protraductor. Descripció del context en què sorgí la traducció: La Cancelleria reial del rei Pere el Cerimoniós. Seguiment de la transmissió de l’obra segons els testimonis localitzats en inventaris o altres documents. Influència que exercí la traducció en altres obres literàries, principalment en el Tirant lo Blanch, el Curial e Güelfa o en les proses mitològiques de Joan Roís de Corella. Descripció dels testimonis manuscrits, anàlisi de variants significatives i proposta de stemma. Caracterització del model subjacent a la traducció, és a dir, aproximació al que degué ser el manuscrit llatí de partida. Anàlisi traductològica (mètode i tècniques aplicades). Valoració dels resultats i conclusions. Edició crítica (en volum 2) a partir de la collatio de tots els manuscrits conservats i l’acarament amb l’obra llatina, acompanyada de glossari final i del corresponent aparat crític de variants (volum 3).

L’engouement du Moyen-Âge pour le mythe troyen se traduit tout particulièrement à travers sa figure centrale, Hector. Benoît de Sainte-Maure, qui s’appuie sur la tradition homérique telle que l’a transmise la littérature latine tardive (Ilias latina, Éphéméride de la guerre de Troie de Dictys de Crète, Histoire de la destruction de Troie de Darès le Phrygien), fait du fils de Priam le héros incontesté de son œuvre, le Roman de Troie, et glorifie les exploits de ce guerrier à la prouesse exemplaire. Ce texte constitue le jalon majeur de la construction du mythe d’Hector à l’époque médiévale, dont témoignent les réécritures en prose ou en vers, même si, parallèlement, l’histoire de Troie continue d’être transmise par le texte latin de Darès ou sa traduction. À ces deux traditions s’ajoute celle qui naît de l’œuvre de l’Italien Guido delle Colonne, l’Historia destructionis Troiae, réécriture latine du roman de Benoît au XIIIe siècle. Cependant la notoriété de la figure d’Hector s’exprime aussi dans des œuvres où le personnage tend à se dissocier du destin de sa cité et apparaît seul ou associé à d’autres héros, troyens ou non, pour servir de référence en terme de bravoure, ce qui lui vaut de figurer parmi les Neuf Preux. C’est pourquoi le personnage va continuer d’évoluer indépendamment du roman de Benoît et de ses réécritures directes, ce qui se perçoit aussi bien dans la chanson de geste que dans les récits arthuriens. Les valeurs qu’il incarne intéressent aussi bien l’auteur de l’Ovide moralisé que Christine de Pizan. Figure exemplaire, presque archétypale, Hector est aussi un personnage protéiforme dont l’histoire ne cesse d’être réécrite par la tradition médiévale. / In the Middle Ages, the interest in the Trojan myth focuses particularly on its main character, Hector.Using the Homeric tradition inherited from the late Latin literature ( Ilias latina, Ephemeridos belli troiani by Dictys of Crete, De Excidio Troiae historia by Dares the Phrygian) as a basis to his work, Benoît de Sainte Maure makes Priam’s son the uncontested hero of his novel, The Roman de Troie, in which he praises the feats of this exceptional warrior.This text greatly contributes to the construction of Hector’s myth during the Middle Ages, as shown by its rewritings in prose or verse, although the story of Troy was also transmitted via Dares’ Latin text or its translation.In addition to these two traditions, another one appeared in the 13th century with the Italian Guido delle Colonne whose Historia Destructionis Troiae is a Latin rewriting of Benoît’s novel.However, Hector’s fame also asserts itself in other works in which the character tends to dissociate himself from his city’s destiny and appears alone or associated to other heroes, Trojan or not, to serve as a reference in terms of bravery, which earned him his place among the Nine Worthies.That is why this character continues to evolve independently from Benoit’s novel and its rewritings, as can be seen through epic poetry and Arthurian tales.Both Christine de Pizan and the author of Ovide moralisé take an interest in the values he embodies.Hector is a model, almost an archetypal figure as well as a character whose story never ceased being rewritten by Medieval tradition.

Conversations among scholars in the study of Chaucer have been essential in constructing the foundations on which we now stand. However, in light of recent pressures in the very competitive and practical aspects of academic life, the scholarly conversation is often lost amidst the desire to find any obscure point on which to publish simply for the reason that no one has yet said anything about it. There is certainly a usefulness to exploring all facets of Chaucer's work, but there is also a need to slough off the cumbersome coat of 'publish-or-perish' scholarship in favor of carrying on a more meaningful conversation which may contribute to new readings or interpretations, epiphanies, or canon-altering revelations. This bibliography was begun for two purposes. First, as a bibliography, it was made to serve its users in a convenient and comprehensive manner. Second, it was made to illustrate the conversations of recent years, or lack thereof, among scholars concerned with the character and actions of Criseyde in the Troilus. Criseyde is arguably the quintessential character in Chaucer's works. She is wonderfully enigmatic, and her role in the Troilus spawned six hundred years of debate. The chapters which follow testify to the complexity of Criseyde. As she caught the eye of multiple authors from classical antiquity to the Elizabethan age, she continues to entice scholars to read and re-read her in various articles, chapters, and books. This is supported by the fact that nearly one quarter of all scholarship published (over four hundred works) on Troilus and Criseyde since 1986 deals expressly with Criseyde, herself. This bibliography is constructed as it is in the hope of providing a more convenient tool for scholars. The Riverside Chaucer serves as an adequate starting point because of its comprehensive compilation of notes and studies on Chaucer's works, including the Troilus. Since nothing of similar stature has appeared since, this bibliography will begin in 1986, the year in which the Riverside's compilation came to an end. Chapter 1 of this study looks at recent scholarship which examines the origins of Chaucer's Criseyde. While W.W. Skeat and R.K. Root provided us long ago with detailed lists and accounts of Chaucer's sources for the Troilus, today's scholars continue to make new additions to these, as well as new interpretations and readings which suggest further, new or different sources. The final chapter of this work examines the scholarship that reads Criseyde's role in the poem as a whole, not focusing on any one scene or act. Scholars such as David Aers and Jill Mann provide critiques on the nature of Criseyde from our initial sight of her in Book I to her final departure from the poem in Book V. Interestingly, recent scholarship on Criseyde tends to focus on one or more specific scenes in a specific book within the poem. Scholars deconstruct Criseyde's entrance at the Palladium in Book I, her reaction to Pandarus' goading her to love Troilus in Book II, or descriptions of her dress in the Greek camp in Book IV. Therefore, in structuring this bibliography, rather than focusing on themes, I sought to frame the scholarship with the poem's own narrative structure. Thus, chapters two, three, four, and five are comprised of scholarship that examines Books I, II, III, and Books IV and V of the Troilus. Users who question certain scenes in one of the poem's books can then look to the corresponding chapter of this bibliography to find whether scholars have conversed about the scene or scenes in question. In a sense, this bibliography examines Criseyde's existence prior to Chaucer's poem, her activity within Chaucer's poem, and her reputation upon exiting Chaucer's poem. This bibliography seeks to put scholarship together in such a way as to confirm whether or not scholars are continuing conversations about Chaucer's Criseyde. In many cases we find that conversations do exist and are carried forward. New landmarks in scholarship, for example Piero Boitani's edited collection The European Tragedy of the Troilus or David Aers' Community, Gender, and Individual Identity, are made apparent by the number of other scholars conversing on arguments and suggestions made by the contributing authors of these two works. Scholars pick up where their predecessors leave off in continuing arguments, patterns of interpretation, and close readings of Criseyde. Further, scholars begin new conversations. In some instances, both old and new conversations fail to move forward, whether by mischance or 'entente.' It is essential that we continue these colloquial discussions of scholarship as the critical scope of Chaucer studies widens, rather than rocketing forward as it did with the work of Skeat, Root, Donaldson, and Robertson in the early and mid twentieth-century. Certainly, we can disagree, but let us remember the ease with which C.S. Lewis discusses Medieval literature in his Discarded Image and the warmth of a conference session at MLA, NCS, or Kalamazoo, in which Chaucerians gather to move forward as one body rather than a mix of warring clans, prima donnas, or renegade dissenters. Scholarship aside, I offer this bibliography lastly to demonstrate the wonders of Chaucer's poetic arts and their chief exemplar, Criseyde. / Master of Arts