Proefschrift--Amsterdam. / "Ouvrages cités": p. [155]-158.

Proefschrift--Amsterdam. / "Ouvrages cités" : p. [155]-158.

Thesis--Lyon. / Includes bibliographical references (p. [6]-8).

Thesis (M.A.)--University of Wisconsin--Madison, 1965. / eContent provider-neutral record in process. Description based on print version record. Bibliography: l. 123-128.

Thesis (doctoral)--Université de Paris, 1961. / Also published with title: Lamennais, ses amis et le mouvement des idées à le̓́poque romantique (1824-1834). Includes bibliographical references (p. 729-741) and index.

Th.--Lett.--Aix-Marseille 1, 1976. / Index.

L’itinéraire de Pierre-Sébastien Laurentie, publiciste d’origine modeste qui connaît une ascension grâce aux réseaux de la Congrégation, éclaire un milieu bourgeois royaliste et catholique œuvrant pour le renouveau de leur mouvement. Appartenant à la « génération de 1820 » comme son éternel rival Eugène de Genoude, Laurentie accède à une fonction de journaliste national, en restant soumis aux exigences d’un mouvement royaliste qui le pousse à devenir ultra. N’ayant pas fait l’expérience de la Révolution française, il prend des chemins de traverse qui témoignent de la complexité du mouvement royaliste aux multiples sensibilités. Laurentie souhaite catholiciser le mouvement royaliste et compte, pour cela, sur le soutien de Lamennais et de ses disciples. Il veut que la restauration monarchique s’accompagne d’une restauration complète du catholicisme, alors que l’Église est en pleine mutation. Du côté de la tradition avant 1830, Lamennais influence Laurentie vers le traditionalisme absolu. Laurentie est alors écartelé entre les mennaisiens, les ultras dissidents et les partisans du renforcement de l’Église de France. Il lutte contre la monarchie modérée, car elle est, d’après lui, la porte ouverte aux Carbonari. Plus enclin à la modernité après 1830, il est un des chefs de file avec Berryer du légitimisme légaliste qui peine à s’imposer face aux partisans de l’action, aux absolutistes émigrés, à ceux qui souhaitent se rallier à Louis-Philippe et aux légitimistes ouverts à la démocratie. La rupture avec Lamennais en 1834 marque l’échec de sa politique d’unité : un fossé se creuse entre légitimistes et catholiques que seule la défense de la liberté d’enseignement rapproche. / The itinerary of Pierre-Sébastien Laurentie, publicist of humble extraction who managed to climb the social ladders thanks to his connections with the Congregation, informs on a royalist, catholic and bourgeois environment manoeuvring for the revival of their movement. Laurentie is, like his rival Genoude, part of the so-called "1820 generation". His writing abilities contributed to his becoming an influential journalist nationwide, while the royalist movement retained a strong influence on him that contributed to his becoming an ultra. Having not experienced the French Revolution, his itinerary reflects the complexity and multiple nuances of the royalist movement. Laurentie is willing to “catholicize” the royalist movement and is counting on the support of Lamennais. His objective is that the restoration of the monarchy be accompanied by a restoration of catholicism, in a period when the Church is going through significant changes. Before 1830, Lamennais influences Laurentie towards absolute traditionalism. Laurentie is torn between Mennaisians, dissidents in the ultra movement and supporters of the strengthening the French Church. He stands against moderate monarchy which, he believes, would benefit the Carbonaris. More open to modernity after 1830, Laurentie is, with Berryer, one of the main promoters of legalistic legitimism, which encounters a fierce opposition from the supporters of action, absolutists who emigrated, conservatives behind Louis-Philippe and legitimists more open to democracy. The breakdown with Lamennais’ ideas in 1834 marks the failure of Laurentie’s efforts towards unity: it increases the gap between Catholics and legitimists, reduced only during the fight for the freedom of choice between education systems.

No description available.

This dissertation seeks to examine the historical context of Franz Lizt’s oratorio Christus and explore its obscurity. Chapter 1 makes note of the much greater familiarity of other choral works of the Romantic period, and observes critics’ and scholars’ recognition (or lack thereof) of Liszt’s religiosity. Chapter 2 discusses Liszt’s father Adam, his religious and musical experiences, and his influence on the young Franz. Chapter 3 explores Liszt’s early adulthood in Paris, particularly with respect to his intellectual growth. Special attention is given to François-René, vicomte de Chateaubriand and the Abbé Félicité de Lamennais, and the latter’s papal condemnation. After Chapter 4 briefly chronicles Liszt’s artistic achievements in Weimar and its ramifications for the rest of his work, Chapter 5 examines theological trends in the nineteenth century, as exemplified by David Friedrich Strauss, and the Catholic Church’s rejection of such novelties. The writings of Charles Rosen aid in decribing the possible musical ramifications of modern theology. Chapter 6 takes stock of the movements for renewal in Catholic music, especially the work of Prosper Gueranger and his fellow Benedictine monks of Solesmes, France, and of the Society of Saint Cecilia in Germany. Liszt’s interest in these movements, and in the style then in use in the Sistine Chapel, also receive comment. Chapter 7 analyzes Christus itself, and explains it as a synthesis of the styles then in use by Catholic composers of the era. Chapter 8 concludes with musings on the state of Catholic music, suggestions on how that field could be improved, and Christus’s future. / Music Composition / Accompanied by one .pdf score: Denarius: Two movements for Orchestra.

This dissertation is a study of Liszt's formative years in Paris, with a particular focus on three of his mentors: the priest Félicité Lamennais, the poet-statesman Alphonse de Lamartine, and the musician and mystic Chrétien Urhan. Of all the important figures Liszt encountered during this period, Lamennais, Lamartine and Urhan stand apart in their pursuit of a prophetic mission, whether in religion, politics, art, or a combination thereof. I contend that their influence--more than any other--shaped Liszt's fundamental identity as a liberal Catholic artist, dedicated to social and artistic progress driven by faith. I begin with an introductory chapter on important developments in Paris before and during Liszt's time in the city. The instability of the French Revolution resulted in a dynamic society in which new political, religious, and artistic movements could form and interact. Republican values continued to seek a foothold in the oppressive climates of the Restoration and July monarchies. Similarly, the Church--reinstated by Napoleon but still greatly diminished in power--struggled for relevance in an increasingly indifferent society, leading many Catholics to embrace liberal causes. Finally, the emergence of a new generation of Romantic artists dedicated to leading society forward emerged as an unexpected legacy of the Enlightenment. Each of the three central chapters of this dissertation focuses on one of the figures listed above, and on their impact on Liszt's life and music. Lamennais' radical political and religious message encouraged Liszt to express similar views in word and in music. Lamartine's innovative religious poetry prompted Liszt to seek an equivalent in music. Finally, Urhan's seamless merging of sacred and secular music inspired Liszt to adopt a similar approach in his own compositions. In the final chapter, I trace the continued impact of these figures in Liszt's life and work. Ultimately, I argue that the groundwork for Liszt's most celebrated artistic innovations had already been laid in the early 1830s, and that many of his later works are only comprehensible within the framework of the political, religious, and artistic education he received in his youth.