Der Unterricht ›Polyphonie XVe– XVIIe siècles‹ wurde 1992 von Xavier Darasse gegründet, Rektor des CNSMD in Paris, und von Anfang an den Autor übertragen. Es handelt sich um eine der fünf Disziplinen der Spezialisierung ›écriture musicale‹ (Harmonie, Kontrapunkt, Fuge und Formen, 20.–21. Jahrhundert) und die einzige, die auf ein älteres Repertoire eingeht. Sie lebt von einem sehr offenen Geist und stützt sich grundsätzlich genauso auf alte wie auf aktuelle musikalische und theoretische Quellen. Das Repertoire, das erarbeitet wird, erstreckt sich in etwa über die Jahre 1475–1625, also über 150 Jahre. Die Werke, die als Modelle für die Komposition dienen, stammen sowohl von richtungsweisenden Komponisten wie Josquin, Lassus, Palestrina, Guerrero, Marenzio oder Monteverdi wie auch von Meistern spezieller Kompositionen wie dem englischen Madrigal oder dem deutschen polyphonen Choral. Ansonsten wird das Repertoire, das erarbeitet wird, fast jedes Jahr neu aufgestellt. In der Abschlussprüfung muss der Prüfling der Jury drei Werke präsentieren: ein mehrchöriges Stück (8 oder 12 Stimmen), in der Regel geistlich, ein kurzes, technisch anspruchsvolles Stück (z.B. ein komplexer Kanon) und ein Stück mit vier oder fünf Stimmen, das einem sehr charakteristischem Genre zuzuordnen ist (z.B. ein Madrigal), das in der ›mise en loge‹ erarbeitet wird. Dem Text und seinem Bezug zur Musik im Kontext der freien Künste und besonders der Rhetorik werden große Aufmerksamkeit geschenkt, vor allem dargestellt von den deutschen Musiktheoretikern der Renaissance. Das Curriculum folgt einem sehr radikal fortschreitendem Weg und geht dabei von einem einfachen Kontrapunkt zu zwei Stimmen (gesungen oder geschrieben) zum ›fleuri‹ mit 8 oder 12 Stimmen über. Ein Unterricht dieser Art sieht sich als Ergänzung der anderen Disziplinen der Komposition und bemüht sich, die Kenntnis des ›klassisch‹ genannten Repertoires auf älteren notwendigen und ausreichenden Basen zu festigen. / The author of this article had the privilege of taking the course Polyphonie XVe– XVIIe siècles, which was founded in 1992 by Xavier Darasse, Rector of the CNSMD in Paris, from its inception. The course deals with one of the five specialized disciplines of écriture musicale (harmony, counterpoint, fugue and form, 20th – 21st century); it is also the only course that includes early music. It is infused with a very open spirit and makes use of both older and newer musical and theoretical sources. The repertoire examined in the course ranges from 1475 to 1625 and thus over 150 years. The works that serve as compositional models also stem from significant composers like Josquin, Lassus, Palestrina, Guerrero, Marenzio, and Monteverdi, as well as masters of specific genres like the English madrigal or the German polyphonic chorale. Moreover, the repertoire treated in the course changes almost every year. In the final examination the candidate must present the jury with three works: a polychoral piece (8 or 12 voices; generally sacred); a brief, technically demanding pieces (e.g. a complex canon), and a piece with four or five voices taken from a specific genre (e.g. a madrigal), which is written in isolation (mise en loge). Great attention is paid to the text and its relation to the music in context of the liberal arts and especially rhetoric as represented by German music theorists of the Renaissance. The curriculum follows a radically progressive path and goes from simple counterpoint in three voices (sung or written) to florid counterpoint with 8 or 12 voices. Instruction of this kind can be understood as complementary to other compositional disciplines and attempts and provide a traditional and most necessary foundation for knowledge of the above-named “classical” repertoire.

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Ce travail propose d’étudier l’un des nombreux textes médiévaux portant sur le mythe de la guerre de Troie. Transmis à l’Occident médiéval non pas par le biais d’Homère mais par celui des classiques latins et de certains auteurs de l’Antiquité tardive, ce mythe connut un immense succès en Europe durant tout le Moyen Âge, malgré l’ignorance du grec et de l’Iliade. Nous avons choisi d’éditer partiellement et de commenter l’un des plus importants monuments de la matière troyenne médiévale, texte presque inédit aujourd’hui, car totalement délaissé depuis la Renaissance et le retour aux textes anciens. Dans une introduction, nous avons exposé les principes de notre travail d’édition, c'est-à-dire listé les différents manuscrits utilisés par l’éditeur précédent (Nathaniel Griffin), puis surtout présenté notre manuscrit de base, le Cod. Bodmer 78, absent de la liste des manuscrits collationnés par Griffin. Puis nous avons consacré un chapitre à la langue du texte, un latin médiéval très lisible quoiqu’empreint de « modernismes », notamment au niveau du lexique. Puis, après avoir présenté le texte, sa langue et notre méthode d’édition, nous avons exposé le peu d’éléments que nous avions sur notre auteur, sa vie, son œuvre et le contexte intellectuel au milieu duquel il évolua dans la Sicile du XIIIe siècle, ainsi que l’engouement européen pour la matière troyenne qui explique son choix de reprendre ce grand mythe dans son Historia. Enfin il nous a fallu évoquer les nombreuses sources utilisées par Guido delle Colonne, ses sources directes, indirectes ou inavouées. En dernier lieu, nous avons offert un résumé de chaque livre édité et traduit. Suit une bibliographie détaillée sur les manuscrits et éditions anciens de ce texte, des manuels, le contexte culturel et historique en Europe et en Sicile au Moyen Âge, les textes grecs, latins et vernaculaires se rapportant à la guerre de Troie et ayant influencé notre auteur de près ou de loin, les ouvrages critiques sur le traitement de cette matière troyenne dans l’Antiquité et au Moyen Âge, et enfin les quelques éléments bibliographiques portant sur Guido et sur son œuvre. Vient ensuite notre édition-traduction. La traduction est accompagnée d’un double apparat : un apparat des sources et réminiscences ainsi qu’un apparat critique qui prend en compte et compare les leçons contenues dans notre manuscrit de base avec les variantes citées par l’éditeur précédent dans les quelques manuscrits qu’il a utilisés. Au bas de la traduction, figurent des notes d’érudition destinées aux noms ou des faits cités dans le texte et qui méritent une explication. Après cette partie introduction philologique et édition, la deuxième grande partie de cette thèse consiste en un commentaire et des annexes. Dans notre commentaire, nous avons souhaité interroger notre texte dans ses aspects narratologiques, thématiques, génériques, linguistiques et idéologiques. C’est pourquoi nous avons consacré un premier chapitre à l’étude narratologique du texte, son contenu, son agencement, ses techniques narratives, son utilisation des sources et ses principales thématiques. Dans une seconde partie, nous avons abordé le genre et le ton de cette Historia, qui se veut un texte historique quoique traitant une matière fictionnelle puisque mythologique à une époque où les genres littéraires ne sont pas encore définis et encore moins cloisonnés ; nous avons en outre longuement commenté et illustré le choix de l’écriture en prose et en latin à une époque où la mode est au vers et au vernaculaire. Enfin, notre troisième chapitre porte sur le contenu scientifique, politique et idéologique de ce texte truffé de parenthèses érudites et morales. En dernier lieu, nous avons proposé une édition diplomatique de la partie non éditée ni traduite du manuscrit, ainsi que des annexes sur les manuscrits et le vocabulaire, et bien sûr des index des noms propres et un glossaire des mots rares ou surprenants. / This work proposes to explore one of the many medieval texts on the myth of the Trojan War. Transmitted to medieval Europe not through Homer but by the Latin classics and some authors of late Antiquity, this myth was a huge success in Europe during the middle Ages, despite the ignorance of the Greek and the Iliad. We chose to partially edit and comment on one of the most important monuments of the medieval Trojan material, almost unpublished text today because totally abandoned since the Renaissance and the return to the ancient texts. In an introduction, we exposed the principles of our editing work, that is to say, listed the various manuscripts used by the original publisher (Nathaniel Griffin) and especially presented our basic manuscript, Cod. Bodmer 78, absent from the list of manuscripts collated by Griffin. Then we have a chapter on the language of the text, a medieval Latin highly readable although full of "modernism", particularly in terms of vocabulary. Then, after introducing the text, the language and our editing method, we exposed the little things we had on our author, his life, his work and the intellectual context in which he evolved in thirteenth century Sicily, and the European craze for the Trojan material explains his choice to take this great myth in his Historia. Then, we had to mention the many sources used by Guido delle Colonne, its indirect or direct or unacknowledged sources. Lastly, we provided a summary of each book published and translated. Then follows a detailed bibliography on manuscripts and old editions of this text, textbooks, historical and cultural context in Europe and Sicily in the Middle Ages, the Greek texts, Latin and vernacular related to the Trojan War and that influenced our author near or far, the critical works on the treatment of this Trojan material in antiquity and the Middle Ages, and finally some bibliographic elements on Guido and his work. Then comes our edition-translation. The translation is accompanied by a double pageantry: one for the sources and reminiscences, and a critical apparatus that considers and compares the lessons contained in our manuscript with basic variants cited by the previous editor in some manuscripts that he used. At the bottom of the translation include scholarly notes for names or facts mentioned in the text and deserve an explanation. After this introduction and part philological edition, the second major part of this thesis consists of a comment and annexes. In our review, we wanted to examine our text in its narratological, thematically, linguistic, generic and ideological aspects. That is why we have devoted the first chapter to the narratological study of the text, its content, its layout, its narrative techniques, use of sources and its main themes. In a second part, we discussed the type and tone of the Historia, which intends to be a historical text while attending a fictional material since mythological, at a time when genres are not yet defined and less compartmentalized; we have also commented extensively and illustrated the choice of writing in prose and Latin at a time when fashion is to poetry and vernacular. In the end, our third chapter focuses on the scientific, political and ideological content of this text peppered with parentheses and moral scholars. Finally, we proposed a diplomatic edition of the unedited or translated part of the manuscript, as well as appendices on manuscripts and vocabulary, and of course the name index and a glossary of rare or surprising words.

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This study is, in part, a response to arguments that claim higher education fails to prepare students with fundamental communication skills necessary for everyday life and indicative of "educated" persons. Though the validity of such arguments is contestable, they nonetheless reflect fundamental inadequacies in current educational theories and practices that have evolved over centuries of curricular, cultural, and socioeconomic change. Current theories and practices in higher education, specifically general education, reflect a misunderstanding of both the purpose of education in a democracy and the role of the liberal arts, specifically rhetoric, in accomplishing that purpose. The consequences of rhetorically-impoverished general education curricula are manifested not only in the declining literate and communicative practices of recent college graduates but also in the declining civic and democratic practices of a growing number of Americans. By tracing the histories of and relationships among education, rhetoric, and composition instruction, this thesis highlights the purpose of education and the role of writing instruction and rhetoric in accomplishing that purpose. This review demonstrates that the introductory composition course, when informed by epistemic rhetoric, provides curricular coherence in general education while clarifying and accomplishing the primary purpose of education: to facilitate the development of autonomous citizens capable of participating in the democratic practices of their communities. This outcome relies on rhetorical education, or rhetorical training in the language arts, which allows students to understand and articulate their identity as individuals in relation to the various communities to which they belong and with which they interact. The misconception of rhetoric and relegation of writing instruction calls for a university-wide reconceptualization of the purpose of education and the complementary roles of general education and writing instruction in accomplishing that purpose. This thesis invites novice and experienced composition instructors to explore further the relationships among education, democracy, language, and rhetoric to recognize the central role of composition instruction in enabling individual autonomy and sustaining a healthy democracy while improving literate and communicative practices.

Service-learning, with a longstanding history in American higher education (Burkhardt & Pasque, 2005), includes three key tenets: superior academic learning, meaningful and relevant community service, and persistent civic learning (McGoldrick and Ziegert, 2002). The Carnegie Foundation for the Advancement of Teaching has created an elective classification system – Carnegie Community Engagement Classification – for institutions of higher education to demonstrate the breadth and depth of student involvement and learning through partnerships and engagement in the community (Dalton & Crosby, 2011; Hurtado & DeAngelo, 2012; Kuh et al., 2008; Pryor, Hurtado, Saenz, Santos, & Korn, 2007). Community engagement "is in the culture, commonly understood practices and knowledge, and (CCEC helps determine) whether it is really happening – rhetoric versus reality" (J. Saltmarsh, personal communication, August 11, 2014). The study considers the applications of three Carnegie Community Engagement Classification designated institutions to understand the institutionalization of service-learning over time by examining the 2008 designation and 2015 reclassification across institution types – a Private Liberal Arts College, a Private Teaching University, and a Public Research University located in the same metropolitan area. Organizational Change Theory was used as a theoretical model. Case study methodology was used in the present qualitative research to perform document analysis with qualitative interviews conducted to elucidate the data from the 2008 and 2015 CCEC applications from the three institutions. Using intra- and inter-comparative analysis, this study highlights approaches, policies, ethos, and emerging concepts to inform how higher education institutions increase the quality and quantity of service-learning opportunities that benefit higher education practitioners as well as community leaders.

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