Abstract not available.

Abstract not available.

"Puisque Dieu ne veut mettre d'enfant dans mon corps, que le diable en mette un alors!" Voilà les paroles fatales que la mère de Robert, fils du duc de Normandie, prononce au moment de le concevoir. Homme marqué du sceau du diable, Robert parcourt le pays avec une bande de brigands et fait preuve d'une violence incommensurable, jusqu'à ce qu'il apprenne la vérité au sujet de sa naissance. Commence alors pour lui de difficiles épreuves au cours desquelles il tentera de regagner la faveur divine et de sauver son âme.... La légende de Robert le Diable, populaire au Moyen-Âge, connaît diverses réécritures, dont le trente-troisième miracle des Miracles de Nostre Dame par personnages, recueil de pièces de théâtre qui auraient été jouées de 1339 à 1382. Nous présentons ici le Miracle de Robert le Dyable dans une nouvelle édition critique, suivie d'une traduction inédite.

No description available.

No description available.

“Cum dicit auctoritas: Quotational Practice in Two Bilingual on Love by Gérard of Liège” is the first dedicated study of two oft discussed and poorly understood thirteenth-century love treatises known mainly for their unusual, syntactically integrated mixture of Latin and Old French. In addition to providing the first complete translation into any modern language of the treatises—Septem remedia contra amorem illicitum valde utilia (Seven Very Useful Remedies for Illicit Love) and De divino amore (On Divine Love, formerly Quinque incitamenta ad Deum amandum ardenter)—this dissertation aims to shed light upon Gérard’s practice of quotation, particularly as it pertains to the construction of authority. Each chapter takes a particular category of quotation as its subject, and shows not only how that category functions within Gérard’s treatises, but also how it may inform current scholarship in medieval studies. The first chapter contains the translation of both treatises. In the second chapter, “The Poetic Practice of Gérard of Liège in De divino amore,” I reexamine the Old French refrain corpus in light of what I call Gérard’s “refraining”—a poetic and quotational practice that bridges the sacred-profane divide in his treatise De divino amore. The third chapter, “Cum vulgo dicitur: Proverbs and the Language of Authority,” concerns the changing relationship of linguistic authority between French and Latin in the thirteenth century. The fourth chapter, “Quoting and Rewriting the Church Fathers: The Making of Thirteenth-Century Authority,” examines some of the most emotionally disturbing and striking quotations in Gérard’s treatises in order to explain how Gérard establishes his own authority; in addition, this chapter presents a new perspective on the concepts of auctoritas and authorship as they pertain to medieval religious texts. In the fifth and final chapter, “Septem remedia amoris: Classical Latin Poetry in the Treatises of Gérard of Liège,” I focus on Gérard’s much maligned first treatise—the Septem remedia contra amorem illicitum—to uncover its deep, Ovidian underpinnings, and I ask why Classical Latin poetry is almost entirely absent from the second treatise, De divino amore.

Thesis (Ph. D.)--UCLA, 2008. / Vita. Includes bibliographical references (leaves 530-581).

Oxford Medieval Renaissance scholar C. S. Lewis wrote that a true literary myth uses a temporal series of images to build up in the reader's mind a single atemporal intuitive impression of the relationships of Man, Nature, and Super-Nature. / This dissertation demonstrates that underlying Lewis' own Space Trilogy is a literal image, one which is picturable. The Trilogy thus represents a literary "icon," both in form (as an artistic portrayal of a single object of contemplation) and in function (as a tool for religious devotion). / Lewis accomplishes this effect by conferring upon every detail of his stories a meaning beyond its immediate role in the storyline. Such significance is assigned from a modified medieval cosmology. / These clusters of details are found to align themselves along three mutually perpendicular coordinate axes of North-South, East-West, and Up-Down. When they are plotted as vectors in a three-dimensional abstract "literary space," a single figure emerges, one which also appears several places in Lewis' Chronicles of Narnia. / This picture is that of a central tree in a walled circular garden which forms the summit of a mountain. This first iteration is of a much more elaborate design constructed according to the medieval cosmological principles of the inversion of hierarchy, the reversal of perspective, and the macrocosm in the microcosm. / I believe that, for craftsmanship and self-consistency, C. S. Lewis' Space Trilogy represents in myth a parallel achievement to Dante's Divine Comedy in allegory. / Source: Dissertation Abstracts International, Volume: 52-04, Section: A, page: 1340. / Major Professor: Charles W. Swain. / Thesis (Ph.D.)--The Florida State University, 1991.

acase@tulane.edu

This dissertation provides the first English translation of Gy(PAR-DIFF)inga saga, a 13th century Icelandic rendering of Jewish history from the death of Alexander the Great to the death of Pontius Pilate. Also, this dissertation provides the first extensive display of Gy(PAR-DIFF)inga saga's relation to its sources. The translation is based upon Gu(PAR-DIFF)mundr orlaksson's edition of the work for Samfund det udgivelse af gammelnordisk litteratur, which is the only edition to date. The works whose possible use as sources of Gy(PAR-DIFF)inga saga I have investigated are those suggested by Gu(PAR-DIFF)mundr orlaksson in the Introduction to his edition: I and II Maccabees of the Vulgate, Peter Comestor's Historia Scholastica and the Jewish Antiquities and Jewish War of Flavius Josephus This study confirms the opinion of scholars such as Gustav Storm and Jon Helgason that the principal sources are I and II Maccabees and the Historia Scholastica, Liber I and II Maccabeorum, and In Evangelia. However, a few passages suggest use of information taken directly from the Jewish Antiquities. The investigation revealed no strong evidence that the Jewish War is a source The translation and notes are keyed to Gu(PAR-DIFF)mundr orlaksson's edition / acase@tulane.edu