In my diploma thesis I deal with historical numerical procedures and their application in teaching. In a total of eight chapters, I describe counting techniques from history, such as magic squares, interesting counting algorithms, unconventional divisibility criteria, ancient numeration techniques, golden ratio, figurate numbers, and graphic papers. I deal with the use of historical numerical methods in teaching in the final chapter. This chapter contains eight worksheets and activity suggestions with methodical commentary.

The study of quadrupolar nuclei using NMR spectroscopy in the solid state significantly increased in popularity from the end of the 20th century, with the introduction of specific methods to acquire spectra free from the effects of the quadrupolar interaction, that results in broadened lineshapes that cannot be completely removed by spinning the sample at the magic angle (MAS), unlike most of the other interactions present in the solid state. The first technique which allows, without any specific hardware, the removal of this broadening has been the Multiple-Quantum MQMAS experiment. The method quickly gained a popularity within the NMR community, with numerous successful applications published. However, the multiple-quantum filtration step in this experiment relies on severely limits sensitivity, restricting application to the most sensitive nuclei. Extending the applicability of MQMAS to less receptive nuclei requires the use of signal improvement techniques. There are multiple examples of such approaches in the literature, but most of these require additional optimisation that may be time-consuming, or simply impossible, on less receptive nuclei. This work introduces a novel signal improvement technique for MQMAS, called FAM-N. Its optimisation is solely based on density matrix simulations using SIMPSON, implying no additional experimental optimisation is required, while improving the signal in MQMAS spectra by equivalent or higher amounts than other common methods. In order to prove the applicability of this method on virtually any system, FAM-N has been investigated by simulation, and tested experimentally using a number of model samples, as well as samples known to be challenging to study by NMR. This work also explores other aspects of NMR spectroscopy on quadrupolar nuclei. Adiabatic inversion of the satellite populations can be performed to improve the central transition signal in static or MAS spectra. A range of methods has been tested and compared, with particular attention given to hyperbolic secant-shaped pulses, for which its performance have been described. Finally, cross-polarisation from a spin I = 1/2 nucleus to a quadrupolar nucleus has been investigated. After reviewing the theory for the static case, simulations have been performed under MAS in order to identify the conditions for efficient magnetisation transfer, with applications in spectral editing or for the combination with MQMAS.

Made available in DSpace on 2015-03-03T15:28:33Z (GMT). No. of bitstreams: 1 CatiaRSS_DISSERT.pdf: 4951076 bytes, checksum: 0231a1261bda878faaaf3e30a97857a0 (MD5) Previous issue date: 2012-11-27 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / Um dos temas mais populares no tratamento de dados nos ?ltimos dez anos gira em torno da descoberta que a recupera??o de sinais esparsos em sistemas lineares, pode ser feita com um n?mero de equa??es bem menor que o n?mero de vari?veis. Em linhas gerais, se A = AmN, queremos resolver Ax = b e procuramos solu??es esparsas, ou seja, com apenas s << N entradas n~ao-nulas em algum sistema de coordenadas, isto pode ser feito com um n?mero de equa??es m << N, minimizando a norma l1 de x, sujeito ? restri??o Ax = b + r, sob determinadas condi??es (8). Vale dizer, com muito menos equa??es que incognitas. D? o nome de Magica l1" para esta possibilidade de recuperar um sinal esparso, resolvendo um problema de otimiza??o convexa com relativamente poucas restri??es. Para algumas poucas matrizes A, de grande import?ncia em aplica??es, ha teorias razoavelmente estabelecidas indicando esta possibilidade, para muitas n?o. O objetivo desta disserta??o e situar e discutir casos nos quais a Magica l1" funciona, com foco nas rela??es entre a esparsidade s, o n?mero de linhas m e o n?mero de vari?veis N, para algumas matrizes importantes e associadas ? codifica??o de imagens 2D. Em particular, realizamos testes num?ricos com tr?s matrizes A, visando encontrar empiricamente rela??es entre s, m e N para as quais a Magica l1 e bem sucedida. Em duas delas, ha teorias matematicas, ainda em constru??o, indicando condic~oes de sucesso, grosso modo, na forma de m=s C log(N=s), sempre com alguma probabilidade de insucesso associada. Listamos inicialmente A = G, formada por entradas aleatorias com distribui??o gaussiana i.i.d., de media zero e colunas aproximadamente unitarias. A segunda e a transformada de Fourier, que usaremos numa vers~ao de transformada de cossenos 2D. A denotamos por A = DCT. Para probabilidades esmagadoras" de sucesso na recupera??o de sinais esparsos com G, usando a Magica l1", os resultados te?ricos estabelecem regi?es menores, vale dizer, valores mais elevados para a constante C. Se relaxamos um pouco esta exig?ncia de sucesso, obtemos regi?es mais amplas, conforme teremos oportunidade de discutir na disserta ??o. m=s C log(N=s) ainda e uma conjectura no caso de Fourier, se queremos probabilidades esmagadoras" de sucesso na recupera??o de sinais esparsos pela via da otimiza??o convexa acima prescrita. Os resultados emp?ricos por nos obtidos para iv estas duas matrizes ainda s~ao muito preliminares, mas se ajustam bem , via quadrados m??nimos, a m=s C log(s=N), com C em 1:6 e em 1, correspondendo aos resultados mais otimistas encontrados na literatura para G e DCT, nos quais a eficacia da Magica l1" e assumida num sentido mais fraco, no sentido de permitir alguma taxa de insucesso n~ao totalmente desprez??vel, porem de forma probabilisticamente controlada. No caso da matriz da transformada de Radon, n?o ha previs~ao teorica consolidada para o funcionamento daMagica l1" e sequer encontramos conjecturas sobre o que se pode esperar. Em nossos testes com matrizes de Radon, encontramos uma regi~ao para a validade da Magica l1", cujo ajuste de quadrados m??nimos a m=s C log(s=N) se deu com 2; 5 e C 0; 29

La métabolomique a pour objet l’identification et la quantification de métabolites dans un échantillon biologique. Cette discipline s’inscrit dans une approche du vivant connue sous le terme de « biologie des systèmes ». La spectroscopie par résonance magnétique nucléaire haute résolution à l’angle magique (RMN HRMAS) est une méthode de choix pour l’obtention de ce type de profilage métabolique. L’épilepsie du lobe temporal (ELT) est une épilepsie focale fréquente associée le plus souvent à des pertes neuronales sélectives, une gliose réactionnelle et une plasticité cellulaire spécifique. Bien que restant débattue, une origine neurométabolique reste un axe de recherche majeur. A ce jour une caractérisation métabolomique des tissus épileptogènes par RMN HRMAS reste à effectuer. Notre travail a consisté dans un premier temps à caractériser, chez le rat, les effets des méthodes de prélèvement et de fixation sur le métabolome cérébral dans le cadre des acquisitions RMN HRMAS. Dans un second temps, nous avons travaillé sur le modèle animal lithium-pilocarpine d’ELT. Nous avons pu décrire le métabolome issu des données RMN 1H HRMAS de différentes structures cérébrales impliquéesdans l’épileptogénèse. Des analyses multivariées de type PLS-DA ont pu mettre en évidence des profils métaboliques pathologiques au sein du cortex entorhinal et de l’hippocampe. A l’aide de substrats marqués au carbone 13 ([1-13C]glucose et de [1,2-13C]acétate) nous avons étudié les voies métaboliques neuronales et gliales. Nos résultats suggèrent l’absence d’anomalies métaboliques au sein des astrocytes. Enfin dans un dernier temps, nous avons effectué des analyses RMN 1H HRMAS sur près de 200 échantillons cérébraux de patients atteints d’ELT. Une analyse multivariée a permis de distinguer les profils métaboliques des hippocampes sclérosés et non sclérosés. En revanche la construction de modèles sur la base d’hypothèses clinico métaboliques (durée de la maladie, fréquence de crises, antécédents de convulsions fébriles) n’a pas permis d’identifier de profils métaboliques spécifiques. L’ensemble de ces données suggère l’existence de profils métabolomiques distincts en fonction des caractéristiques neuropathologiques des patients atteints d’ELT. Notre travail confirme la nécessité d’une approche intégrée de type « biologie des systèmes » pour l’étude de l’ELT aussi bien chez l’homme que dans des modèles animaux. / Metabolomics relates to the identification and quantification of metabolites in biological samples. This discipline is part of an approach known under the term of "systems biology". High Resolution Nuclear Magnetic Resonance Spectroscopy at Magic Angle Spinning (HRMAS NMR) is a method for obtaining metabolic profiling in such sample. Temporal Lobe Epilepsy (TLE ) is a common focal epilepsy often associated with selective neuronal loss, reactive gliosis and specific cellular plasticity. A neurometabolic origin of this epilepsy is a major area of research. To date no characterization of human cerebral biopsy from TLE patients has been conducted using HRMAS NMR. In the present work we aimed first at characterizing, in rats, the effects of sampling methods and fixation on brain metabolome under HRMAS NMR acquisitions. In a second step, we studied the lithium-pilocarpine model of TLE. In this model, we could describe the metabolome from HRMAS 1H NMR data of different brain structures involved in epileptogenesis. Multivariate analysis could highlight pathological metabolic profiles in the entorhinal cortex and hippocampus. Using substrates labeled with carbon 13 ( [1 -13C ]-glucose and [1,2-13C ]-acetate) we studied neuronal and glial metabolic pathways. Our results suggest the absence of metabolic abnormalities in astrocytes metabolism as previously reported. Finally, we conducted HRMAS 1H NMR analysis in nearly 200 brain samples from TLEpatients. Multivariate analysis was able to distinguish metabolic profiles between sclerotic and non sclerotic hippocampi. However mutlivariate models based on clinico- metabolic assumptions (disease duration, frequency of seizures, history of febrile seizures ) did not identify specific metabolic profile. All these data suggest the existence of distinct metabolomic profile based on neuropathological features of patients with TLE. Our work confirm the need of an integrated approach such as " systems biology" for the study of TLE in humans as long as in animal models.

A coletânea Contos populares russos, lançada de 1855 a 1863 em oito volumes, foi resultado do cuidadoso trabalho de Aleksandr N. Afanássiev (1826-1871), responsável pela reunião e publicação de cerca de 600 textos presentes nessa obra, que ganhou destaque por ser a primeira coletânea de contos populares russos de caráter científico, tornando-se assim um importante material de estudo, além de apresentar a poesia e o humor inerentes aos contos. Esta dissertação tem o objetivo de apresentar a trajetória desse pesquisador, que se dedicou não somente ao conto mas também a outras manifestações folclóricas, assim como traçar a evolução da presença do conto popular na vida literária e científica russa, fato que proporcionou o surgimento de diversos estudos folclorísticos, e apresentar alguns traços recorrentes do conto de magia. Para tanto, as pesquisas de Vladímir Propp, que muito se dedicou à cultura popular, em especial ao conto de magia, foram de extrema importância. Esta dissertação apresenta ainda a tradução de onze contos de magia, cujo critério de seleção foi a presença das diferentes representações do personagem folclórico Baba-Iagá, e um breve estudo dos seus traços de acordo com as teorias proppianas. / The collection Russian folktales, brought out from 1855 to 1863 in eight volumes, was the result of the careful work by Aleksandr N. Afanássiev (1826-1871), responsible for the gathering and publishing of around 600 texts in this work. Afanássiev´s work was the first Russian folktales collection with a scientific approach, it became a fundamental study material, besides presenting the tales inherent poetry and humour. This dissertation has the objective to introduce Afanássiev´s path, who devoted himself not only to the tale but also to other folklorist expressions, as well as to outline the evolution of the folktale presence in the literary and scientific Russian life, making possible the appearance of many folklorist studies. Another purpose of this work is to present some recurring traits from the tales of magic. For this intention, Vladimir Propp´s works, who dedicated a lot of his time to the popular culture, and in particular, to the tales of magic, were extremely important to us. This dissertation also presents the translation into Portuguese of eleven tales of magic, in which the selection criteria was the presence of different representations of the folktale character Baba-Iagá, of which a short assessment is made of its traits, in accordance with Propp´s theories.

A fortuna crítica de À la recherche du temps perdu sempre teve como um dos seus principais motes a relação da obra com outras artes, ou seja, uma construção estética baseada em uma relação de homologia estrutural com outros sistemas artísticos, dentre eles a música, a arquitetura, a própria literatura e a pintura. Essa construção faz com que a obra venha constantemente acompanhada do epíteto de museu imaginário. Especificamente, o nome do pintor holandês Johannes Ver Meer tem um lugar privilegiado na estética proustiana. Entretanto, nem todas as telas são mencionadas ao longo da narrativa. Somada a isso, a tessitura da escritura de Marcel Proust revela-se como um saber fortemente indiciário. Assim, a partir de índices que percorrem epístolas de Proust, textos críticos e a própria narrativa de À la recherche du temps perdu, esta tese cujo recorte de leitura é especificamente o episódio da lanterna mágica e seus desdobramentos defende que uma das telas de Ver Meer, a saber, A arte da pintura, é uma ausência epistêmica que, no entanto, faz-se presente, deixando inscritos na obra seus efeitos de significação. A fim de compreendermos essa presença-ausente, esta tese recorre ao conceito de letra, conforme o ensino de Jacques Lacan, os textos freudianos nos quais esse conceito estava em latência e os esclarecimentos e avanços feitos por Jacques Derrida, especificamente em seus textos da década de sessenta do século passado. Por efeitos de significação, concebe-se a ideia de que A arte da pintura realiza-se como uma ideia ausente, mas pungente no que tange aos efeitos estéticos de esmero do detalhe e dos processos descritivos, implicando uma relação de similitude entre o narrador em seu quarto, em lincipit de À la recherche du temps perdu e no episódio da lanterna mágica, e um artista em seu ateliê, presente na tela de Ver Meer, que incidirá em uma poética do detalhe. / The critical fortune of À la Recherche du Temps Perdu has always had, as one of its main threads, the relationship of work with other art forms, in other words, an aesthetic construction based on a relationship of structural homology with other Arts, including music, architecture, literature itself and painting. This ensures that the work is constantly accompanied by the epithet of the imaginary museum. Specifically, the name of the Dutch painter Johannes Ver Meer has a privileged place in the Proustian aesthetic. Nevertheless, not all canvases are mentioned during the narrative. Added to this, the tone of the Marcel Proust text reveals itself as a clear, evidentiary wisdom. Therefore, from indices that permeate the Proust missives, critical texts and the narrative of À la Recherche du Temps Perdu, this thesis, the scope of which is limited specifically to the episode of the Magic Lantern and its ramifications, argues that one of Ver Meers canvases, namely that of the Art of Painting, is epistemically absent, however it makes its presence felt through its effects of significance on the piece. In order to understand this absent-presence, this thesis uses the concept of the letter, according to the teachings of Jacques Lacan, Freudian texts in which this concept was latent, and in the clarifications and advances made by Jacques Derrida in his writings of the 1960s. For purpose of meaning, one has conceived the idea that The Art of Painting be like a missing yet poignant idea touching the aesthetic effects of minute detail and of the descriptive processes, implying an affinity in relationship between the narrator in his chamber, in l\'incipit of la Recherche du Temps Perdu and the episode of the Magic Lantern, and the artist in his studio, present on Ver Meers canvas, reflected in a poetic detail.

Al-Būnī est une figure centrale dans l'étude de la magie en Islam au Moyen Âge. En effet, son principal traité, le Šams al-maʿārif al-kubrā (Le « grand » soleil des connaissances), est le plus grand manuel de magie se basant sur le Coran, les beaux noms de Dieu, les invocations aux anges, etc. Malheureusement, à ce jour, cette oeuvre nous est connue à travers des éditions se basant sur des manuscrits très tardifs, fort éloignés du contenu des manuscrits des oeuvres ayant pu être écrites par al-Būnī : en témoignent les nombreux anachronismes. Aussi, ce travail de recherche propose de faire l'analyse et d'établir une édition critique d'une partie du « corpus bunianum » : le Šams al-maʿārif wa-laṭāʾif al-ʿawārif (Le soleil des connaissances et les grâces exquises) dans sa version courte (la supposée plus ancienne), al-Lumʿa l-nūrāniyya (La lueur luminescente) et d'autres traités qui ont contribué à former le Šams al-maʿārif. L'édition de ces textes correspondant au « noyau historique » de cet immense corpus met en évidence les éléments les plus anciens des oeuvres attribuées à al-Būnī et les influences ayant contribué à la formation d'une magie islamique, se référant non plus essentiellement à des autorités grecques, indiennes, mésopotamiennes, etc., mais aussi au Coran, à la tradition prophétique et aux traditions magiques, mystiques et kabbalistiques juives, chrétiennes et musulmanes. Intimement liée aux sphères du pouvoir, cette littérature magique participe également à leur mise en scène et reflète leur évolution. / Indeed, his main treatise, the Šams al-maʿārif al-kubrā (The "Great" Sun of Knowledge), is the most important magic manual based on the Qurʾān, the beautiful names of God, invocations to the angels, etc. Unfortunately, until now, this work has been known to us through editions based on very late manuscripts, very different from the contents of manuscripts of works written by al-Būnī as the many anachronisms point out. In this research, we propose an analysis and a critical edition of part of the "corpus bunianum": Šams al-maʿārif wa-laṭāʾif al-ʿawārif (The Sun of Knowledge and the ExquisiteGraces) in its short version (the supposedly more ancient one), al-Lumʿa l-nūrāniyya (The Luminescent Glow) and other treaties that have been used to write down the Šams al-maʿārif. Editing these texts corresponding to the "historic core" of this vast corpus highlights the oldest parts of the works attributed to al-Būnī and the influences that contributed to the formation of an Islamic magic, referring not only to Greek authorities, Indian, Mesopotamian, etc.., but also to the Qurʾān, the prophetic tradition and magical, mystical and Kabbalistic Jewish, Christian and Muslim traditions.Closely linked to realms of power, this magical literature also contributes to their splendour andreflects their evolution.

Cette thèse s’inscrit dans le mouvement des études interdisciplinaires portant sur la presse. Son objet est double : la presse de vulgarisation scientifique et les dispositifs optiques. Notre étude débute en 1851, moment de la fondation des premiers titres représentatifs, et s’achève en 1903, période de crise où ces périodiques entament une redéfinition de leurs lignes éditoriales. L’objectif de ce travail est d’étudier la façon dont la presse de vulgarisation scientifique s’empare des dispositifs optiques. Nous montrons que ces dispositifs, mieux que tout autre objet, permettent de comprendre efficacement l’évolution générale de la presse de vulgarisation scientifique dans ses pratiques d’écriture, dans le choix de ses rédacteurs et dans l’évolution des lignes éditoriales. L’étude conjointe de la presse photographique, laquelle se rattache explicitement au mouvement de vulgarisation scientifique, et des périodiques de vulgarisation scientifique généraliste, montre que, si ces deux types de presse cohabitent initialement en s’ignorant largement, ils finissent par se rencontrer et s’influencer mutuellement. Cette thèse visant à offrir une cartographie détaillée des périodiques et du personnel qui y officie, elle s’accompagne d’annexes incluant un répertoire des périodiques traités, ainsi qu’un premier répertoire des personnalités de la vulgarisation scientifique et une chronologie. / This dissertation is part of interdisciplinary studies dealing with the press. Its subject-matter is twofold: french popular science newspapers and optical devices. Our study begins in 1851 with the founding of the first popular science magazines, and ends in 1903, year of crisis during which this periodical press begins to redefine its editorial lines.The purpose of this work is to study how the popular science press got hold of optical devices. We show that these devices, better than any other object, allow effectively to understand the general development of the popular science press in its writing practices, in the choice of its writers, and in the evolution of its editorial lines. The joint study of photographic newspapers, which are explicitly linked to the popular science movement, and general popular scientific journals, shows that both types of press initially ignore each other, but eventually meet and influence each other.This dissertation aims at providing a detailed description of this periodical press and its staff: it is accompanied by appendices including a detailed index of those newspapers, and another detailed index of popular science writers. It also includes a chronology.

Le mythe de Médée, reçu par la première modernité comme un paradigme complet depuis la Conquête de la Toison d’or jusqu’à son retour sur le trône de Colchide, compose un prisme à multiples facettes : « Médée-tueenfant » (La Péruse), le personnage légué par la tragédie attique et devenu archétype d’une violence contrenature, y croise Médée magicienne, qui bouleverse le lignage et la ligne du temps, mais aussi la princesse orientale éprise d’un héros civilisateur. Pétrie par la culture chrétienne et admise au répertoire des arts officiels, cette figure ambivalente se rend perméable aux recherches esthétiques et aux débats éthiques des Temps modernes, en vue de l’expression de l’horreur, de l’allégorisation de la gloire, comme dans la représentation des passions.Or, la fondation de l’Ordre de chevalerie de la Toison d’or au duché de Bourgogne, en 1430, jusqu’à la fin de la Guerre de succession d’Espagne où se redessine la carte des puissances européennes, fait de la fable un miroir fictionnel privilégié des jeux de pouvoir entre les grandes dynasties européennes, en tant qu’instrument du discours programmatique du Prince. Dans le paysage culturel d’influences communes que forment les Cités-États de l’Italie et le royaume de France, cette étude montre, par la réunion de l’iconographie de Médée, l’analyse de saprésence dans les imprimés et de ses réécritures à la scène d’après l’antique, comment les échanges entre les arts visuels et les arts du texte oeuvrent à l’établissement d’un motif héroïque paradoxal. Ou comment Médée « devient Médée », renouvelant le serment que lui avait fait jurer Sénèque : « Fiam ». / The exceptional scope provided by the myth of Medea, which spans from the Conquest of the Golden Fleece to her return to the throne of Colchis, was received in its entirety by the Early Modern Arts and offers a multi-faced prism : Medea “tue-enfant” (La Péruse), the character left by the Ancient ancient Greek tragedy that became an archetypal figure of monstrous violence, crosses the path of the oriental lover of a civilizing hero, and also the enchantress who scatters lineages and timelines. Sculpted by the Christian culture and allowed into the official artistic repertory, this ambivalent figure absorbs the aesthetics and ethical debates of modernity. Indeed, Her Medea’s myth can be used for the expression of horror, allegories of glory, as well as expression of the passions.In addition, from the establishment of the Order of the Golden Fleece, by the Duke of Burgundy in 1430, to the end of the War of the Spanish Succession (which redefined the entire map of major European powers), Medea’s myth becomes one of the most efficient fictional mirrors of the political disputes between the most influential families of Europe, as an instrument of the publication of the Prince programme. Into the landscape of the cultural influences shared by the States of Early Italy and the French Kingdom, this study intends to show, by analysingthe spread of iconography of Medea, her presence in printed material and her classical performance reception and rewriting, how the exchanges between visual and literary productions work towards the definition of a paradoxical heroic standard. Where Medea “becomes Medea” and renews the oath that Seneca made her take: “Fiam”.

La présente étude se consacre à examiner les attitudes de Rabelais vis-à-vis de la magie. Sous l’angle biographique il est connu que notre humaniste ne manque pas d’occasions de se familiariser avec ce courant de pensée. Ses connaissances de l’occultisme se reflètent profondément dans son oeuvre. L’ironie de Rabelais face à la magie, qui existe certes dans son texte, n’est pourtant pas totale, vu qu’il puise son inspiration sincère dans le réservoir magique. Le sujet de la magie chez Rabelais, constituant une problématique complexe, attire souvent l’attention des critiques, mais fait rarement l’objet d’études sérieuses malgré son importance. En prenant comme fil conducteur le manuel de magie à grand succès, De occulta philosophia, d’Henri-Corneille Agrippa von Nettesheim, notre thèse tente d’éclaircir ce que Rabelais doit à des humanistes versés dans la magie, tels que Marsile Ficin ou Coelius Rhodiginus. Suivant la classification d’Agrippa, notre analyse textuelle porte successivement sur la magie céleste, la magie naturelle et la magie cérémonielle, ainsi que la magie démonique. En s’inspirant de saint Augustin et de Ficin, Rabelais distingue la magie blanche de type nécessaire, studieux et scientifique de la magie noire de caractère vain, curieux et ostentatoire. Mais en même temps, la stratégie littéraire de Rabelais laisse en suspens des choix possibles et variés pour expliquer les phénomènes admirables en parsemant son texte d’indices fabuleux pour inciter le lecteur à plus haut sens.a mon avis, Rabelais subit leur influence de façon plus profonde qu'on ne le dit, et puise son inspiration dans la lecture de leurs livres. l'hermétisme étant à la fois une pensée philosophique, religieuse, chimique et syncrétique, mon sujet nous permet de réexaminer globalement des problèmes variés concernant Rabelais. tout cela contribuera à l'interprétation de l'œuvre de Rabelais. / The present study aims to examine Rabelais’s attitudes towards magic. From a biographical point of view, it is known that our humanist did not lack opportunities to familiarise himself with this current of thought. And hisknowledge of occultism is profoundly reflected in his works. Although Rabelais can be seen to treat the topic of magic with a degree of irony, he nonetheless appears to draw sincere inspiration from magical works and texts. While magic in Rabelais’s works, and its resultant complexities, have always attracted the attention of critics, its use and significance have not been sufficiently investigated in previous studies. Led by clues found in the bestsellingmanual of magic, De occulta philosophia by Heinrich Cornelius Agrippa von Nettesheim, this study attempts to clarify the influence on Rabelais of humanists well-versed in the art of magic, such as Marsilio Ficinoor Coelius Rhodiginus. Employing Agrippa’s classification taxonomy, our textual analysis deals successively with celestial magic, natural magic and ceremonial magic, as well as demonic magic. Analysis reveals that Rabelais, inspired by Saint Augustine and Ficino, distinguishes white magic of necessary, studious, and scientific type from black magic of vain, curious, and ostentatious character. The literary strategy of Rabelais, however, leaves open a number of possible method of elucidating admirable phenomena, scattering the text with fabulous indices in order to invite readers to interpret them in a higher sense.