Le corpus des ‘comédies élégiaques’ ou ‘comédies latines’ du XIIe et du XIIIe siècle a été perçu comme un ensemble de textes étranges, dont la place dans la tradition littéraire était, pourtant, clairement définie. La notion de ‘comédie élégiaque’ désigne en effet la tradition théâtrale comme point de référence essentiel dans la formation du ‘genre’. L’objectif de la présente thèse est de déconstruire le concept de ‘comédie élégiaque’ et de décrire les textes du corpus, composés au XIIe siècle, tout en respectant leur historicité. Le mot ‘comique’ se rapporte ici à comoedia en tant que phénomène historique et non pas aux catégories anthropologique, philosophique ou psychologique ; ‘faire rire’ n’est ici qu’une des réponses possibles. La révision des sources fondamentales pour la formation des savoirs médiévaux de la comédie antique, ainsi que la lecture des poetriae du XIIe et XIIIe siècle, permet de préciser le sens du terme comoedia, employé par les auteurs des comoediae du Val de Loire et par leurs lecteurs. L’étude des rapports des comédies élégiaques avec la tradition de la comédie antique implique, en outre, l’examen de leurs paratextes et de leurs cotextes, dont l’ensemble est déterminé par les manuscrits conservés. Ainsi, l’analyse du contexte historique, idéologique et théorique, ajoutée à l’étude des manuscrits des comédies élégiaques, permet de définir ces compositions en tant que textes qui forment et incarnent les règles rhétoriques et éthiques exposées dans les poetriae. / The corpus of ‘elegiac comedies’, or 12th and 13th-century ‘Latin comedies’, was perceived as an anthology of some curious texts, the literary tradition of which was, nevertheless, clearly defined. Indeed, the notion of 'elegiac comedy’ designates the theatrical tradition as a point of reference, which is essential for the formation of' the ‘genre’. The objective of this thesis is to deconstruct the concept of ‘elegiac comedy’ and to describe the 12th-century texts of the corpus in exact accordance with their historicity. The word ‘comic’ refers here to comoedia as a historical phenomenon and not to some categories of anthropological, philosophical or psychological nature; the ‘laughter’ is not but one of the possible answers. The revision of the sources fundamental for the formation of medieval knowledge of ancient comedy as well as the interpretation of 12th- and 13th-century poetriae help to shed light on the meaning of the term comoedia employed both by the authors of comoediae from the Loire Valley and by their readers. The study of the relations of the elegiac comedies with the tradition of ancient comedy involves, moreover, the examination of their paratexts and co-texts, the body of which is determined by the preserved manuscripts. Thus, the analysis of the historical, ideological and theoretical context, as well as the study of manuscripts of the elegiac comedies, define these compositions as the texts that form and embody the rhetorical and ethical rules exhibited in the poetriae.

Although the works of Christine de Pizan have been of interest to scholars for some time, technological advances and initiatives to make digital copies of manuscripts available online have only recently enabled close comparisons between the visual programmes of her works to be made. This thesis demonstrates that detail usually considered secondary or 'paratextual' in Christine's manuscripts actually formed a carefully-constructed part of the work itself that Christine explicitly asks her audience to read. Through 'reading' the text and image simultaneously, the visual programme proves to comprise additional layers of meaning that were woven into her didactic works. These meanings can serve to supplement the educational and moral aims of the works, or, conversely, can be inconsistent with the message conveyed in the text, leading the reader-viewer to contemplate further on the matters presented and form their own opinions on them. Sometimes, meaning is created by intervisual connections with pre-existing iconography, such that viewers may be creating associations between the miniatures seen in Christine's manuscripts and other imagery, leading them to make certain associations - this is notably the case in author-portraits of Christine. As manuscripts prepared under the author's supervision came to be copied, changes were made to the iconographic programmes, testifying to and enabling different types of readings to take place. The findings of this thesis have implications for editorial practices of medieval works in general, as these tend to circulate in editions without the visual programme, providing modern readers with only a partial view of the complete work.

Le but de la thèse consiste dans la tentative de brosser un tableau du parcours occidental d’Aelius Aristide, orateur grec vécu au IIème siècle de notre ère, au moyen d’un examen des traductions latines de ses discours réalisées entre le XVème et la première moitié du XVIème siècle. Nous nous proposons de montrer que la réception d’Aristide en Occident au cours de l’humanisme a toujours été liée à des clairs intérêts littéraires, mais aussi à des raisons socio-culturelles et historiques. Pour cela, nous analysons les traductions latines de quatre discours d’Aristide : le Dionysos (or. 41), traduit par Cencio de’ Rustici en 1416 ; la Monodie pour Smyrne (or. 18), par Niccolò Perotti (1471) ; le discours Aux Rhodiens, sur la concorde (or. 24), par Carlo Valgulio ; le Discours d’ambassade à Achille (or. 16), par Joachim Camerarius (1535). Nous donnons une édition critique des deux premières traductions (Dionysos et Monodie) fondée sur les manuscrits latins et une édition moderne des deux dernières (Aux Rhodiens et Discours d’ambassade) ; nous proposons aussi l’identification du modèle grec utilisé par l’humaniste ou, au moins, l’identikit du texte grec originel lu par l’humaniste pour sa traduction. / The purpose of the thesis is to outline the western route of Aelius Aristides, Greek orator lived in II century AD, through an overview of the Latin translations of some of his speeches produced between the fifteenth and the first half of the sixteenth century by humanists from Italy and Northern Europe. We aim to show that Aristides’ reception in Western Europe during Humanism has always been related to clear literary interests, but also to socio-cultural and historical reasons. For this purpose, we analyze the Latin translations of four Aristides’ speeches : the Dionysos (or. 41), translated by Cencio de’ Rustici in 1416 ; the Monody for Smyrna (or. 18), by Niccolò Perotti (1471) ; the speech To the Rhodians, on concord (or. 24), by Carlo Valgulio (1497) ; the Embassy speech to Achille (or. 16), by Joachim Camerarius (1535). We give a critical edition of the first two translations (Dionysos and Monody) based on the Latin manuscripts and a modern publication of the last two (To the Rhodians and Embassy) ; we also propose the identification of the Greek model or, at least, we offer an identikit of the original Greek text read by the humanist for his translation.

The purpose of this study is to investigate if three scientific articles concerning the cataloguing of alba amicorum written in the 1980’s and early 1990’s had any influence on the cataloguing of alba amicorum. Another purpose is to investigate the similarities and differences between the catalogues from the late 1980’s and onward. The focus lies on the categories used when cataloguing the alba. Alba amicorum are catalogued on two levels: on a general level, i.e. the album as a whole is catalogued and in addition all the inscriptions in the album are cata-logued separately, the so-called leaf cataloguing. The study uses a comparative method. First the three scientific articles are compared with each other, then nine catalogues of alba amicorum from 1988 and onward, five printed and four online ones, are investigated regarding which categories are used respectively not used in the different catalogues. Then the categories pro-posed in the scientific articles are compared with the ones used in the catalogues. One result of the study is that the differences in the cataloguing on the general level between the printed catalogues are small but that the variation is larger amongst the online ones. The same patterns cannot be seen regarding the leaf cataloguing; here the variation between the catalogues is generally somewhat larger but the most central categories can be found in all catalogues. Another result is that some of the categories in the cata-logues reflect the printed or online form of the catalogue. The study shows that it is hard to define exactly which influence the scientific articles had on the catalogues but that it probably hasn’t been that large. Many of the categories occurring in the catalogues have been used when cataloguing alba amicorum since the early 1900’s. Maybe one could say that the alba themselves are con-stituted in such a way that it is more or less natural which categories should be used when cataloguing them. This is a two years master’s thesis in Archive, Library and Museum studies.

Les chanoines de la cathédrale de Metz forment un milieu complexe, aux origines diverses, mais dont le statut social est solidement appuyé sur une fortune foncière constituée dont la gestion est confiée au service de la Maisonnerie dès le XIIIe siècle. Les maisons canoniales issues de ce patrimoine accompagnent en conséquence les mutations à l'œuvre dans la cité à la jonction des époques romane et gothique. Elles se répartissent en quatre types: entre cour et jardin, en U sur la rue, en maison-tour, et autour d'un pôle central d'origine romane. Cependant, l'étude de ces résidences a montré que certains prédicats de l'historiographie locale devaient être revus et corrigés. En particulier, si la vieille idée selon laquelle l'architecture locale aurait calqué ses usages sur l'architecture italienne reste vraie pour certains aspects techniques, il est clair aujourd'hui qu'elle ne tient pas compte de témoins plus proches de la cité, dans des régions avec qui Metz avait certainement des contacts réguliers, comme la Bourgogne et la Rhénanie. De surcroît, le rôle social des chanoines doit être replacé dans le contexte d'une ville libre impériale, différente des villes françaises. On peut ajouter que le monde des chanoines semble empreint d'une culture très liée à celle des laïcs, qui s'ouvre aux nouveautés du monde aristocratique au Bas Moyen Age puis à la modernité de la Renaissance. Il est ainsi remarquable qu'une bonne portion des quelques exemples d'art de la Renaissance conservés relèvent de commandes des chanoines pour la cathédrale, en réaction aux contestations sociales auxquelles sont liées leurs résidences. / The canons of the cathedral of Metz form a complex environment, with diverse origins, but whose social status is solidly supported by a property fortune whose management has been entrusted to the Maisonnerie department since the 13th century. The canonical houses from this heritage therefore accompany the mutations at work in the city at the junction of the Romanesque and Gothic eras. They are divided into four types: between courtyard and garden, in U on the street, in a tower house, and around a central pole of Romanesque origin. However, the study of these residences showed that some predicates of local historiography needed to be reviewed and corrected. ln particular, if the old idea that local architecture would have modeled its uses on Italian architecture remains true for certain technical aspects, it is clear today that it does not take into account witnesses closer to the city, in areas with which Metz certainly had regular contacts, such as Burgundy and the Rhineland. ln addition, the social role of the canons must be placed in the context of an imperial free city, different from French cities. It may be added that the world of canons seems to be imbued with a culture very much related to that of the laity, which opens up to the novelties of the aristocratic world in. the late Middle Ages and then to the modernity of the Renaissance. It is thus remarkable that a good portion of the few surviving examples of Renaissance art are under the orders of the canons for the cathedral, in response to the social disputes to which their residences are linked.

I denna uppsats undersöks ett handskriftsmaterial bestående av 12 ryska suppliker från 1637. Syftet är att beskriva materialet och söka fastställa hur det passar in i V. M. Živovs system med skriftliga register. Analysen behandlar stilistiska, fonetiska och morfologiska aspekter. Jämförelser görs med texter från samma tidsperiod och ur samma genre. Den stilistiska analysen visar att supplikerna till sin struktur, utformning och sitt språk följer de förebilder som fanns inom genren. Den fonetiska och morfologiska analysen visar att det i supplikerna förekommer drag som var typiska för kansliregistret och att supplikerna överlag återspeglar 1600-talsnormen för kanslitexter. Živovs teorier om det ryska skriftspråkets utveckling visar sig falla tämligen väl ut på supplikerna. I arbetet inkluderas transkriberingar av detta tidigare opublicerade arkivmaterial. / This thesis examines a manuscript consisting of 12 Russian legal petitions from 1637. The purpose is to describe the material from a philological point of view and thereby determine whether it conforms to V. M. Živov's system of written registers. Analyses of stylistic, phonetic, and morphological aspects of the text are presented. A comparison is made with texts from the same time period and genre. The stylistic analysis shows that the petitions meet the formal and stylistic standards of the genre. The phonetic and morphological analyses show that the petitions contain features that were typical for the chancellery register and that they, in general, conform to the 17th-century norm for chancellery texts. The thesis concludes that the material is illustrative of Živov's theories on the development of Russian literary (standard) language. The work includes transcriptions of previously unpublished archive material.

Rezension zum 1997 erschienen Werk von Róbert Árpád Murányi zu Kompositionen in den Franziskaner Handschriften

Teilveröffentlichung aus: RISM, Serie A/II Musikhandschriften nach 1600

Der vorliegende Katalog ist ein maschinell erstellter Auszug aus der RISM-Datenbank. Für umfassendere Recherchen und weitere Informationen zu den einzelnen Werken, Komponisten, sonstigen Personen etc. sei ausdrücklich auf die im Internet frei zugängliche RISM-Datenbank verwiesen (http://opac.rism.info). Teilveröffentlichung aus: RISM, Serie A/II Musikhandschriften nach 1600:Inhalt Zur Benutzung III Einführung V Abkürzungen und Bezeichnungen VII Katalog der Musikhandschriften 1 Komponisten (alphabetisch) 3 Anonyma 58 Sammelhandschriften (Collections) 58 Titel und Textregister 59 Namensregister 64 Sigel 65 Signaturen 66 Wasserzeichen 67 Literatur 68

Matthew of Cracow was one of the most significant members of Prague University during its pre- hussite era. In addition to that, he is considered as one of the main representatives of the reform movement focused on correction of Christian life in the society of the second part of 14th and the beginning of 15th century. From his rich literary output, the work known as Dialogue of Reason and Consciousness of Frequent Communion deserves a special regard. It is one of many texts dealing with Eucharist theme that originated in Czech Lands in the second part of the 14th century. Among them, the Dialogue stands out because of its enormous popularity, reflected in high number of manuscripts. Despite that fact, modern historiography did not pay adequate attention to the Dialogue so far. The first part of this theses sums up results of previous research concerning Matthews life and work. The second part is focusing on the Dialogue itself. It analyzes the manuscript evidence of the Dialogue in the scholarly literature, outlines historical context of its formation and introduces the actual content of the Dialogue. In the last part of this theses comes a critical evaluation of the only existing edition of the Dialogue. Based on detailed analysis, it is shown that the original edition from 1974 suffers from...