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Este trabalho tem como proposta estudar a obra pictórica de Jerônimo Bosch a partir da pesquisa, seleção, tradução e análise de excertos dos séculos XV, XVI e início do XVII que tratam do pintor e de sua obra. Diferentemente dos estudos contemporâneos, que, iconográficos, privilegiam a análise das imagens e a interpretação de seu simbolismo, esta pesquisa propõe estudar Bosch através destes textos, pensados a partir dos gêneros discursivos. Considerando as diferenças entre os gêneros, o estudo dos excertos visa a explorar sua diversidade e apontar seus pontos comuns, como a fama de Bosch na época, as descrições de suas pinturas e a qualificação das obras, sobretudo como fantásticas, bizarras e maravilhosas. / The purpose of this study is to discuss Jerome Boschs pictorial works in light of research, selection, translation and analysis of writings from the 15th, 16th and 17th centuries about his life and works. Unlike contemporary iconographic studies in which the analysis of images and the interpretation of its symbols are the main method, this work intends to study Bosch through those texts, considering the genres of rhetorical discourse. Taking into account the differences among genres, this study explores the diversity of the texts, trying to point out, when possible, its commonalities, as found in the painters fame in the period, the description of his paintings and the qualification of his works, specially when they are regarded as fantastic, bizarre and wonderful.

Este trabalho tem como proposta estudar a obra pictórica de Jerônimo Bosch a partir da pesquisa, seleção, tradução e análise de excertos dos séculos XV, XVI e início do XVII que tratam do pintor e de sua obra. Diferentemente dos estudos contemporâneos, que, iconográficos, privilegiam a análise das imagens e a interpretação de seu simbolismo, esta pesquisa propõe estudar Bosch através destes textos, pensados a partir dos gêneros discursivos. Considerando as diferenças entre os gêneros, o estudo dos excertos visa a explorar sua diversidade e apontar seus pontos comuns, como a fama de Bosch na época, as descrições de suas pinturas e a qualificação das obras, sobretudo como fantásticas, bizarras e maravilhosas. / The purpose of this study is to discuss Jerome Boschs pictorial works in light of research, selection, translation and analysis of writings from the 15th, 16th and 17th centuries about his life and works. Unlike contemporary iconographic studies in which the analysis of images and the interpretation of its symbols are the main method, this work intends to study Bosch through those texts, considering the genres of rhetorical discourse. Taking into account the differences among genres, this study explores the diversity of the texts, trying to point out, when possible, its commonalities, as found in the painters fame in the period, the description of his paintings and the qualification of his works, specially when they are regarded as fantastic, bizarre and wonderful.

After the conquest of 1282, Wales increasingly fell under the dominion of England and in 1535, the first Laws in Wales Act officially annexed the country. During this period of political and legal instability, Welsh men and women fought to regain independence, a struggle that led to the development of a nascent national identity. For many authors, this identity was fundamentally rooted in the topography of Wales and the mythical histories concerning the cultivation of its land. This interest in native mirabilia corresponded with a period of increased availability of English and continental geographical treatises and travelogues that provided Welsh authors with a new vocabulary for discussing wonder. Medieval and early modern Welsh authors incorporated these exotic geographies into their accounts of native landscapes in order to differentiate Wales from England and argue for a sense of Welsh cultural exceptionalism based in its alterity. / Celtic Languages and Literatures

Le présent projet de recherche, une étude de cas, consiste en l’édition, la traduction et le commentaire d’un texte en grec ancien, la Collection d’Histoires Curieuses, œuvre de pseudo-Antigonos. Ce texte permet de définir un type d’énoncé particulier, l’histoire paradoxographique, qui transmet au lecteur des informations curieuses, des anecdotes incroyables qu’ils soient l’œuvre de la nature ou de l’homme. Le projet de recherche a pour but de donner au public un nouvel accès au texte, qui n’a jamais été traduit en français, et de le délimiter dans un cadre littéraire. / The present thesis is a case study of pseudo-Antigonus’ of Carystos text, Collection of Extraordinary Stories, which belongs in the so-called « genre » of paradoxography. This edition is the first to be translated and fully annotated in French, directly from the ancient Greek. On the base of pseudo-Antigonus’ text, the reader is familiarized with the writing techniques of a paradoxographer, such as condensation and rewriting, through which a new, original work is created. Additionally, this thesis provides a redefinition of paradoxography, which is accomplished through a lexical inquiry of technical terms and a comparison to the Mirabilium Auscultationes, a pseudo-Aristotelian work often associated with pseudo-Antigonus.

Cette thèse avance une hypothèse nouvelle à l’énigme du décor de la Galerie François 1er de Fontainebleau, teste son efficacité sur la totalité de ses 16 unités originelles, cadres compris, et argumente la question de sa vraisemblance. Elle repose sur l’analyse de l’unité décrochée de l’extrémité Ouest en 1639, le Bacchus et Vénus de Rosso, aujourd’hui au MNHA de Luxembourg. Ce tableau est un unicum qui relève des mirabilia . Sous le voile d’une scène érotique, il traite de façon sophistiquée un adage récent d’Erasme, ici écourté : sans Bacchus, Vénus se refroidit. Par art de mémoire plastique, il « mémorise » aussi le schéma de la Monarchie céleste, tel que figuré dans la Treschrestienne Cabale metrifiee (1519) de Jean Thenaud et commenté dans son Traicte de la Cabale (1521), deux manuscrits commandés par François 1er . Par trois motifs en bas du tableau, il indique son mode d’emploi discursif qui s’appuie sur Erasme, puis Cues, puis Bonaventure. Enfin, c’est une peinture fabriquée comme les images artificielles irradiantes du De triplici vita de Ficin, mais sans effet magique. Ce tableau est le centre d’un dispositif à la fois intellectuel, matériel, et pratique, qui relie les 16 unités originelles et invite les princes Valois-Angoulême à une réception spécifique pour verbaliser eux-mêmes le programme de discours organisé. La base intellectuelle de ce dispositif est théologique : elle repose sur le verset de saint Paul (1 Co, XIII, 12), et se réfère à Erasme, Cues, et Bonaventure. Sa particularité est de transposer les concepts mentaux de ces penseurs chrétiens à un décor peint et stuqué, et ce, par serio ludere alors très prisé, en termes d’inventions formelles et d’usages inédits des images, pour générer les discours du programme. Parmi ces inventions, la plus remarquable est la pratique plastique de l’art de mémoire suivant ses règles classiques, dans toutes les unités, cadres compris. Le programme expose la vérité du pouvoir de la monarchie-très-chrétienne, par trois analogies spéculaires au pouvoir de la Monarchie céleste. Il définit des valeurs morales princières, mais aussi deux ambitions politiques majeures, le pouvoir absolu et l’accès à l’imperium mundi par de nouveaux arguments. Il forme le « miroir du prince » secret de la nouvelle dynastie Valois-Angoulême. Ce « miroir » cite aussi le « théâtre » de Giulio Camillo acheté par le Roi en 1530 et éclaire son fonctionnement resté énigmatique. Nous proposons Jean Thenaud associé à Rosso comme concepteurs. / This thesis puts forward a new hypothesis concerning the enigma of the décor of the Francis I Gallery in the royal palace of Fontainebleau, tests whether this hypothesis works for all 16 of its original units, frames included, and considers the question of its likelihood. It is based on an analysis of the unit removed from the western end of the gallery in 1639, Rosso Fiorentino’s Bacchus, Venus and Cupid, now hanging in the MNHA in Luxembourg. This painting is a unicum that falls into the mirabilia category. Behind the erotic scene lies a sophisticated depiction of a recent - here shortened - adage of Erasmus: without Bacchus, Venus grows cold. Using the art of memory, it also “memorises” the paradigm of the heavenly monarchy portrayed in Jean Thenaud’s Treschrestienne Cabale metrifiee (1519) and commented on in his Traicte de la Cabale (1521), two manuscripts commissioned by Francis I. The three motifs at the bottom of the work indicate its discursive modus operandi, drawing on Erasmus, then De Cues, then Bonaventure. It is a painting constructed like the radiant images of Marsilio Ficino’s De triplici vita, but without magical effect. This painting is at the centre of a simultaneously intellectual, material and practical device, linking the 16 original units and inviting a specific reception from the Valois-Angoulême princes so that they can themselves express the organised discursive programme. The intellectual basis of this device is theological in nature: it is founded on the verse of Saint Paul (1 Corinthians 13:12), and refers to Erasmus, De Cues and Bonaventure. It is unique in that it transposes the mental concepts of these Christian thinkers to a painted, stuccoed décor, following the serio ludere maxim, very popular at the time, in terms of formal inventions and original use of images to generate the programme’s rhetoric. The most remarkable of these inventions is the plastic practice of the art of memory, following its classic rules, in all the units, including the frames. The programme exposes the truth of the power of the very-Christian monarchy, via three analogies to the power of the heavenly Monarchy. It defines princely values, as well as two major political ambitions, absolute power and access to the imperium mundi using new arguments. It forms the secrete “mirror for the prince” of the new Valois-Angoulême dynasty. This “mirror” also cites the “theatre” of Giulio Camillo bought by the King in 1530 and illuminates its enigmatic function. We propose Jean Thenaud, supported by Rosso, as the creators.