Tesis--Universidad pública de Navarra, 2001. / Bibliogr. p. 327-338. Index.

Tesis doctoral--[Pamplona]--Universidad pública de Navarra, 2001. / Documents en appendice. Bibliogr. p. 399-418.

Texte remanié de: Tesis doctoral--Departamento de historia--Universidad de Navarra, 2003. / Bibliogr. p. 291-304.

Due to her death in 1549, Marguerite de Navarre never completed her masterwork of seventy-two short stories, the Heptameron, which differs radically in style, subject matter, and approach from her earlier pious and spiritual literary output of theater and poetry. The Heptameron focuses primarily on transgressive human behaviors such as deception, seduction, rape, incest, and corruption. In her waning years after retiring from the court, Marguerite clearly used written expression to examine those unflattering traits of human character which deviated from the spiritual path she had taken and written about throughout her life; but the reasons for this abrupt shift in Marguerite's writing have long puzzled scholars, who often interpret her novellas either as negative exempla that reinforce the morality of her poetry, or as pure entertainment.Thanks to the psychoanalytical theories formulated and developed in the twentieth century by Sigmund Freud (father of psychoanalysis, 1856-1939), J.L. Moreno (creator of psychodrama and sociometry, 1892-1974), Ivan Boszormenyi-Nagy (family psychologist, 1920-2007), Anne Ancelin Schützenberger (founder of transgenerational psychoanalysis 1919-) Nicholas Abraham (theorist of cryptonymy, 1919-1975), and Maria Torok (theorist of cryptonymy, 1925-1998) we have new tools that allow us to gain a different perspective on what may have motivated Marguerite to write the Heptameron and why recurring themes (i.e., marital infidelity, imprisonment, and clerical misdeeds) appear throughout her work. When analyzing the Heptameron in the light of these theories, it becomes clear that Marguerite focuses on unresolved family patterns transmitted from one generation to the next. These transgressive themes coincide with traumas that Marguerite herself experienced, which she reflects on, works through, and embeds within her text.Using Boccaccio's Decameron as a model, Marguerite creates intratextual storytellers who discuss, debate, and philosophize about human behaviors. Writing thus enables her to manipulate through fiction the unresolved conflicts and anxieties, both conscious and unconscious, that she was powerless to control in reality. The storytellers express and explore Marguerite's beliefs about life. By reinterpreting these frame discussions and Marguerite's transgressive subject matter in the light of the aforementioned social and psychological theories; I analyze the link between Marguerite's family heritage, her life, and her writing.

Tésis--Universidad de Navarra, 1966. / Bibliography: p. [27]-30.

Nombreuses sont les études portant sur les grands personnages de la maison de Navarre à l’époque moderne, mais leurs serviteurs n’ont pas encore fait l’objet d’une étude approfondie. Cette thèse a pour ambition d’examiner les 106 serviteurs de la Maison de Navarre qui sont présents dans les actes notariés tourangeaux de la seconde moitié du XVIe siècle conservés aux Archives départementales d’Indre-et-Loire. Complétées par des manuscrits (comptes royaux, mandements, quittances, etc.) conservés à Pau et à Paris, ces soucres éclairent la vie de ces individus, leurs liens de parenté et leurs rôles au sein des Maisons royales navarraises. À la lumière de cette documentation, nous découvrons les structures et le dynamique interne d’un « milieu navarrais » de Tours, dont le « coeur » était constitué d’une poignée de familles au service principalement des maisons de Jeanne d’Albret et d’Henri de Navarre, futur Henri IV / The early modern members of the royal family of Navarre have been the subjects of many academic studies, but the servants of their household have not yet been studied in depth. This dissertation aims to examine the 106 members of the household of Navarre whose presence is noted in notarial acts from 16th century Tours, stored in the Departemental Archives of Indre-et-Loire. These texts, combined with other manuscripts (royal accounts, letters, receipts, etc.) from Pau and from Paris, allow us to examine the lives of these individuals, how they were related, and what roles they played in the royal households of Navarre. Using source documents, we observe the structures and the internal dynamics of the « Navarrese milieu » that existed in the city of Tours, and its « heart » composed of a handful of families who primarily served the households of Jeanne d’Albret and of Henri de Navarre, the future king Henri IV

Durant la première moitié du XIIe siècle, la sculpture romane navarraise connaît un développement important doublé d’un renouvellement du répertoire ornemental qui donnent lieu à la réalisation de sculptures considérées comme de véritables chefs-d’œuvre, principalement au sein du chantier de la cathédrale Sainte-Marie de Pampelune. C’est autour de 1100 que se poursuivent l’essentiel des travaux de reconstruction de l’édifice navarrais entrepris, un peu plus d’une décennie plus tôt, par Pierre d'Andouque, moine français devenu évêque de Pampelune. Sur ce chantier interviennent plusieurs sculpteurs de talent, principalement dans le cloître, ainsi qu’un opifex, Esteban, identifié par un texte comme maître d’œuvre du prestigieux chantier de Saint-Jacques-de-Compostelle. Généralement considérée comme la création majeure de cette époque dans le Royaume, placée par plusieurs auteurs au centre de toute la production architecturale mais surtout sculptée de la Navarre durant la première moitié du XIIe siècle, la cathédrale romane reste encore à ce jour, malgré les nombreux travaux qui lui ont été consacrés et les débats historiographiques qu’elle a suscité depuis les années 1930, exempte de toute étude monographique. Ce constat s’explique certainement par les vestiges très réduits sauvés suite à la destruction complète de l’édifice à la fin du XVIIIe siècle : de simples fondations mises au jour en 1993 lors de fouilles archéologiques ainsi qu’un corpus d’une vingtaine d’œuvres sculptées seulement, aujourd’hui conservées au Musée de Navarre. La présente thèse vise à combler ce manque en menant une étude exhaustive de ce monument. S’appuyant sur le dépouillement d’archives, sur un catalogue détaillé de chaque sculpture provenant de la cathédrale ainsi que sur des fiches monographiques des églises navarraises de la première moitié du XIIe siècle, cette étude se propose de reprendre les questions relatives au contexte historique, artistique et humain du chantier de la cathédrale romane Sainte-Marie de Pampelune et de (ré)interroger l’« influence » qui lui a été a prêté au sein de la production navarraise. Il s’agira ainsi de mieux comprendre la gestion du chantier, les modalités de la commande artistique - qui mettent en exergue le rôle essentiel de l’évêque - mais aussi d’interroger les processus de production des œuvres sculptées en étudiant les origines et les sources qui ont nourri les créations des différents sculpteurs, entre Navarre, Aragon, Midi toulousain et Gascogne notamment. Ceci mènera à préciser l’impact de la cathédrale dans le renouveau ornemental des chantiers navarrais de la première moitié du XIIe siècle. / During the first half of the XIIth century, the Navarrian Romanesque sculpture saw an important development added to a renewal of the decorative repertory which gave rise to the realization of sculptures considered as real masterpieces, mainly within the construction site of the cathedral of saint-Marie de Pampeluna. Around 1100, the main part of the alteration works of the Navarrian building took place; they had been undertaken, a little more than a decade earlier, by Pierre d'Andouque, the French monk who became the bishop of Pampeluna. Several talented sculptors took part in this construction mainly in the cloisters. As well as an “opifex”, Esteban, who is mentioned in a text as a project manager of the prestigious construction site of Santiago de Compostela. Generally considered as the major creation of this time in the Kingdom, regarded by several authors as occupying a central position in Navarre architecture and above all Navarre sculpture during the first half of the XIIth century, the Romanesque cathedral remains to this day, in spite of the numerous works which were dedicated to it and the historiographical debates that it has aroused since the 1930s, without its monographic study. This can certainly be partly explained by the scarcity of remains that could be saved after the complete destruction of the building at the end of the XVIIIth century: mere foundations that were brought to light in 1993 during archaeological excavations as well as a corpus of only about twenty sculptured works, which are kept in the Museum of Navarre today. The present thesis aims at filling this lack by leading a comprehensive survey of this monument. Based on the analysis from the archives, on a detailed catalogue of every sculpture coming from the cathedral as well as on monographic index cards of the Navarrian churches of the first half of the XIIth century, this study examines questions relative to the historic, artistic and human context of the construction site of the Romanesque cathedral Sainte-Marie de Pampeluna and explores the question of its alleged "influence" on the Navarrian production. The aim of this study is also to better understand the management of the construction site, the methods of the artistic talent - which will highlight the essential role of the bishop - but also to question the processes of production of the sculptured works by studying the origins and the sources which influenced the creations of the various sculptors, between Navarre, Aragon, Toulousian South and Gascony in particular. This will lead on to specifying the impact of the cathedral in the decorative revival of the Navarrian construction sites of the first half of the XIIth century.

Aux XIe-XIIe siècles, dans le cadre de la Reconquista, des populations venues de l’autre côté des Pyrénées vinrent s’installer dans le nord de la péninsule Ibérique. La vallée de l’Ebre devint une terre d’accueil privilégiée pour ces hommes appelés francos dont l’histoire a longtemps été abordée par Marcelin Défourneaux, dans un ouvrage demeuré célèbre : Les Français en Espagne aux XIe-XIIe siècles (1949). Soixante ans après, l’évolution de nos connaissances justifient que la question soit reprise à nouveaux frais. L’une des difficultés majeures de ce travail sera de préciser le sens qu’il convient de donner au terme francos. Au regard des sources, le mot définit aussi bien la personne libre que celle venue du nord des Pyrénées. Dans ce second sens, il désigne les guerriers venus combattre contre les musulmans, mais également des artisans et des marchands. Il se rapporte enfin à des clercs qui participèrent à l’implantation de la Réforme qu’il s’agisse d’abbés, d’évêques ou de légats pontificaux. L’étude de leur implantation dans la vallée de l’Ebre conduira à s’interroger sur la notion d’étranger et sur leur insertion dans les formes d’organisation sociale nées de la Reconquista. Une fois précisée l’origine de ces hommes, l’importance de cette migration, son rythme et ses motifs, la recherche évaluera leur rôle économique et politique pour apprécier leur influence dans la construction identitaire des territoires chrétiens hispaniques. Les questions linguistiques, les échanges matrimoniaux et les rapports entretenus avec les populations autochtones feront l’objet d’une attention toute particulière, sans oublier la question de l’influence culturelle. / In the 11th and 12th centuries, populations from the other side of the Pyrenees came to settle down in the north Iberian peninsula. The Ebro valley was welcoming area for these men whose sources and historiography called francos. This topic has been studied by Marcelin Défourneaux in a famous book: Les Français en Espagne aux XIe-XIIe siècles (1949). Sixty years later, the evolution of the ressearch justifies this work. The first difficulty will be to define francos. With regard to sources, this terme denotes as well the free person as that the one coming from the north of the Pyrenees. The dynamics of exchange were determined to a large extent, though informally, by knights, churchmen, merchants, craftsmen, pilgrims and others travellers. The kings of Aragon and Navarre entrusted some migrants with the running of territories and goods. We will discuss this migration and analyze the steps of this process and the conditions on which it had been achieved. Migration from the North intensified in the eleventh and the twelfth centuries, when pilgrimage to Santiago de Compostela became a mass movement. We shall emphasize its role before discussing what was at stake in the transpyrenean relationships, the settlement ofterritories conquered by Christians and the war against the Muslims. Thanks to onomastics, we will consider the presence of foreigners in the towns and its relations with the local communities. With the migration of francos to Aragon and Navarre, a change took place in that region’s approach to architectural and artistic tradition.

This thesis examines the literary representations of Jeanne d’Albret (1528-1572), Queen of Navarre. While this historical figure has already known many historical studies, this work seeks to highlight her importance in French literature, as subject, patron and writer herself. Concentrating on the theme of feminine exemplarity and its rhetorical implications, this study will show the evolution and transformation of Jeanne d’Albret’s representation in the literary world, from various epidictic pieces composed for her during her childhood, to the legacy of a woman of letters, to the celebration of a strong Calvinist Queen, and eventually to the shadowing of these successes in the eighteenth-century Encyclopédie. / Graduate

The purpose of this study is to demonstrate that the main theme of Heptameron, by Marguerite de Navarre, is not love, as numerous critics maintain, but the notion of honour. This notion is the real unifying principle that indisputably confers its penetrating unity to the book. / If the kind of dialogue favoured by the Queen creates a polyphony which, at first, may seem destabilizing and hinder the coherence of the book, after reading it carefully, however, one notices that a certain number of guidelines relating to the notion of honour permeate the book. By identifying systems and ensembles, one discovers different sets of correlations--in connection with the notion of honour, that are connected by intelligible links and form homogeneous units that are completely meaningful. This reveals that, behind the obvious conservatism of the characters and members of the storyteller circle of Heptameron, the bivalence of the honour code, in the relationships between men and women, is challenged, even criticized.