Extr. de: Th. doct.--Lettres--Lyon 3, 1987. / Le vol. 3 a pour titre : "Dictionnaire des écrits prophétiques de Nostradamus" Contient un choix de textes de Nostradamus. Bibliogr. à la fin du vol. 2, 2 p.

Th.--Méd.--Toulouse, 1951.

Extr. de: Th. doct.--Lettres--Lyon 3, 1987. / Bibliogr. p. 4.

Extr. de: Th. doct.--Lettres--Lyon 3, 1987. / Bibliogr., 2 p.

L’objet de cette thèse est d’étudier comment les auteurs français de la Renaissance perpétuent et font évoluer un corpus de représentations de la peste en mêlant imitation, expérience vécue et invention dans leurs écrits. Ce corpus repose sur des récits et des descriptions de la peste issus d’œuvres majeures de l’Antiquité (l’Iliade, la Bible, l’Histoire du Péloponnèse, les Géorgiques) et du Moyen Âge (le Décaméron, la Chirurgia magna), le plus souvent traduites en français, et parues pendant la première moitié du XVIe siècle.La première partie de ce travail s’intéresse à ces traductions, qui se lisent comme des œuvres à part entière (allégories des guerres et des troubles religieux à la Renaissance), mais sont également des sources d’inspiration pour les auteurs de nouveaux écrits sur la peste.La seconde partie se penche sur ces créations. Les auteurs, qui se mettent parfois en scène comme des survivants de la maladie, reprennent les images du corpus déjà établi, en les adaptant à leurs propres fins. Nous mettons en évidence la répétition des images d’œuvre en œuvre (l’influence du corpus existant sur Clément Marot, Michel de Nostredame, Pierre Boaistuau, Ambroise Paré, Michel de Montaigne et Agrippa d’Aubigné ; l’influence des prédécesseurs sur leurs successeurs), tout en analysant leur fonction dans chaque nouveau contexte.Il ne s’agit pas ici de traiter de la peste historique (de nombreuses maladies appartenant à de nombreuses époques, rassemblées sous un nom générique), mais bien de l’imaginaire lié à un fléau unique, merveilleux, considéré comme la « main de Dieu ». La peste devient un genre littéraire codifié, fort reconnaissable, à la fin de la Renaissance. / The object of this thesis is to study how French Renaissance writers perpetuate and develop a corpus of plague representations, through imitation, personal experience and invention in their writings. This corpus is based on plague narratives and descriptions from major works of Antiquity (including The Iliad, The Bible, The History of the Peloponnesian War, The Georgics) and the Middle Ages (The Decameron, The Chirurgia Magna), often translated into French and published over the course of the first half of the sixteenth century.The first part of this work focuses on these translations, which may be read as works in their own right (allegories of war and religious unrest during the Renaissance), but are also a source of inspiration for authors of new plague writings.The second part of this thesis focuses on these creations. The authors, who sometimes depict themselves as survivors of the disease, borrow images from the pre-established corpus, adapting them to their own purposes. We highlight the images that reappear from one work to another (the influence of the existing corpus upon Clément Marot, Nostradamus, Pierre Boaistuau, Ambroise Paré, Michel de Montaigne and Agrippa d’Aubigné; the influence of predecessors upon their successors), while analyzing the function of these images in each new context.This work does not deal with the historical plague (the many diseases, from numerous eras, gathered under a generic name), but rather with the representations linked to a single, marvellous affliction, considered to be the “hand of God”. The plague becomes a codified, highly recognizable, literary genre at the close of the Renaissance.

<p>This dissertation is a study of the work of Michel de Nostredame (Nostradamus). Born in Provence, France in 1503, this true "Renaissance man” (astrologer, doctor of medicine and translator) achieved fame with the publication of his Centuries or “Prophecies”. This work presents 10 centuries of quatrains – almost a thousand short poems of only four rhymed lines each. The first third was published in 1555, another third in 1557 and finally the ten Centuries all together, posthumously, in 1568. The present study concentrates on the first edition, consisting of the first 353 quatrains.</p><p>The main purpose of this thesis is to explore and analyse the language, the style and the genre of the Centuries, aspects rather neglected by the critics hitherto. The large number of quatrains analysed in detail provides a solid basis for accurately characterizing the distinctive features of the text. The methods applied are mainly quantitative and comparative.</p><p>Initially, a short presentation of Nostradamus’ life and work sketches in the background for the creation of the Centuries. The analysis of the poetic form illustrates the stylistic as well as linguistic consequences of the use of the quatrain: it is argued that the poetical structure of the text influences its language as well as its oracular genre. The language of the Centuries is quantitatively examined, first at the sentence level and then at the phrase level. In order to define its specific nature, comparisons are made with the language of other texts from the same period, i.e. the Délie by Maurice Scève and the Pantagrueline Pronostication by François Rabelais. The results demonstrate that the most prominent differences concern what may be referred to as Nostradamus’ strategy of omission, where the restrictive metrical form of the quatrain demands that he be sparing of words.</p><p>Thereafter, the dissertation concludes that the number of textual themes and motives of the Centuries is quite limited (war, catastrophe, government), the prodigy being identified as the general poetic topic that contributes to the coherence of the text. A subsequent section thoroughly investigates stylistic elements such as enumeration, repetition and onomastics. The objective of the final section is to define the genre of the Centuries. The close connection between the concepts of poetry and prophecy during the French Renaissance is well documented. It is thus suggested that the enigmatic, dark oeuvre of Nostradamus inspired several of the Pléiade poets, whose group that in many ways explored the oracular genre in the 1550s and 1560s. It is furthermore demonstrated that the concept of oracular poetry is appropriate for defining the style and the genre of the Centuries.</p><p>Together, the different results of our survey lead to a discussion of the poetic qualities of the Centuries. The present study promotes the conclusion that Nostradamus is to be considered much less a prophet than an author of oracular poetry.</p>

This dissertation is a study of the work of Michel de Nostredame (Nostradamus). Born in Provence, France in 1503, this true "Renaissance man” (astrologer, doctor of medicine and translator) achieved fame with the publication of his Centuries or “Prophecies”. This work presents 10 centuries of quatrains – almost a thousand short poems of only four rhymed lines each. The first third was published in 1555, another third in 1557 and finally the ten Centuries all together, posthumously, in 1568. The present study concentrates on the first edition, consisting of the first 353 quatrains. The main purpose of this thesis is to explore and analyse the language, the style and the genre of the Centuries, aspects rather neglected by the critics hitherto. The large number of quatrains analysed in detail provides a solid basis for accurately characterizing the distinctive features of the text. The methods applied are mainly quantitative and comparative. Initially, a short presentation of Nostradamus’ life and work sketches in the background for the creation of the Centuries. The analysis of the poetic form illustrates the stylistic as well as linguistic consequences of the use of the quatrain: it is argued that the poetical structure of the text influences its language as well as its oracular genre. The language of the Centuries is quantitatively examined, first at the sentence level and then at the phrase level. In order to define its specific nature, comparisons are made with the language of other texts from the same period, i.e. the Délie by Maurice Scève and the Pantagrueline Pronostication by François Rabelais. The results demonstrate that the most prominent differences concern what may be referred to as Nostradamus’ strategy of omission, where the restrictive metrical form of the quatrain demands that he be sparing of words. Thereafter, the dissertation concludes that the number of textual themes and motives of the Centuries is quite limited (war, catastrophe, government), the prodigy being identified as the general poetic topic that contributes to the coherence of the text. A subsequent section thoroughly investigates stylistic elements such as enumeration, repetition and onomastics. The objective of the final section is to define the genre of the Centuries. The close connection between the concepts of poetry and prophecy during the French Renaissance is well documented. It is thus suggested that the enigmatic, dark oeuvre of Nostradamus inspired several of the Pléiade poets, whose group that in many ways explored the oracular genre in the 1550s and 1560s. It is furthermore demonstrated that the concept of oracular poetry is appropriate for defining the style and the genre of the Centuries. Together, the different results of our survey lead to a discussion of the poetic qualities of the Centuries. The present study promotes the conclusion that Nostradamus is to be considered much less a prophet than an author of oracular poetry.