This dissertation examines the production, use and preservation of medieval charters and cartularies with regard to what we can know about women's economic activities in twelfth- and thirteenth-century Picardy, France. Charters (medieval records of property transactions) and cartularies (medieval books compiled of charter copies) from three religious institutions located in southern Picardy provide evidence for the case studies examined here. Each institution retains a surviving partial archives of loose charters, as well as a thirteenth-century cartulary. The comparison of their contents enables the creation of two separate sets of charters for each institution—the charters that have been copied into the cartulary and those that have not. This study's findings indicate that those charters absent from the cartulary provide important information about the cartulary charters, particularly regarding women's identities, networks, and activities. Placing the archives charters alongside the cartulary charters offers an opportuntity to reunite and examine multiple charters that focus on either a single transaction, a single woman, a single family or a single charter issuer. In this way, unidentified women in the cartulary can often be linked to natal and marital families, revealing networks of women's activities. Moreover, evidence for non-noble women's participation in economic transactions emerges alongside that of their better-known noble counterparts. This dissertation argues for a broader scope of women's participation in the alienation and acquisition of property in southern Picardy and calls for more research into charter production and its implications for the study of medieval women.

This thesis investigates a number of phonological phenomena in Picard, a Gallo-Romance dialect spoken France: Across-Word Regressive Assimilation and its variation patterns, and the domain-sensitive strategies that the language employs in the Resolution of Vocalic Hiatus (i.e. Semivocalization, Vowel Elision and Heterosyllabification). More generally, the thesis is about "variation" in its broadest sense. It explores variation that occurs within a single prosodic domain as well as the type of variation that operates across domains; while the former is variable and triggered by linguistic and extralinguistic factors (and is thus the subject of sociolinguistic investigation), the latter is invariable and strictly determined by domains. For the analysis of these two types of "variation", I adopt the framework of Optimality Theory. One of the advantages of this framework is that it allows us to account for domain-driven and sociolinguistic variation within a language by means of a single grammar. In the context of domain-sensitive phenomena, this can be accomplished by the decomposition of constraints into their domain-specific counterparts, each of which may be ranked independently within a single grammar to yield the alternations observed across domains. Based on this line of research and influenced by insights from Prosodic Phonology, I propose an approach to the decomposition of constraints in which only prosodic domains may serve for constraint specification. I argue that this is advantageous because it constrains the grammar by imposing limitations on the types of domains that may be subject to decomposition, and captures Prosodic Phonology's view that the interface between phonology and morphosyntax must be indirect, that is, mediated by domains from the prosodic hierarchy. In the context of variation triggered by linguistic and extralinguistic factors, I argue that variable patterns are best analyzed as the result of crucial nonranking of constraints. A posit / Cette these examine un nombre de phenomenes phonologiques dans le Picard, un dialecte Gallo-roman parle en France : l' Assimilation regressive a travers le mot et les patrons de variation qui gouvement ce processus, ainsi que les strategies sensibles aux domaines que la langue emploie pour la Resolution de hiatus vocalique (i.e. Formation de semi-voyelles, Elision vocalique et Heterosyllabification). Plus generalement, la these traite de la « variation,» dans son sens le plus large. Elle explore la variation qui se produit dans un seul domaine prosodique de meme que le type de variation qui opere a travers les domaines; tandis que le premier est variable et declenche par des facteurs linguistiques et extra-linguistiques (etant ansi le sujet d'investigations sociolinguistiques), le dernier est invariable et strictement determine par les domaines. Pour l'analyse de ces deux types de « variation », j'adopte le cadre theorique de la theorie de l'optimalite. L'un des avantages de cette theorie est qu'elle nous permet d'expliquer les variations qui s'appliquent a la fois par le domaine phonologique et par les facteurs sociolinguistiques gouvernant une langue au moyen d'une seule grammaire. Dans le contexte de phenomenes sensibles aux domaines, ceci peut etre accompli par la decomposition de contraintes dans leurs homologues qui sont specifiques sur les domaines, dont chacun peut etre independamment classe dans une seule grammaire pour produire les alternances observees entre les domaines. Base sur cette ligne de recherche et influence par les fondements de la Phonologie prosodique, je propose une approche a la decomposition de contraintes selon laquelle seulement les domaines prosodiques peuvent servir pour la specification de contraintes. Je soutiens que cette approche offre des avantages marques, parce qu' elle contraint la grammaire en imposant des limitations sur les types de domaines qui peuvent etre sujets a la decomposition. De plus, cette approche est compa

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In Walter Pater’s work there are often mentions of discipline and ascesis in an explicitly positive way. But, in some of his work, discipline, although not ascesis, seem to be taking on a more negative form. Critics have nonetheless seemed satisfied with Pater’s explicit praise for discipline and the area is thus not very thoroughly researched. One area that is well researched is the homoerotic subtexts that are evident in a lot of Pater’s work, which critics have examined in a variety of different ways. I suggest analysing the imaginary portraits “Emerald Uthwart” and “Apollo in Picardy,” to argue that Pater contrasts the Ancient Greek notion of ascesis with the nineteenth century understanding of discipline in order to question the legal restrictions on homosexuality in late nineteenth century England. Due to the historical context of the 1885 Criminal Law Amendment Act, which criminalised homosexuality, and Pater’s regular use of—as well as his admiration for—Ancient Greece, I have found that there is a connection between discipline, ascesis, and homosexuality. In the essay I make use of some of Foucault’s theories, especially from The History of Sexuality Vol. 1 and Vol. 2., to argue that the juxtaposition between homosexuality and discipline and ascesis in the two portraits provides new insights to the intricacies of Pater’s work. Keywords: Walter Pater; discipline; ascesis; homosexuality; “Apollo in Picardy”; “Emerald Uthwart”; Imaginary Portraits

This dissertation presents a new perspective on the function of objects in late-medieval devotional practice through a study of the so-called Soissons group of thirteenth-century French Gothic ivories. These ivory diptychs were sophisticated tools constructed to guide the user through various spiritual exercises that led to prayer. The hitherto unexplained increase in the availability of ivory in mid-thirteenth-century France is accounted for by an alteration in the trade routes that brought elephant tusks from the Swahili coast of Africa to northern Europe: a newly-opened passage through the Straits of Gibraltar allowed a small amount of luxury goods to be shipped together with bulk materials necessary to the northern textile industries. The increasing supply required a revision of the structure of the thirteenth-century craft of ivory. The Soissons group, the first ivory diptychs fashioned during this time of growth in ivory markets, is subdivided into two sections. An itinerant master who traveled throughout the Picard region between 1235 and 1270 crafted the first group. Concurrently, three separate Parisian artists produced the second group based on a Picard model. This dissertation redates all the ivories substantially earlier than previously thought, conclusions which were attained through stylistic analysis. The dense Passion iconography shaped the diptychs’ function in private devotion. The narrative encouraged the viewer to practice a number of spiritual exercises—reading, memorization and compunction—analogous to the three reasons for allowing images in the Christian Church, the triplex ratio. The Passion diptych format introduced with these objects was immensely popular throughout the thirteenth and fourteenth centuries and its conservation over time underscored its effectiveness. The small differences in iconography and composition among the seven Soissons diptychs, however, were subtle modifications to adjust to different audiences and to hone the objects’ efficacy as tools for prayer.

This dissertation presents a new perspective on the function of objects in late-medieval devotional practice through a study of the so-called Soissons group of thirteenth-century French Gothic ivories. These ivory diptychs were sophisticated tools constructed to guide the user through various spiritual exercises that led to prayer. The hitherto unexplained increase in the availability of ivory in mid-thirteenth-century France is accounted for by an alteration in the trade routes that brought elephant tusks from the Swahili coast of Africa to northern Europe: a newly-opened passage through the Straits of Gibraltar allowed a small amount of luxury goods to be shipped together with bulk materials necessary to the northern textile industries. The increasing supply required a revision of the structure of the thirteenth-century craft of ivory. The Soissons group, the first ivory diptychs fashioned during this time of growth in ivory markets, is subdivided into two sections. An itinerant master who traveled throughout the Picard region between 1235 and 1270 crafted the first group. Concurrently, three separate Parisian artists produced the second group based on a Picard model. This dissertation redates all the ivories substantially earlier than previously thought, conclusions which were attained through stylistic analysis. The dense Passion iconography shaped the diptychs’ function in private devotion. The narrative encouraged the viewer to practice a number of spiritual exercises—reading, memorization and compunction—analogous to the three reasons for allowing images in the Christian Church, the triplex ratio. The Passion diptych format introduced with these objects was immensely popular throughout the thirteenth and fourteenth centuries and its conservation over time underscored its effectiveness. The small differences in iconography and composition among the seven Soissons diptychs, however, were subtle modifications to adjust to different audiences and to hone the objects’ efficacy as tools for prayer.

L'objectif de cette thèse consistait à déterminer la nature des aménagements liés à l'adaptation à l'artillerie à poudre de l'ensemble fortifié de Coucy, en particulier de la ville, et à appréhender chronologiquement ces développements. Il n'existait pas, en amont de ce travail, d'étude archéologique et architecturale d'envergure relative à cette période et portant sur ces questions. La destruction des archives municipales lors de la Première Guerre mondiale, puis celle des archives départementales lors du conflit suivant, explique en partie ce manque. Un bilan des connaissances s'est donc imposé. Ce travail devait déterminer le contexte historique d'émergence des travaux et les conditions dans lesquelles les chantiers se sont déroulés. Parallèlement, la compréhension du système de mise en défense de Coucy passait aussi par l'étude de ses acteurs. Notre démarche visait à confronter les données matérielles de terrain et les données testimoniales, iconographiques et graphiques. Les données matérielles ont été récoltées directement sur le terrain par le biais d'une analyse archéologique du bâti complétée par des fouilles archéologiques sur deux secteurs de l'enceinte urbaine à fort potentiel. Enfin, à travers un corpus de sites fortifiés soigneusement choisis pour lesquels des mentions d'aménagements existent, il a été possible de comparer les différentes solutions défensives à l'échelle régionale et d'éclairer certains travaux propres à Coucy et mal datés. De plus, cette méthode devait clarifier le rôle stratégique de la place. À l'issue de ces travaux, nous sommes désormais en mesure de proposer une image plus précise de l'évolution défensive de la place et d'en comprendre les enjeux. / The present thesis aimed at investigating the site evolution related to the adaptation to the powder artillery in the fortification of Coucy, in particular the city walls, and at identifying the chronology of this evolution. Prior to this work, there was no strong enough archeological study for this period and dealing with these matters. The destruction of the municipal archives during the first world war, and of the departmental ones along the following conflict, partially explains this lack of data. Therefore, a report on current knowledge was necessary. This work had to determine the historical context of emergence of the fortification work, and the conditions under which it was carried out. In parallel, understanding the defensive system of Coucy required the study of ail players involved. Our approach consisted in confronting material and testimonial data. Material data were directly collected on the field and treated by a building archeology analysis, completed by excavations on two sectors of the city walls with great potential. Finally, the evolution of the fortifications in Coucy was better understood by a comparative analysis. Indeed, through a carefully chosen corpus of fortified sites, it has been possible to compare the local defensive solutions with the regional ones and to define and properly date some work related to Coucy. Furthermore, this method had to clarify the strategic rule of Coucy. To conclude, the present work allowed us to offer a clearer picture of the defensive development of Coucy, and to understand the related stakes.

La Chanson d’Anseïs de Mes est la quatrième et dernière branche de la Geste des Lorrains. On ne possède actuellement aucune édition complète de cette chanson de geste : la seule que nous ayons est celle d’Herman Green, faite en 1939 sur un manuscrit fautif et sans aucun apparat critique, d’où la nécessité d’une nouvelle édition. Cette édition de la partie inédite permet une série de conclusions qui soulignent l’originalité de ce poème que nous appellerons désormais Anseïs de Gascogne. 1. Cette chanson n’est pas une chanson lorraine, mais picarde ; notre manuscrit présente des traits picards très marqués. L’auteur, linguistiquement un picard, est originaire de cette partie nord de la France qu’il connaît parfaitement. La composition est à situer vers 1255-1260, dans la région picarde qui jouxte la Flandre. 2. Anseïs de Gascogne représente une idéologie nouvelle qui la place à contre courant des autres chansons des Lorrains. Même si elle met en scène les deux lignages ennemis des Bordelais et des Lorrains, l’esprit est totalement différent : Anseïs de Gascogne est une œuvre « engagée » qui vise à la gloire de la Flandre et à l’anéantissement du roi de France et de son royaume, et où les Lorrains sont désavoués. Histoire et fiction se rencontrent dans cette œuvre d’actualité qui clôt une fois pour toutes l’histoire des Lorrains. 3. C’est l’œuvre d’un clerc lettré qui a donné la priorité à l’intelligence et à la culture, avant la prouesse chevaleresque. Cet écrivain de talent a utilisé avec soin toutes les ressources du style épique [laisses, motifs, formules] ; le poème témoigne en outre d’une composition solide, parfaitement structurée et d’une recherche dans l’écriture : peinture réaliste et pittoresque mettant en valeur des personnages bien dessinés, art de suggérer, parfois avec humour, mélange de tragique et de scènes divertissantes qui en font une œuvre d’art. / The Poem of Anseïs of Mes is the fourth and last part of the Geste des Lorrains. There is no complete edition of this epic poem: the only one that exists is the work by Herman Green which was completed in 1939 on an inaccurate manuscript and without any accompanying notes. Therefore a new edition is necessary. The release of the unpublished part would highlight enough evidence of the originality of this poem which will now be called Anseïs of Gascony. 1. This work is not a poem from Lorraine but from Picardy; the manuscript has very pronounced features from Picardy. The author speaks the language and knows perfectly well his native land of Picardy in the north of France. The text can be placed around 1255-1260, in the region of Picardy which is next to Flanders. 2. Anseïs of Gascony represents a new ideology which goes against the prevailing current of the other poems of the Lorrains at the time. Even if it presents the two rival lineages of Bodeaux and Lorraine, the spirit is totally different: Anseïs of Gascony is a "committed" work which aims for the glory of Flanders and the destruction of the king of France and his kingdom and where the people of Lorraine are disowned. History and fiction meet in this topical text which ends once and for all the history of the people of Lorraine. 3. It is the work of a scholarly clerk and gives priority to intelligence and culture, before chivalrous feats. This talented writer carefully used all the resources in writing this epic poem [leads, motifs, formulas]; additionally, this thoroughly researched poem is a well-structured and by all means, a solid piece of work: a realistic picture highlighting characters which are well drawn, the art of suggesting, sometimes with humor, a mixture of tragic and amusing scenes which on the whole form a good work of art.

Cette thèse se demande en quoi les demandes de relocalisation alimentaire contribuent à transformer la gestion de l’accès au foncier agricole. Plus largement, il s’agit de comprendre comment le partage des terres entre les personnes souhaitant y avoir accès prend en compte la diversité des modèles agricoles et alimentaires. Le corpus étudié se compose de mobilisations de terre pour une agriculture nourricière de proximité, qui sont menées par des acteurs publics locaux, le mouvement Terre de Liens et des agriculteurs. Leur analyse est réalisée de manière croisée, à partir d’enquêtes conduites dans trois zones d’étude françaises couplant ville et campagne.Le projet de relocalisation est d’abord porté par une large diversité d’exploitations. Son inscription spatiale complexe et les représentations territoriales qui y sont liées invitent à redéfinir la catégorie de "local" en matière alimentaire. Ensuite, les mobilisations de terre participent à renouveler les voies d’accès au foncier : des stratégies domaniales misent sur la mise en œuvre localisée de modes de gestion du foncier alternatifs, tandis que des stratégies réticulaires ciblent la circulation de l’information foncière. L’application du cadre des faisceaux de droits foncier permet d’analyser les réajustements des limites respectives de la propriété et de l’usage de la terre. Enfin, les rapports de pouvoir présidant au partage du foncier, qui font notamment intervenir les Safer et les représentants de la profession agricole, ne sont modifiés qu’à la marge. Au-delà de rares cas de gouvernance de la coexistence foncière des modèles agricoles, la thèse indique comment comprendre l’objet d’étude depuis une perspective de justice foncière. / This dissertation focuses on how the rise of local food issues impacts the way access to farmland is managed in France. This question fits into a a broader concern about how processes of allocation of land take into account the diversity of agricultural models. My corpus is made up of case studies of land operations benefiting a relocalized agriculture and carried out by local public authorities,the civic movement Terre de Liens and farmers. I study them through a cross analysis of surveys undertaken in three regions associating a city and the surrounding countryside : the Ami´enois, the Lyonnais and the south-east of the Aveyron departement.Fist, the relocalization project appears to be implemented in a wide variety of farms. Its complex spatial scope and the related social representations call for a renewed definition of the ”food localness” category. Second, the land operations help renewing the means of accessing farmland. Estate strategies rely on setting up alternative farmland management styles at a local scale, whereas network strategies target land information flows. Building on a bundle of rights framework, the dissertation analyses how the demarcartion between property and use of the land evolves. Third, the power relationships governing the allocation of land are only incrementally modified, as the Safer and traditional farmers’ unions remain at the center. Beyond scarce cases of governance of the land-based coexistence of agricultural models, the dissertation build up a land justice frameworksuited to France.