Thesis (Ph. D.)--University of California, Berkeley, 1981. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 525-537).

Texte remanié de: Thèse--Paris--École nationale des chartes, 2001. / Bibliogr. p. 139-150. Index.

Th.--Lettres--Paris--Faculté des lettres et sciences humaines, 1962. / Faux-titre : "Tribunaux et gens de justice à la fin du Moyen Age" Bibliogr. p. 9-30. Index.

This dissertation takes as its primary focus the cathedral of Notre-Dame at Senlis in an attempt to reestablish the original context of its sixteenth-century rebuilding, and to address the issue of its royal character. While Senlis has been studied in relation to the major late Gothic cathedrals of northern France, it has not been discussed in a broader context. This study, therefore, begins by examining the historical and political period prior to, and during the monument's reconstruction, the involvement of the monarch, Francois I (1515--1547), in the appointment of bishops to Senlis, and finally the procuring of funds for the rebuilding of the cathedral. The early building history of Notre-Dame at Senlis is, then, presented as a foil to the later rebuilding. Likewise, the late medieval building activity in Senlis proceeds a formal analysis of the cathedral and its symbolism. By focusing on the iconographic details, this study establishes the wealth of emblematic representation incorporated in the rebuilding of the cathedral and relates this aspect to contemporary royal building activity in France and abroad. As an important example of the increasingly politicized nature of ecclesiastical architecture prior to the outbreak of the Wars of Religion, the cathedral of Notre-Dame at Senlis affords a new perspective on the architecture of the late Gothic/Renaissance period.

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Este trabalho tem por objetivo apresentar e discutir a biografia e o estado da arte de Séraphine Louis ou Séraphine de Senlis (1864-1942), uma pintora francesa de estilo naïf (estilo de pintura espontânea e autodidata), descoberta por Wilhelm Uhde (1874-1947) esteta reconhecido e negociante de arte, no início do século XX. A arte (pintura) de Séraphine de Senlis foi conhecida pelo público, através de uma pequena exposição de arte, organizada na prefeitura da cidade de Senlis, em 1927, causando grande escândalo e polêmica pela fusão de cores e também por remeter a temas góticos da Idade Média. Objetivo: A partir da leitura clínica do caso, indaga-se: O que o caso de Séraphine de Louis pode ensinar à clínica da psicose?. Método: O método utilizado é a análise biográfica - especialmente dos fatos recolhidos da tese de doutorado sobre a história da arte, de Alain Vircondelet (2010), dedicada à artista reunidos para discussão e leitura clínica do caso. Com referencial teórico, aqueles concebidos por Jacques Lacan que contribui ao conceber ao menos três possibilidades de estabilização em quadros graves de transtorno psíquico: metáfora delirante, o ato e a obra (criação artística). Resultados e discussão: Os dados biográficos e críticos analisados indicam que o estatuto e a função de criação para Séraphine de Louis suturaram o vazio existencial de sua enfermidade, além de seu trabalho como empregada doméstica, entretanto, o dinheiro e a celebridade experimentados, assim como, o abandono vivido nos anos 30 a levaram ao exílio e a reclusão ao manicômio / Introduction: This work has as its objective to present and discuss the biography and the state of art of Séraphine Louis or Séraphine de Senlis (1864-1942), a French painter of the naïf style (spontaneous and autodidact painting style), discovered by Wilhelm Uhde (1874-1947), well-known esthete and art negotiator, in the beginning of the twentieth century. Séraphine de Senlis art (painting) was known by the public, as for a small art exhibition, organized in the city hall from the city of Senlis in 1927, causing great scandal and polemic by the fusion of colours and by bringing back Gothic themes from Middle Age. Objective: From the clinical reading of the case, it is questioned: What might the Séraphine de Louis case teach to the psychosis clinic?. Method: The used method is the biographical analysis specially from the facts found in the PhDs thesis regarding art history from Alain Vircondelet (2010) dedicated to the artist reunited for discussion and clinical reading of the case. With a theoretical reference, those conceived by Jacques Lacan who contributes by conceiving at least three stabilization possibilities in several cases of psychical disorder: delusional metaphor, the act and the work (artistic creation). Results and discussion: The bibliographical and critic data analyzed indicate that the creation bylaw and function to Séraphine de Louis sutures the existential emptiness of her infirmity, besides of her work as a housekeeper, nevertheless, the experienced money and celebrity, as well as, the abandonment lived in the 30s took her to the exile and to the reclusion in a madhouse

Este trabalho tem por objetivo apresentar e discutir a biografia e o estado da arte de Séraphine Louis ou Séraphine de Senlis (1864-1942), uma pintora francesa de estilo naïf (estilo de pintura espontânea e autodidata), descoberta por Wilhelm Uhde (1874-1947) esteta reconhecido e negociante de arte, no início do século XX. A arte (pintura) de Séraphine de Senlis foi conhecida pelo público, através de uma pequena exposição de arte, organizada na prefeitura da cidade de Senlis, em 1927, causando grande escândalo e polêmica pela fusão de cores e também por remeter a temas góticos da Idade Média. Objetivo: A partir da leitura clínica do caso, indaga-se: O que o caso de Séraphine de Louis pode ensinar à clínica da psicose?. Método: O método utilizado é a análise biográfica - especialmente dos fatos recolhidos da tese de doutorado sobre a história da arte, de Alain Vircondelet (2010), dedicada à artista reunidos para discussão e leitura clínica do caso. Com referencial teórico, aqueles concebidos por Jacques Lacan que contribui ao conceber ao menos três possibilidades de estabilização em quadros graves de transtorno psíquico: metáfora delirante, o ato e a obra (criação artística). Resultados e discussão: Os dados biográficos e críticos analisados indicam que o estatuto e a função de criação para Séraphine de Louis suturaram o vazio existencial de sua enfermidade, além de seu trabalho como empregada doméstica, entretanto, o dinheiro e a celebridade experimentados, assim como, o abandono vivido nos anos 30 a levaram ao exílio e a reclusão ao manicômio / Introduction: This work has as its objective to present and discuss the biography and the state of art of Séraphine Louis or Séraphine de Senlis (1864-1942), a French painter of the naïf style (spontaneous and autodidact painting style), discovered by Wilhelm Uhde (1874-1947), well-known esthete and art negotiator, in the beginning of the twentieth century. Séraphine de Senlis art (painting) was known by the public, as for a small art exhibition, organized in the city hall from the city of Senlis in 1927, causing great scandal and polemic by the fusion of colours and by bringing back Gothic themes from Middle Age. Objective: From the clinical reading of the case, it is questioned: What might the Séraphine de Louis case teach to the psychosis clinic?. Method: The used method is the biographical analysis specially from the facts found in the PhDs thesis regarding art history from Alain Vircondelet (2010) dedicated to the artist reunited for discussion and clinical reading of the case. With a theoretical reference, those conceived by Jacques Lacan who contributes by conceiving at least three stabilization possibilities in several cases of psychical disorder: delusional metaphor, the act and the work (artistic creation). Results and discussion: The bibliographical and critic data analyzed indicate that the creation bylaw and function to Séraphine de Louis sutures the existential emptiness of her infirmity, besides of her work as a housekeeper, nevertheless, the experienced money and celebrity, as well as, the abandonment lived in the 30s took her to the exile and to the reclusion in a madhouse

Admirée pour son architecture imposante et richement ornée, la tour sud de la cathédrale de Senlis constitue l’une des rares flèches monumentales du XIIIe siècle parvenue jusqu’à nous. Cette recherche résolument interdisciplinaire explicite le déroulement de cet ambitieux chantier, en convoquant aussi bien l’analyse historique, l’archéologie du bâti que les techniques numériques. Le surhaussement de la façade occidentale par cette tour de 80 m de haut illustre l’ambition des évêques de Senlis, désirant parachever la plus petite cathédrale du nord de la France. En reconstituant la topographie de Senlis au Moyen Âge, il est possible d’étudier précisément l’impact de la flèche sur le paysage urbain et périphérique ainsi que les phénomènes d’émulation avec les tours civiles et religieuses. Une étude archéologique enrichie par l’étude des traces d’outils précise les travaux de renforcement de la façade occidentale en prévision de la flèche. La numérisation de la tour au moyen d’un scanner laser 3D permet de l’étudier dans ses moindres détails, en proposant une analyse architecturale, géométrique, mécanique et en s’interrogeant sur les nombreuses déformations des parois. L’étude de l’abondant décor sculpté précise une datation jusqu’ici très large et articule le chantier avec le premier transept de la cathédrale, chronologiquement proche. Enfin, l’étude matérielle de la flèche explicite l’organisation du chantier de construction, en s’intéressant aux méthodes de mise en œuvre, à la mise en place des échafaudages et aux étapes successives d’édification. / Admired for its imposing and richly ornamented architecture, the south tower of Senlis Cathedral is one of the few 13th century monumental spires that has been preserved till today. This resolutely interdisciplinary research enlightens the progress of this ambitious project, by combining historical analysis, building archaeology and digital techniques. The superelevation of the western façade of the Cathedral underlines the ambition of the bishops of Senlis, who wished to complete the smallest Cathedral in northern France. By reconstituting the topography of Senlis in the Middle Ages, it is possible to study precisely the impact of the spire on the urban and peripheral landscape as well as the phenomena of emulation with the civil and religious towers. An archaeological study enriched by the analysis of the traces of tools specifies the reinforcement work of the western facade in anticipation of the spire. The digitalization of the tower through the scanner laser 3D method allows a detailed study, proposing an architectural, geometrical, mechanical analysis and highlighting the numerous deformations of the walls. The study of the abundant sculpted decorations provides a more precise chronology than before and articulates the construction with the first transept of the Cathedral, chronologically close. Finally, the study of the materials used in the construction of the spire enlightens the organization of the construction site, focusing on the work made, the implementation of scaffoldings and the successive stages of the construction.

This work reconsiders the tribune, its functional and symbolic importance in Gothic style architecture of twelfth-century France. Three case studies, the cathedrals of Notre-Dame of Noyon and Senlis and the priory church of Saint-Leu at Saint-Leu-d’Esserent, serve as a means to examine the origins, function and medieval conceptions of this enigmatic second story. An analysis of the cathedral fabric, together with the episcopal palace and chapel, in conjunction with an examination of the sociological and political context are undertaken in an effort to start a new dialogue regarding this architectural entity, long neglected in the discourse of Gothic architecture. The outlier in this study is the Cluniac priory of Saint-Leu, constructed with a tribune-like elevation yet lacking a proper tribune; the priory serves as a foil with which to test the assumptions surrounding the cathedral case studies. The careful examination of evidence reveals a nuanced understanding of this architectural entity, undermining the traditional narrative that holds it to be purely a constructional device used by medieval builders in the race for taller, more spacious churches. This new perspective situates the tribune in the broader context of the episcopal complex as an architectural entity physically and symbolically linking the different buildings of the cathedral, episcopal chapel and palace. Finding its roots in royal and imperial architectural complexes of the Byzantine and medieval empires the tribunes of Notre-Dame of Noyon and Senlis express propriety befitting the stature of the bishop and his cathedral, while this second story as a space of devotion confirms its spiritual supremacy. Notably, the use of this architectural form at this time occurs when bishops sought to reassert their authority, following a period of institutional weakness.