Ed. commerciale de: Diss.--Köln, 2003. / Bibliogr. p. 251-266. Notes bibliogr. Index.

Thesis (M.A.)--Ohio State University, 1970. / Includes bibliographical references. Available online via OhioLINK's ETD Center

By the early fourteenth century, the royal basilica of Saint-Denis had become the most visible sign of the union between the rule of secular kings and the enduring French church. Two notable abbots had been entrusted as regents for the throne, many of the abbots of the Carolingian period had been lay abbots and local nobles, and the basilica had claimed the right to bury the kings of France for centuries. However, the success of the abbey in creating the privileges they enjoyed has obscured the work needed to claim these rights. Powerful abbots in the course of the history of Saint-Denis used the tools they had to construct an argument to the kings; that in Saint-Denis alone did the kings have the best hope of finding salvation. Only St.-Denis himself could guarantee that a king, who may be stained with sins of a different nature than those of ordinary people, would gain heaven. By the mid-ninth century, Abbot Hilduin of Saint-Denis had composed a consolidated account of the life of the saint he served. In his hands, Denis became the early convert of Paul and first bishop of Athens, author of two essential early Christian visionary accounts, first bishop and missionary to Gaul, and the martyred bishop of Paris. Scholarship on Hilduin’s vita has picked apart his sources, noted where he created references wholesale and ignored the discrepancies in the time line, in order to create the most important and international of saints. What has been less well noted is the creation of another kind of vita, this one commissioned from Hilduin’s pupil Hincmar, who was later to take on the role of archbishop of Rheims Cathedral. The Gesta Dagoberti regis, composed around the same time as Hilduin’s Post beatam et salutiferam, created the myth of the roi fondateur which was to serve the purposes of the abbey well in later centuries. Dagobert I became the founding king of the abbey, despite evidence that he did little other than decorate the shrine of the eighth century and be buried there. In the Gesta Dagoberti regis, Hincmar wove together some of the chronicle accounts of the Merovingian king with miraculous visions and deeds of St.-Denis to construct a powerful argument for royal patronage of the abbey. Dagobert thus discovered the abandoned shrine, constructed a new building, designated it a monastery and funded it lavishly, then had himself buried there. He was the exemplar for later kings, and the abbots of Saint-Denis utilized the ninth century account of Dagobert as they struggled to retain the loyalty of the kings and made a bid to be the official necropolis for Frankish royalty. Over the course of five centuries, the tale of the founding king grew, as such stories do. Each expansion of Dagobert’s biography, and by extension, the biography of the abbey, came during points of stress between the kings and the royal basilica. For while the monks of the abbey may have believed, by the eleventh century, that the bodies of the kings belonged in their church, the royal family at times had other ideas. As newer competing institutions offered advantages not available at Saint-Denis for those buried on their sites, the monks produced new and enhanced accounts of the founding king and the benefits of taking St.-Denis as the patron. This dissertation begins with the fundamental question: why was King Dagobert so conspicuously present in the production of art and Dionysian symbolism? Covering the mid-ninth century through the year of 1319, the best answer must be that the abbey believed the story of this otherwise obscure Merovingian king served them well in promoting their site as the proper final resting place for the kings. In the process, Saint-Denis became the most enduring and powerful religious institutions of medieval France, gathering a reputation as a site for miraculous healing and the foundation for the claims of legitimacy made by the ruling houses of France. So successful was this campaign that, during the French Revolution, Saint-Denis was stripped of the bones of the royal dead and partially demolished. It is worth noting, however, that at its foundation, Saint-Denis was only one of several abbeys founded by kings, and was one of many that housed the royal dead. Its rise to prominence was not foreordained; it was carefully constructed, gradually, over the course of centuries. King Dagobert was one of the essential elements used to gain ascendancy.

No segundo quartel do século XII, Suger de Saint-Denis, monge cluniacense, escreveu três textos nos quais mencionou e descreveu a reforma que conduziu na abadia de Saint-Denis durante seu abaciado. Essa reforma foi posteriormente identificada pela História da Arte como a origem da arquitetura gótica. Tais textos, conhecidos como Ordinatio, De Consecratione e De Administratione, publicados e traduzidos em diversas edições, foram analisados, assim, por alguns historiadores da arte, como Erwin Panofsky, Peter Kidson, Jean-Claude Bonne e Conrad Rudolph, a partir de marcos teóricos relacionados às artes, à arquitetura, à estética e à psicologia. Contudo, apesar de muitos estudiosos, como Rita Copeland e Suzanne Reynolds, advogarem a importância da retórica no século XII, as características retóricas desses textos não foram, ainda, examinadas de forma minuciosa por estudiosos. A investigação sobre os gêneros discursivos nos quais os textos foram compostos, sobre as partes do discurso e sobre as técnicas retóricas aplicadas aos textos pode revelar que algumas passagens que tradicionalmente foram tomadas à letra ou como a experiência empírica e a opinião de Suger podem ser pensadas como posicionamentos não literais e discursivos. Portanto, o objetivo desta pesquisa é contribuir para a erudição sobre os escritos de Suger por meio do reconhecimento e da análise de suas características retóricas / In the second quarter of the twelfth century, Suger of Saint-Denis, a Cluniac monk, wrote three texts in which he mentioned and described the renovation he carried out in the abbey church of Saint-Denis in his prelacy. That renovation was later identified by History of Art as the origin of Gothic architecture. Such texts, known as Ordinatio, De Consecratione, and De Administratione, published and translated in several editions, have thus been analyzed by some art historians, namely Erwin Panofsky, Peter Kidson, Jean-Claude Bonne, and Conrad Rudolph, based on theoretical frameworks related to the arts, architecture, aesthetics, and psychology. Nevertheless, although many scholars, such as Rita Copeland and Suzanne Reynolds, have been asserting the importance of rhetoric in the twelfth century, the rhetorical character of these texts has not yet been thoroughly examined by scholars. Investigation into the genres in which the texts were written, into the parts of discourse, and into the rhetorical techniques applied to the texts may reveal that some passages that have traditionally been taken at face value or as Suger\'s empirical experience and opinion may be thought of as non-literal-minded and discursive stances. Therefore, the purpose of this research project is to contribute to the scholarship on Suger\'s writings by recognizing and scrutinizing their rhetorical features

L'activité liturgique et commémorative dont l'abbatiale de Saint-Denis est le cadre a des effets sur sa configuration spatiale bien après l'achèvement de sa construction en 1281. L'adjonction de chapelles latérales au flanc nord de la nef, en 1320-1324, ou les créations et transferts d'autels recensés à la fin du Moyen Âge mettent en évidence le phénomène de pression liturgique qui s'exerce sur l'édifice en marge de ses fonctions principales, c'est-à-dire le culte de saint Denis et l'entretien de la mémoire royale. L’étude des chapellenies et services anniversaires fondés à ses autels entre 1108 et le début du XVIe siècle éclaire le réseau mémoriel qui se forme autour de l'abbaye au cours de cette période, mais aussi l'évolution de la politique des moines vis-à-vis des laïcs. À partir du deuxième quart du XIVe siècle, l'abbé et le chapitre cherchent à canaliser le flux dévotionnel des fondations, y compris royales, tandis que les prêtres de la collégiale Saint-Paul voisine et des paroisses de l'exemption dionysienne sont progressivement associés à leur desserte, formant avec les moines une même communauté. La lecture de la répartition des tâches au sein de l’abbatiale et de ses dépendances, qui vise à reconstituer une géographie de la mémoire à Saint-Denis, révèle l'existence d'espaces réservés et un contrôle strict de la destination des autels, notamment de ceux du chevet. Ainsi, la plupart des officiers claustraux de l'abbaye sont associés spécifiquement à l'un des autels à reliques des chapelles rayonnantes depuis, semble-t-il, l'abbatiat de Suger. Cette exclusivité d'usage ne semble pas repérable dans d'autres établissements comparables, apportant un nouvel exemple de l'unicité dionysienne. / The commemorative and liturgical functions of Saint-Denis influenced the abbey’s spatial configuration for centuries after construction of the core of the church ended in 1281. The addition of lateral chapels on the north side of the nave in 1320-1324, like the creation and movement of altars during the next two hundred years, resulted from the expansion of the abbey’s liturgical engagement beyond its primary responsibilities for the cult of Saint Denis and the commemoration of the kings of France. This study of the chaplaincies and anniversary services established between 1108 and the early sixteenth century casts light on the memory network that develops around the abbey during this period, but also the evolution of the abbey’s policies toward the laymen. From the second quarter of the 14th century onwards, the abbots and chapter try to control the foundations flow (including royal ones). Furthermore, the priests of the collegiate church of Saint-Paul located near the abbey as well as parishes enjoying Dyonisian immunity were gradually associated with services at the abbey’s chapels and thereby incorporated into the Dyonisian community. Focused on the services performed within the abbey church and the establishments immediately dependent on it, this study aims to reconstitute a geography of memory at Saint-Denis. It reveals that the services performed at the different altars were strictly controlled, particularly in the restricted area of the chevet. Therefore, apparently from the time of Abbot Suger, each claustral official of the abbey was generally associated with a specific altar in the radiating chapels. This exclusivity thus distinguished Saint-Denis from other similar establishments, providing yet another example of the uniqueness of the royal abbey.

No segundo quartel do século XII, Suger de Saint-Denis, monge cluniacense, escreveu três textos nos quais mencionou e descreveu a reforma que conduziu na abadia de Saint-Denis durante seu abaciado. Essa reforma foi posteriormente identificada pela História da Arte como a origem da arquitetura gótica. Tais textos, conhecidos como Ordinatio, De Consecratione e De Administratione, publicados e traduzidos em diversas edições, foram analisados, assim, por alguns historiadores da arte, como Erwin Panofsky, Peter Kidson, Jean-Claude Bonne e Conrad Rudolph, a partir de marcos teóricos relacionados às artes, à arquitetura, à estética e à psicologia. Contudo, apesar de muitos estudiosos, como Rita Copeland e Suzanne Reynolds, advogarem a importância da retórica no século XII, as características retóricas desses textos não foram, ainda, examinadas de forma minuciosa por estudiosos. A investigação sobre os gêneros discursivos nos quais os textos foram compostos, sobre as partes do discurso e sobre as técnicas retóricas aplicadas aos textos pode revelar que algumas passagens que tradicionalmente foram tomadas à letra ou como a experiência empírica e a opinião de Suger podem ser pensadas como posicionamentos não literais e discursivos. Portanto, o objetivo desta pesquisa é contribuir para a erudição sobre os escritos de Suger por meio do reconhecimento e da análise de suas características retóricas / In the second quarter of the twelfth century, Suger of Saint-Denis, a Cluniac monk, wrote three texts in which he mentioned and described the renovation he carried out in the abbey church of Saint-Denis in his prelacy. That renovation was later identified by History of Art as the origin of Gothic architecture. Such texts, known as Ordinatio, De Consecratione, and De Administratione, published and translated in several editions, have thus been analyzed by some art historians, namely Erwin Panofsky, Peter Kidson, Jean-Claude Bonne, and Conrad Rudolph, based on theoretical frameworks related to the arts, architecture, aesthetics, and psychology. Nevertheless, although many scholars, such as Rita Copeland and Suzanne Reynolds, have been asserting the importance of rhetoric in the twelfth century, the rhetorical character of these texts has not yet been thoroughly examined by scholars. Investigation into the genres in which the texts were written, into the parts of discourse, and into the rhetorical techniques applied to the texts may reveal that some passages that have traditionally been taken at face value or as Suger\'s empirical experience and opinion may be thought of as non-literal-minded and discursive stances. Therefore, the purpose of this research project is to contribute to the scholarship on Suger\'s writings by recognizing and scrutinizing their rhetorical features

Min utgångspunkt i denna uppsats var könsroller i film. Utifrån detta skapade jag mitt syfte som var att undersöka hur valda kvinnliga karaktärer i huvudrollen i tre svenska ungdomsfilmer skildrades, samt analysera huruvida skildringarna av karaktärerna bevarar eller bryter mot etablerade könsroller utifrån aktuell forskning. ¨Mina frågeställningar var:•Vilka utmärkande könsrollsmönster går att utröna i de valda karaktärernas agerande/handlande gentemot andra?•Vilken reaktion bemöts de valda karaktärerna med, utifrån detta agerade/handlande?•Vilka budskap landar filmen i, när det gäller huvudrollsinnehavarnas inordning eller revoltering utifrån de etablerade könsroller?De tre karaktärerna som jag valde att analysera var Sofie i Hipp Hipp Hora, Emma i Fjorton Suger och Ida i Sandor /slash/ Ida. Jag skapade ett analysverktyg bestående utav några nyckelkategorier kring könsroller. Utifrån dessa kategorier kunde jag analysera hur karaktärernas agerande gentemot andra bemöttes, och om karaktärerna bröt eller bevarade etablerade könsrollerna utifrån aktuell forskning. Mitt resultat visar karaktärerna vågar bryta emot de etablerade könsrollerna. Filmerna förmedlar även en bild utav unga smala vackra blonda tjejer som är tuffa och vågar gå sina egna vägar trots att det inte alltid är den lätta eller den rätta vägen.

L’oeuvre écrite de l’abbé Suger de Saint-Denis à propos de la reconstruction de son église abbatiale est l’objet de nombreuses recherches depuis les années 1940. Puisqu’il fut longtemps considéré comme le fondateur de l’architecture dite « gothique », ses écrits ont attiré l’attention de ceux qui cherchaient la source de ce style, la doctrine philosophique derrière l’oeuvre architecturale. Or, les études consacrées à Suger ont évoqué l’exaltation d’un processus anagogique — du matériel vers le spirituel — et mis en valeur l’utilisation de la lumière dans l’église dans certains passages isolés, sans forcément prendre en compte l’ensemble des écrits sur Saint-Denis ni l’ensemble des processus entourant l’édification de l’église. L’abbé donna en effet dans ses écrits une place importante à la production issue des terres du monastère, à leur administration, aux matériaux spécifiques employés dans la construction de l’église et dans la fabrication des objets sacrés et des ornements qu’il avait commandités, ainsi qu’aux méthodes par lesquelles il avait obtenu les moyens d’y parvenir. Il accorda — semble-t-il — une attention très nette au rôle du labeur (labor) et de l’ouvrage (opus) des artisans, à son propre rôle d’administrateur et à la dimension matérielle des oeuvres dédiées à Dieu. Pour Suger, tous ces éléments semblent avoir été inclus dans un processus de donation et de transformation incluant tous les membres du corps social, processus dans lequel il jouait le rôle de maître d’oeuvre en étant tout à la fois administrateur, donateur, auteur et dévot. Nous proposons donc, dans le cadre de ce mémoire, de situer sa conception de la dimension matérielle des oeuvres d’art dans le processus de transformation dont il fut l’auteur.