Texte remanié de: Doct. diss. / Bibliogr. p. 166-182. Index.

Texte remanié de: Diss. Ph. D.--Dalhousie University--Halifax, 1992. / Bibliogr. p. 209-220.

Texte remanié de: Th. doct.--Philos.--Urbana--University of Illinois, 1965. / Bibliogr. p. 315-336. Index.

Thèse--Lettres--Paris III, 1973. / Contient en annexes quelques pages inédites de "Don Clarisel de las flores" Bibliogr. p. 603-627. Index.

Diss.--Philosophische Fakultät--Göttingen, 1978. / Bibliogr. p. 4-8.

Th. 3e cycle--Sci. de l'Art--Corte, 1987.

Diss.--Fakultät für Architektur--München--Technische Universität, 1994. / Bibliogr. p. 193-204.

This thesis studies the effectiveness of existing translation models in the context of everyday translation and proposes a new translation model. The thesis reviews a number of approaches to the process of translation from the Roman times to the present before focusing on contemporary translation theory and the representation of the translation process by means o f translation models. The thesis introduces - and comments on - a number of existing translation models and then proceeds to develop a new model of the process, which aims to present a more holistic view of the process than the models discussed. The second part of the thesis concentrates on the testing of the model. Two very practical tests are applied to the model in order to assess the accuracy of the representation and the usability of the model in the context o f everyday translation. The first test applied to the model has, however, another function. It aims to provide a contemporary readership with a readable English translation of a Renaissance Latin text, the first book of the Instructiones historico-theologicae de doctrina Christiana et vario rerum statua temporibus Apostolici, ad tempora usque seculi decimi septime prior a (1645) by John Forbes o f Corse. This enables a wide audience with very little or no knowledge o f Latin to gain access to the complex theological argument contained in the specimen text. The commentary on the English translation, and on extracts of the German and French translations of this work serves to test the applicability of the model in the context of translation into more than one language. The second test concentrates on the translation from English into German and German into English. For this test, two groups of students from the Universities of Trier and Rostock in Germany were asked to carry out the same translation exercise. The study o f the work received from these students allows me to assess the usability o f the model as a guideline for translators. The thesis concludes by saying that the model has proved successful on both occasions, and by offering suggestions for further study.

Du Roland furieux de l’Arioste (1516-1532) au Songe de Kepler (1634), cette thèse propose une étude des récits de voyages aériens dans la fiction narrative de la Renaissance (romans, poèmes épiques, satires) ainsi que des discours théoriques abordant la question du vol et de l’élévation (démonologie, cosmographie, astronomie, discours sur la possibilité du vol humain ou le vol des oiseaux, etc.). Trois principaux objets sont mis en valeur : les voyages célestes écrits dans la lignée de récits comme le Songe de Scipion de Cicéron ou l’Icaroménippe de Lucien de Samosate ; les voyages aériens de la fiction chevaleresque ; le motif du transport diabolique. L’étude montre ainsi l’importance prise par l’imaginaire du vol à la Renaissance, à la croisée de la fiction et des discours savants, et dessine une « pré-histoire » des fictions d’envol avant les récits de Godwin (The Man in the Moone, 1638) et de Cyrano de Bergerac (Etats et Empires de la Lune et du Soleil, 1657 et 1662). Au cœur de cette rêverie se loge tout à la fois le désir de prendre la mesure du monde et les inquiétudes suscitées par ce même désir. / From Ariosto’s Orlando furioso (1516-1532) to Kepler’s Somnium (1634), this thesis offers a study of aerial and celestial voyages in Renaissance narrative fiction (romances, epic poems, satires) as well as of learned treatises related to the question of flying (demonology, cosmography, astronomy, learned discourses on human and bird flight, etc.). It focuses on three main subjects: cosmic voyages in the tradition of Cicero’s Dream of Scipio or Lucian of Samosata’s Icaromenippus; aerial voyages in chivalric romance; diabolical transvection (eg. fly to the sabbath). It thus shows the extent to which flight captured the Renaissance imagination, at the cross-roads between fiction and learned discourse, and it traces a « pre-history » of fictional flying before Godwin’s Man in the Moone (1638) or Cyrano de Bergerac’s Etats et Empires de la Lune et du Soleil (1657 and 1662). At the heart of this fantasy lies a desire to measure the world from above – together with the anxieties produced by the same desire.

The landscape in Venetian Renaissance painting makes its first important appearance in the Sketch-books of Jacopo Bellini. These landscapes depend little on the observation of nature. They are not drawings done from life, but imaginary landscapes which show that Jacopo was far more interested in creating form and space than in giving the landscape a particular mood. The landscapes of Giovanni Bellini are far more dependent on the observation of natural phenomena than those of Jacopo. Giovanni's landscapes usually depict the undulating and broken topography of the Veneto, but he did not paint particular views of this area. There is always much evidence of man's activity in Giovanni's landscapes. In these paintings the human figures are sometimes small, but never insignificant. The relationship of figures to the landscape is of great importance to the formal design, the emotional appeal and the spiritual significance of the whole. The dominant mood of Giovanni Bellini's landscapes is that of quiet religosity. From whom Giovanni learnt the use of the oil technique could not be accurately determined, but the fact that he did adopt the oil medium was of great importance to the development of Venetian landscape painting, as it enabled painters to capture the subtleties of light, colour and texture in their paintings. The landscapes of Giorgione are dependent upon the technical achievements of Giovanni Bellini, but while Bellini's landscapes are predominantly religious in character, those of Giorgione were closely connected with the new humanist culture of early sixteenth century Venice. Giorgione sought a direct and sensuous portrayal of man and nature in gentle and harmonious union. His landscapes appear to be physically softer than those of Bellini and he devoted greater attention to atmosphere. The forms in a Giorgione landscape are less precisely defined than those of a Bellini work, and contours are often blurred as Giorgione was concerned with painting a general visual impression. Nature in a Giorgione landscape is tamed and ordered, but seldom cultivated as his landscapes are primarily Arcadian. Despite the fact that Titian came from a mountainous region, his early landscapes are not mountainous but Giorgionesque. While Titian's early frescoes in Padua show a more active and dramatic relationship between man and nature, than was shown by either Giovanni Bellini or Giorgione, they are unlike his other early landscapes. After Giorgione's death Titian painted many bucolic landscapes in the manner of Giorgione. With the mythological paintings done for Alfonso, Duke of Ferrara, Titian's forms become more plastic and assertive, and his landscapes more joyous and Pandean in mood. While Titian made less use of landforms as a compositional device, he exploited clouds and foliage to a far greater degree. His use of foliage as a means of expression, to amplify and intensify the human action of the painting, reached its fullest development in the Murder of St. Peter Martyr. Titian's mountain landscapes, wilder than anything in previous Venetian painting, represent one climax in the development of Venetian landscape painting, at the same time that he was reworking idyllic Giorgionesque motifs in his Venus del Pardo. As far as is known, not one of the Venetian Renaissance painters painted a landscape as an end in itself. That development took place in the seventeenth century. It was the Venetian Renaissance painters who played the major role in the process which led to its acceptance as a legitimate mode of artistic expression. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate