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archives@tulane.edu / Despite the important role played by St. Jerome (331–420) in the history of translation, his own translations have suffered some neglect when it comes to detailed investigations of his theory and praxis. In particular, the distinction he espoused between his ordinary sense-for-sense mode of translating and the more literal mode he used when translating the Holy Scriptures – “where even the order of the words is a mystery” (Epistle 57.5.2; ubi et verborum ordo mysterium est) – has been overlooked or even denied by some scholars, often with the assumption that all of his translations were produced in a more or less sense-for-sense manner. Taking as a basis the relative independence of the criteria by which a translation may be considered literal, this study examines the single parameter of word order (highlighted by Jerome himself) through a broadly typological and even statistical approach, in order to test the thesis that within St. Jerome’s oeuvre, Scripture translation, as a genre, licenses different rules of language usage. The demonstration of a word-order literalism which employs an over-abundance of marked syntactic patterns in Jerome’s translations of selected Old Testament books gives an indication of one aspect of his translation technique in the Vulgate. Quantitative data were obtained from three separate corpora, representing the genres investigated for this study: (1) a sampling of St. Jerome’s original compositions (i.e., texts which are not translations), providing something of a control by which to accurately measure variations from his standard word orders; (2) a sampling of his non-scriptural translations; and (3) a sampling of his translations of Old Testament books included in the Vulgate. Within each of these three corpora, three aspects of word order are analyzed: (1) the collocation of genitives with the nouns they limit; (2) the collocation of demonstrative adjectives with their nouns; and (3) the placement of verbs in their clauses. Typological inconsistency and statistically significant variations in word order across corpora, as well as the actual degree of correspondence of the translations to the word orders of their source texts, are brought to bear on the thesis. / 0 / Kevin Redmann

Cette thèse intéresse la critique textuelle et concerne le chapitre 58 du Livre d’Isaïe. Ce chapitre du Trito-Isaïe se caractérise notamment par des termes rares et un thème unique dans le corpus isaïen, à savoir celui du jeûne. Notre étude porte sur six témoins textuels représentés par le texte hébreu (1QIsaa et TM), la Septante et les traditions textuelles de la Vetus latina, la Vulgate et enfin le Targum. Composée de quatre chapitres, sur la base d’une structure thématique qui rappelle le plaidoyer prophétique, la thèse intègre une approche statistique, une analyse syntaxique, l’étude des champs lexicaux et enfin les perspectives théologiques propres à chaque témoin textuel. Ainsi, chaque témoin textuel reflète une autre étape de la pensée théologique, de même qu’un contexte socio-politique différent. Le texte hébreu fait appel à des termes rares, parfois difficiles à expliquer. Les traductions anciennes se heurtent non seulement aux exigences rédactionnelles propres à chaque langue, mais témoignent aussi de choix rédactionnels. Si la Vulgate montre une grande fidélité au texte hébreu, la Septante s’en écarte notablement. Le rédacteur alexandrin fait preuve d’une réelle originalité en modifiant la rhétorique du texte hébreu, en introduisant des figures de style, mais aussi en simplifiant le vocabulaire. Quant au rédacteur targumique, il introduit des modifications significatives pour éviter de prêter à Dieu des caractères anthropomorphiques ou lorsque sa toute-puissance pourrait être prise en défaut. Il accentue également le caractère explicatif du texte par l’introduction de syntagmes. Enfin, chaque traducteur introduit des perspectives théologiques qui lui sont propres. / This thesis deals with textual criticism and is dedicated to chapter 58 of the Book of Isaiah. This chapter of the Trito-Isaiah is particularly characterized by infrequent words and a topic present only in these verses: the theme of the fast. Our study deals with six textual witnesses represented by the Hebrew text (1QIsaa and MT), the Septuagint and the textual traditions of the Old Latin, the Vulgate and the Targum. Based on four chapters with a thematic structure which recalls the prophetic plea, this thesis involves a statistical approach, a syntactical analysis, the study of lexical fields, and finally theological tendencies specific to each textual witness. Thus, each textual tradition reflects another step of the theological thinking and also a different socio political context. The Hebrew text contains rare terms, sometimes difficult to explain. The ancient traditions meet with editorial requirements specific to each language, and also reveal editorial options. If the Vulgate shows a great fidelity to the Hebrew text, the Septuagint is quite different. The Alexandrian redactor demonstrates a real editorial originality by changing the rhetoric of the Hebrew text, introducing stylistic device and simplifying the vocabulary. The targumic redactor, for his part, introduces significant modifications, either to avoid giving the Lord anthropomorphic characters or when his omnipotence could be put into question. He also emphasizes the explicative nature of the text with syntagma insertions. Finally, each translator introduces his own theological perspectives.

Rédigée dans la première moitié du XIIIe siècle, la Suite Vulgate est une continuation du Merlin en prose qui constitue la dernière pièce du cycle du Graal. Partagée entre le déroulement de la vie de Merlin, qui lui donne une unité de type biographique, et la peinture de la jeunesse héroïque du roi Arthur, cette suite rétrospective sert de transition vers le Lancelot. Son succès s'affirme aux dépens d'autres continuations du Merlin dont la transmission manuscrite semble par comparaison marginale, et dont le projet demeure parfois inabouti. Ces différentes rédactions exposent la dynamique d'écriture et l'émulation suscitées par le développement de la prose arthurienne et l'effort de mise en cycle. L'étude de la mise en recueil, de la mise en page et de l'illustration des manuscrits comprenant le Merlin et ses suites éclaire le mode de production et de réception de ces oeuvres qui continuent d'être copiées et enluminées tout au long du Moyen Age. Le Merlin et la Suite Vulgate, le plus souvent intégrés à des compilations centrées sur l'histoire du Graal, entretiennent un lien particulier avec le Joseph d'Arimathie, l'Estoire del saint Graal et les Prophéties de Merlin, mais circulent aussi dans des recueils d'ambition didactique ou historique. Si l'écriture de la Suite Vulgate favorise l'intégration cyclique du Merlin propre, ces textes et leurs programmes iconographiques développent une veine militaire et historique qui interroge leur appartenance générique et tranche avec l'orientation religieuse ou courtoise des autres oeuvres de la Vulgate arthurienne. / The Vulgate Sequel to the French prose Merlin was composed in the first half of the XIIIth century and is the last piece of the Grail cycle. It creates a wider story encompassing the life of Merlin and the beginnings of King Arthur’s reign and serves as a prequel to the prose Lancelot. The Vulgate Sequel is the most widespread, but the existence of different sequels demonstrates the poetic dynamism and the rivalry produced by the development of Arthurian prose romances and their cyclification. Our study of the manuscript collections including Merlin and its sequels, of their mise en page and illuminations sheds new lights on the production and reception of works which were copied throughout the Middle Ages. Merlin and its Sequel are mostly transmitted in compilations focusing on the history of the Grail: they have a particular relationship to the Joseph of Arimathia, the Estoire del saint Graal and the Prophecies of Merlin. In some manuscripts, Merlin and its Sequel are copied with texts which do not belong to the Arthurian tradition, such as hagiographies or pastoral works, demonstrating their religious and didactic interest. Other compilations stress their historical and chivalric aspect. The Vulgate Sequel and its illumination accentuate the historical aspect of Merlin while giving an epic flavour to the beginnings of King Arthur's reign. This spirit might contradict the perspective of its integration in the romance Vulgate cycle, but it echoes the missionary dimension of the Estoire del saint Graal and resonates with the military conflicts of Lancelot and of the Mort le roi Artu.

Cette étude est consacrée aux traductions de psaumes que Paul Claudel compose entre 1918 et 1953. Une édition critique et scientifique met en lumière les aspects génétiques et éditoriaux de cette entreprise peu connue. Elle est le fondement nécessaire à l'étude interne qui, s'appuyant sur une confrontation systématique avec le texte de la Vulgate qui sert de base à la traduction claudélienne, met au jour le fonctionnement à la fois poétique et herméneutique de ces textes. La traduction claudélienne des psaumes se situe en effet à la frontière de divers genres (traduction biblique, traduction poétique, commentaire exégétique, méditation spirituelle, poésie) et l'étude de cette imbrication permet d'apporter un éclairage nouveau sur les rapports que Claudel tisse avec l'univers de la Bible. Loin de former un corpus unifié et homogène, ces textes montrent au contraire une évolution du mode de traduction, vers une disjonction du texte claudélien avec la lettre biblique. L'hypothèse soutenue est que cette déhiscence est à mettre au crédit d'une réflexion sur le statut à la fois herméneutique et poétique de la figure, qui permet de faire se rejoindre l'exégèse figurative patristique et médiévale, dont Claudel hérite par le biais de la liturgie, et le régime figural propre à la littérature. Les Psaumes, à la fois texte poétique par excellence et voix privilégiée de la prière chrétienne, seraient ainsi le lieu où réaliser l'alliance du littéraire et du spirituel. / This thesis concentrates on Paul Claudel's translations of the Psalms, composed between 1918 and 1953. A critical and scientific approach reveals the historical and literary aspects of this little known project. Such an analysis is the necessary basis for a profound study that reveals both the poetical and hermeneutical process of these texts through a systematic comparison with the Latin text of the Vulgate, on which Claudel's translation relies. The Claudelian translation of the Psalms truly stands at the intersection of various genres – biblical translation, poetical translation, exegetical commentary, spiritual meditation, poetry – and studying these interlinking elements helps shed new light on Claudel's relationships with the Bible and its influence. Far from producing a united and homogenous corpus, these texts demonstrate an evolution in the way the process of translation yields a disjunction between the Claudelian text and the biblical one. My hypothesis is that this separation results from Claudel's analysis of both the hermeneutical and poetical status of the figure, that enables the linking of the patristic and medieval figurative exegesis – which he inherits through the liturgy – with the figural regime proper to literature. As both poetical texts par excellence and the privileged expression of Christian prayer, the Psalms are thus the juncture where literature and spirituality coincide.

La traduction portugaise de la version post-vulgate française de la Quête du Graal achevée vers la fin du XIIIe siècle et intitulée A Demanda do Santo Graal, offre un prisme intéressant pour saisir, en contexte et à travers les jeux de déplacements et de reconfiguration, l’imaginaire caractéristique du cycle Post-Vulgate, autrement difficilement accessible. La Demanda do Santo Graal permet de mieux comprendre l’imaginaire du roman français et d’accompagner son évolution en dehors de ses frontières linguistiques à une époque où le romancier n’est plus traducteur, mais devient lui-même une figure d’autorité. Ce travail consiste essentiellement à voir comment la Queste Post-Vulgate lue en parallèle avec la traduction/adaptation portugaise permet de comprendre l’évolution du roman vers la fin du Moyen Âge et la notion d’auteur en faisant la distinction entre le translateur, le créateur et le romancier dans le récit médiéval tout en faisant témoin de l’évolution de leur subjectivité littéraire du roman des origines à celui du Moyen Âge tardif. / The Portuguese translation of the Post-Vulgate Cycle completed towards the end of the 13th century and entitled A Demanda do Santo Graal offers an interesting prism to grasp, within the context and through a set of displacement and of reconfiguration, the characteristics of the Queste Post-Vulgate’s imagination, otherwise difficult to access. The Demanda do Santo Grail gives the reader access to the imagination of the Medieval French novel while tracing the different aspects of its evolution outside of its linguistic borders in an era where the writer is no longer a translator, but becomes an auctor. This work mainly shows how the Queste Post-Vulgate, read in conjunction with the Portuguese translation/adaptation, illustrates the evolution of the novel and the concept of author while distinguishing between the translator, the creator and the writer. This important distinction between the different representations of the writer during the medieval period allows one to understand their literary subjectivity in the narrative from the beginning to the end of the Middle Ages.

The immense scope of Sir Thomas Malory¡¦s Le Morte Darthur has long kept daunting his readers. In terms of space, Malory includes both historical locations and imaginary and unnamed natural locales in his work. These places have different functions and therefore transmit different dimensions of spatial imagination. This dissertation examines three kinds of space¡Xwater as space, urban space and mystical space, and the aesthetic relations to these spaces in Le Morte Darthur. These named spaces and the selected locations in each category will be analyzed in the framework of microspace and macrospace, a structure proposed by Dick Harrison in conceptualizing medieval spatial experiences. Chapter one explores water as space. Some geographical sites, such as harbors, lakes, wells and rivers, and an imaginary space of Lancelot¡¦s tears as a qualitative concept are discussed in relation to the aquatic regenerative power. Particular interests are in how Malory accentuates differences which water exhibits in these sites and how water functions as a link to the past and to the future via language and spatial verticality. The second chapter moves to urban space, localized in specific places. This chapter aims to explicate how some medieval cities in Le Morte Darthur are consecrated or deconsecrated as a result of the city¡¦s association with distinct social and moral/immoral activities. The final chapter discusses mystical space. The places of sojourn of the Grail knights during their quest are marked by spatial verticality and horizontality, in proportion to each knight¡¦s moral worthiness. These locales form a preparatory path towards the space where the Grail vision and a divine message are ultimately revealed. An analogy between the interior space of the Grail and the extracosmic void space is drawn in order to convey the essence of the Grail in spatial terms. The progression from chapter one to three reflects a tendency from the physical to the mystical world of the human existence imagined in Malory¡¦s work. Moral dimension plays an important role in that it enables the transformation from microspace to macrospace in some instances. The term ¡§aesthetic spaces¡¨ will include both microspace and macrospace, in which Malory employs real and imaginary sites to fulfill his aesthetic ideal. ¡§Aesthetic spaces,¡¨ when taken in a broader sense, will also apply to ¡§poetic space¡¨ when language results in the transference of space which characters experience. Three categories of texts will be employed in the discussion: literary, historical and theoretical texts. The first group includes Le Morte Darthur, some major medieval English romances and chronicles and the Old French prose Vulgate and Post-Vulgate Cycles; the second, fourteenth- and fifteenth-century philosophical, religious and historical documents; and the last, theories of medieval spatial thinking from Harrison and Mircea Eliade. Through comparisons of a number of passages in Le Morte Darthur and these two French versions, this writer attempts to show that Malory, as the first writer to incorporate the Grail narrative into Arthurian romance in England prior to the late fifteenth century, succeeds in presenting microspatial and macrospatial thinking in Le Morte Darthur.

La traduction portugaise de la version post-vulgate française de la Quête du Graal achevée vers la fin du XIIIe siècle et intitulée A Demanda do Santo Graal, offre un prisme intéressant pour saisir, en contexte et à travers les jeux de déplacements et de reconfiguration, l’imaginaire caractéristique du cycle Post-Vulgate, autrement difficilement accessible. La Demanda do Santo Graal permet de mieux comprendre l’imaginaire du roman français et d’accompagner son évolution en dehors de ses frontières linguistiques à une époque où le romancier n’est plus traducteur, mais devient lui-même une figure d’autorité. Ce travail consiste essentiellement à voir comment la Queste Post-Vulgate lue en parallèle avec la traduction/adaptation portugaise permet de comprendre l’évolution du roman vers la fin du Moyen Âge et la notion d’auteur en faisant la distinction entre le translateur, le créateur et le romancier dans le récit médiéval tout en faisant témoin de l’évolution de leur subjectivité littéraire du roman des origines à celui du Moyen Âge tardif. / The Portuguese translation of the Post-Vulgate Cycle completed towards the end of the 13th century and entitled A Demanda do Santo Graal offers an interesting prism to grasp, within the context and through a set of displacement and of reconfiguration, the characteristics of the Queste Post-Vulgate’s imagination, otherwise difficult to access. The Demanda do Santo Grail gives the reader access to the imagination of the Medieval French novel while tracing the different aspects of its evolution outside of its linguistic borders in an era where the writer is no longer a translator, but becomes an auctor. This work mainly shows how the Queste Post-Vulgate, read in conjunction with the Portuguese translation/adaptation, illustrates the evolution of the novel and the concept of author while distinguishing between the translator, the creator and the writer. This important distinction between the different representations of the writer during the medieval period allows one to understand their literary subjectivity in the narrative from the beginning to the end of the Middle Ages.

Le Lancelot-Graal est un roman composite que traverserait un « double-esprit » articulé entre courtoisie et mystique. Le travail de recherche propose de mettre le cycle à l’épreuve d’une matrice dynamique mise en évidence par les historiens et montrant la structuration de la société médiévale en deux pôles, l’un charnel, l’autre spirituel, et dont le point central est la bonne circulation de l’amour, la caritas et d’examiner dans quelle mesure cette mise en tension des deux termes permet de résoudre l’aporie posée par ces deux versants, courtois et mystique. L’analyse du roman tend à montrer que le texte utilise lui-même un ensemble lexical qui permet d’organiser une structure dynamique, du bas vers le haut et de l’extérieur vers l’intérieur. Cette dynamique met en évidence une hiérarchie de valeurs qui structure aussi la narration, organisée en deux ensembles dont le trait commun est l’amour : ainsi, l’amour courtois pour la Dame serait du côté du charnel, l’amour mystique dont l’objet est le Graal serait du côté du spirituel. Néanmoins, l’objet d’étonnement que constituent la Dame et le Graal permet d’orienter la lecture vers une analyse de la merveille dans le texte, analyse qui montre non pas deux esprits mais bien une seule volonté de spiritualiser l’amour. L’amour organise aussi les réseaux de parenté qui permettent de mettre en évidence des stratégies de spiritualisation. En effet, en dernier ressort, l’analyse montre une prise de parole des grands aristocrates qui revendiquent un véritable modèle d’héroïcité laïque. Comme discours d’un groupe social, le roman se construit donc autour du nœud que constitue l’amour, qui circule, bien ou mal, dans le texte. / The Lancelot Graal is a collection of tales, pervaded by two spirits, courtly love and the marvellous. The aim of this research paper is to use the Lancelot Graal to test an interpretation suggested by historians, showing the construction of society in the Middle-Ages as orientated around the two opposing notions of the physical and the spiritual, linked by love, by caritas, and to examine to what extent this resolves the aporia arising from the confrontation between the courtly and the marvellous. The analysis of the novel attempts to show that the text uses a lexicon which reveals a dynamic organization from the bottom to the top and from the outside to the inside. This dynamic organisation highlights a hierarchy of values which also structure the narration, organised into two elements linked by the common theme of love : thus courtly love for a Lady would be physical, love for the Grail would be spiritual. Nevertheless, the sense of astonishment inspired by the Lady and the Grail enables us to show that there aren’t two spirits but only the desire to spiritualise love. Love also organises the network of relationships, which create strategies of spirituality. / The kinship networks are also organised around love. These kinship networks create strategiesof spirituality. Finally, the analysis of the novel shows how aristocrats lay claim to a secular model of heroism. The novel is structured around love which runs its course well or badly in the text.

Thesis advisor: Pheme Perkins / This study demonstrates how the Comma Johanneum (1 John 5:7b-8a), a Latin addition and “spurious” text of the New Testament, could proffer valuable meaning-making and intricate sociocultural realia to Christian history, although it has been long neglected in Johannine scholarship. Its first aim is to reconstruct the transmission and reception history of the CJ, starting with the Spanish Latin MSS (the direct evidence) and returning to patristic citations (the indirect evidence). Its second aim is to explore the theological and ecclesiological interpretations of 1 John 5:6-8 from the second through fourth centuries, in which the CJ could have been created. Chapter 1 reviews the history of scholarship on the CJ and the interpretations of 1 John 5 in contemporary Johannine scholarship. Chapter 2 discusses the methodological shift in contemporary text-critical scholarship that enabled the new perspective to appreciate the variant readings. Against the historical background, data, and evidence presented in Chapter 3, in Chapter 4, we reconstruct the transmission history of the CJ text from the seventh through the thirteenth centuries, mainly in the Spanish Latin Bible tradition. The Spanish Vulgate Bible is a mixture of the Old Latin biblical text, particularly in the Catholic Epistles, which also retain variant readings, including the CJ text. The earliest evidence—VL 64 and VL 67—exhibit the transition from North Africa to Visigothic Spain, preserving the seventh-century “Isidorian Renaissance.” The Spanish Latin Bible traditions—Codex Cavensis, Codex Toletanus, and Complutensis primus—all preserve the CJ text while formulating independent recensions. Outside Spain, Théodulf of Orleans, a Visigothic Spaniard, brought a Spanish Vulgate tradition to Charlemagne’s court; thus, Théodulf’s Mesmes Bible (ΘM) preserves the CJ in the textline, with a variant replacing uerbum with filius. Meanwhile, in Switzerland, St. Gall MSS—Cod. Sang 907 (Winithar) and Cod. Sang 83 (Hartmut)—also retain the CJ, along with some Spanish-type paratextual components. In ninth-century Spain and beyond, the Lesionensis group MSS (VL 91, 94, and 95) attest to another endpoint of the CJ’s journey. In addition, VL 95 affirms the date of the inversion of in terra and in caelo to the twelfth or thirteenth century (together with the second hand of VL 54). The CJ text, therefore, survived in the soil of Spanish cultural orbit, where the Vulgate text (mixed with the Old Latin readings) was received and survived. Simultaneously, the study reveals high levels of textual circulation and interregional cultural communication in North Africa, Spain, Gaul, and beyond. In Chapter 5, we examine the indirect evidence, focusing on Priscillian of Avila. While we rehabilitate Priscillian’s citation of the CJ, the earliest and most extended surviving indirect witness, as one recension in Spain, our examination of the indirect evidence also shows that there are at least three receptions of the CJ—(1) the terrestrial witness (in terra), a simple addition to the three witnesses in v.7a; (2) the celestial witness (in caelo), a further addition in v.8a, pointing to the trinitarian “heavenly witnesses,” and (3) a combination, which is the CJ properly so-called and eventually attested in the Vulgate. Finally, in Chapter 6, we explore the patristic interpretations of 1 John 5:6-8 (and John 19:34), which are laden with sacramental and ecclesiological connotations. In the second and third centuries, Tertullian, Cyprian, and Ps.-Cyprian expounded the baptismal interpretation with 1 John 5:6-8, and in the fourth century, Ambrose and Augustine crystalized trinitarian interpretations. Ambrose emphasized the divinity of the Spirit as the heavenly efficacy of the baptismal sacrament, which differentiated the invisible and visible realia of the sacraments. Augustine further developed his trinitarian interpretation of 1 John 5:6-8, grounded in incarnational theology of the Johannine turn; “the three” (tres) thus became the “signs” (signa) of the divine mystery of the Trinity. The CJ text could be another attempt to elucidate the crux interpretationis of 1 John 5:6-8. Exploring the patristic interpretations of these passages revealed the significance of the “lived life” of early Christian communities, which contemporary scholarship has somewhat devalued. This study thus reveals a forgotten sociocultural and religious history along with a journey of the CJ text. / Thesis (PhD) — Boston College, 2024. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.