En tant que constantes de la littérature de tous les peuples et de tous les temps l’alba et le somni (l’aube et le rêve) participent par leur réalisations typiques de l’époque au jeu poétique de la poésie romane qui se concrétise, sur le modèle des schémas déjà préétablis, entre imitation, variation et transgression. Les réalisations possibles, inhérentes aux motifs et thèmes d’alba et de somni (comme p. ex. les adieux des amoureux à l’aube, la souffrance et la maladie amoureuse, le rêve comme compensation ou acte de la création poétique, le moment magique de la transition), sont accentuées et développées par rapport à une aire culturelle donnée, dont témoignent les exemples des troubadours et des trouvères, les cantigas galego-portugais et la poésie italienne du Duecento. Le jeu des variations de ces constantes poétiques se réalise dans un contexte d’un réseau de genres, dans lequel les textes singuliers interagissent et forment un système complexe de références intertextuelles. Cette étude sur les variations de l’alba et du somni romanes se considère comme contribution à la mise en valeur des structures et de la poétique inhérente de la poésie médiévale. Elle montre non seulement comment la perspective comparatiste peut contribuer à la compréhension de la richesse des facettes de la poésie médiévale et des chemins et des formes de la réception et de la fécondation mutuelles, mais aussi quel rôle peut jouer l’examen des dictatz no principals encore négligés. L’étude de ces genres « mineurs » thématiques n’a pas seulement d’intérêt en soi, car ces dictatz indiquent généralement les sujets centraux et les points culminants de la poésie, mais aussi parce qu’elle peut contribuer à l’éclaircissement ou à une meilleure compréhension des modèles déjà connus et étudiés. / Being constants of the literature of all nations and ages, alba and somni (dawn and dream) participate in the poetic play of the Romanic poetry by means of their typical realisations characteristic of a time, that is concretised, on the basis of preformed patterns, between imitation, variation and transgression. The development and accentuation of possible realisations inherent to the motifs and themes of alba and somni (such as e. g. the parting at dawn, suffering and lovesickness, dreaming as compensation or act of poetic creation, the magical moment of transition) differ depending on the cultural area as is indicated by the examples of the troubadours and trouvères, the Galician-Portuguese cantigas and the Italian poetry of the Duecento. The play of variations of these poetical constants is realised in the context of a network of genres, in which the individual texts interact and form a complex system of intertextual references. This study of the Romanic variations of alba and somni is considered as a contribution to an enlightenment of the structures and poetics inherent to medieval poetry. It does not only show how the comparative perspective can contribute to the comprehension of the abundance of facets of medieval poetry and of the ways and forms of mutual reception and fecundation, but moreover point out the role that can be assigned to the study of the dictatz no principals which is still and often neglected. The study of these “minor” genres of thematic kind is not only interesting as such, for the dictatz generally indicate the central subjects and climactic points of poetry, but also because it can contribute to an elucidation or a better comprehension of the patterns already established and studied.

La thèse propose une nouvelle édition critique du corpus lyrique du troubadour Guilhem Figueira (BdT 217), originaire de Toulouse mais actif principalement en Italie du Nord dans la première moitié du XIIIe siècle. Poète représentatif du climat historique et culturel toulousain à l’époque de la croisade contre les Albigeois, protagoniste de la diaspora de poètes et intellectuels et membre d’un cercle idéal de troubadours frédériciens, Figueira nous a laissé une chanson d’amour, deux sirventes contre la papauté de Rome et les faux clergés, deux sirventes pour Frédéric II et deux chansons de croisade. Il échangea aussi deux coblas et une tenson avec Aimeric de Peguilhan (BdT 10). Par rapport à l’édition de référence (Emil Levy, 1880) on a inclus une cobla esparsa anonyme contre Sordel (BdT 437) conservé dans le chansonnier P ; par contre, on a décidé de ne pas accueillir les deux pièces qui lui sont attribuées par le chansonnier a2. On a fourni une étude de la tradition manuscrite, qui compte aujourd’hui cinq nouveaux témoins, avec une mise à jour de la bibliographie ; une étude des thèmes, de la métrique et de la langue de Figueira, une traduction des pièces en italien et un commentaire ponctuel des textes ; un glossaire complet et deux annexes (l’édition du sirventes BdT 217.4a qu’on n’a pas jugé authentique mais qui sert pour l’interprétation d’une autre poésie et les premiers résultats d’une recherche sur Emil Levy éditeur de troubadours, avec l’édition de neuf lettres qu’il envoya à Ernesto Monaci entre 1879 et 1887 et que nous avons trouvé à Rome). / The thesis proposes a new critical edition of the lyric production by Guilhem Figueira (BdT 217), who was born in Toulouse and active during the first half of the XIIIth century, mainly in Northern Italy. Figueira’s corpus is representative of the historical and cultural climate in Toulouse during the Albigensian crusade; he was himself a protagonist of the diaspora of poets and intellectuals and a member of an ideal circle of Friderician troubadours. He left a love song, two sirventes against the papacy and the false clergy, two sirventes for Frederic II and two crusade songs. He also exchanged two coblas and one tenson with Aimeric de Peguilhan (BdT 10). In comparison with the critical edition by Emil Levy (1880), we have included an anonymous cobla esparsa against Sordel (BdT 437), preserved by the chansonnier P; on the other hand, we have decided not to accept two other poems assigned to him by a2. The thesis opens with a study of the tradition, which today includes five new witnesses, with an update of the bibliography; we have provided a study of themes, metric and language of Figueira, an Italian translation and a punctual commentary of the poems; a complete glossary and two appendices (the edition of sirventes BdT 217.4a, which we considered inauthentic but helpful to the correct interpretation of another poem; and the first results of a research on Emil Levy editor of troubadours, with the edition of nine letters he sent to Ernesto Monaci between 1879 and 1887 that we have found in Rome).

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este trabalho tenciona investigar o conceito de pastorela alegórica, desde sua emergência na obra do trovador occitânico Marcabru mais precisamente, em sua obra Lautrier jost una sebissa até seus desenvolvimentos nos corpora líricos occitânico, médio-latino e galego-português. Nosso trabalho compreende, assim, um estudo comparativista sobre a poesia medieval composta nos séculos XII e XIII, por intermédio do qual tencionamos abordar a relação entre discurso literário e alegoria no âmbito medieval / This thesis aims to investigate the concept of allegorical pastourelle, from its emergence in the poetry of the Occitan troubadour Marcabru more precisely, in his lyric Lautrier jost una sebissa until its developments in the Occitan, Medieval Latin and Galician-Portuguese lyric corpora. Through a Comparative Study of the medieval lyric of the XII and XIII centuries, this work aims to examine the relation between literary discourse and allegory in the medieval period

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este trabalho tenciona investigar o conceito de pastorela alegórica, desde sua emergência na obra do trovador occitânico Marcabru mais precisamente, em sua obra Lautrier jost una sebissa até seus desenvolvimentos nos corpora líricos occitânico, médio-latino e galego-português. Nosso trabalho compreende, assim, um estudo comparativista sobre a poesia medieval composta nos séculos XII e XIII, por intermédio do qual tencionamos abordar a relação entre discurso literário e alegoria no âmbito medieval / This thesis aims to investigate the concept of allegorical pastourelle, from its emergence in the poetry of the Occitan troubadour Marcabru more precisely, in his lyric Lautrier jost una sebissa until its developments in the Occitan, Medieval Latin and Galician-Portuguese lyric corpora. Through a Comparative Study of the medieval lyric of the XII and XIII centuries, this work aims to examine the relation between literary discourse and allegory in the medieval period

本論文旨在分析法國法蘭西研究院院士Michel Serres的思想及其在教育上的啟思。Michel Serres是一名著名的法國哲學家，但是在台灣他還是一名較不為人所熟知的學者。然而經過本論文對於其思想進行研究，發現其理論有許多重要的教育哲學思想。因此，本論文首先便由Serres的法文原著，探究他的理論定位及其思維特色。而後，本論文以「吟遊、尋渡與參化」之三向度作為分析的軸心，來探討Serres的理論在教育上的重要涵意：在吟遊的層面上，吟遊當中的旅程、漂流、孤獨、暴露、受苦、節制、愛、與創造等概念，蘊含的是Serres的教育人類學的想像；在尋渡的層面上，由於吟遊者在漂流中去執、受苦、節制、愛與創造，因此他將不斷轉化自身，也將不斷地在知識與知識之間，以及人於人之間尋找交融之渡，這蘊含的是Serres的教育倫理學的想像；而在參化的層面上，除了投入人群，吟遊者將轉化自身，投入自然以及萬事萬物之中，與人、與自然以及萬事萬物相互參化，這蘊含的是Serres的教育美學的想像。「吟遊、尋渡與參化」，這三者就是Serres對於「教育」這一概念的開展與想像。 / This study is to investigate the thought and implication for education of Michel Serres, a distinct member of L'Académie française. Michel Serres is a famous philosopher, but he is not well-known in Taiwan. Through examining Serres’s thought, we can find many inspiring ideas of educational philosophy. In the first part of this dissertation, it will focus on Serres’s original French texts in order to explore the orientation and the characteristic of his theories. Secondly, this dissertation will discuss the critical three axes of Serres’s theories: ‘Troubadour, Seeking Passage and Co-evolution.’ Troubadour entails the ideas of voyage, érrance (wanderings), solitude, expose to, suffering, temperance, love, and creation. These concepts imply the image of Serres’s educational anthropology. Seeking passage indicates the self-detachment, suffering, temperance, love, and creation of Troubadour. Because of érrance, Troubadour will never stop self-transforming and will constantly searching for the passages among different knowledge as well as the passages among people. This implies the image of Serres’s educational ethics. Co-evolution represents Troubadour’s engagement not only in human beings but also in nature and in all things on earth because of his self-transformation. The troubadour eagerly engages himself in the co-evolution with other human beings, nature and all things on earth. This implies the image of Serres’s educational esthetics. The ideas of ‘Troubadour, Seeking Passage and Co-evolution’ are the keystones of Serres’s discourses and images on education.

A la fin du XIe siècle, avec le premier troubadour connu Guillaume IX d'Aquitaine, apparaît dans le sud de la France, la fin'amor mettant en scène la dame dont il faut conquérir l'amour et l'amant chantant ses poèmes. Pour rester dans les mémoires, le troubadour devra émouvoir l'auditeur et le convaincre de la pureté de ses sentiments. La valeur d'un troubadour se reconnaît par sa subtilité à mêler le mot et le son et non par les thèmes poétiques abordés qui sont toujours les mêmes. Pour cela, il doit user et maîtriser des paramètres textuels et mélodiques mis à sa disposition afin d'élaborer un chant raffiné. L'étude préliminaire des expressions « trobar » et « faire los motz e•l so » dans la littérature médiévale des XIIe et XIIIe permettra de voir comment le troubadour évoque son art de créer des chansons. L'étude de ce savoir-faire prendra comme point de départ l'analyse d'un corpus central de l'histoire des troubadours. Dans cette période charnière, nous étudierons dix troubadours dont il ne reste qu'une à quatre chansons avec la mélodie. Cette étude suivra deux directions principales : les modes d'élaboration du discours musical et littéraire ainsi que les procédés internes utilisés pour mettre en relief ce discours. Dans un contexte de transmission orale du savoir, nous verrons comment le troubadour peut concevoir et transmettre ses chansons sans écrire et comment la mélodie n'est pas conçue d'une autre manière que le texte. La thèse développe donc une approche des conditions poétiques et des formes rhétoriques du discours inhérent à l'art de trobar susceptible d'approfondir les contours d'une conjonction subtile qui se résume dans l'expression fameuse "faire le mot et le son".

This dissertation explores the ways in which feminine culpability is verbally articulated by the male courtly lover to his beloved lady within the amorous relationship in three fifteenth-century Spanish sentimental novels: Diego de San Pedro’s Cárcel de amor, published in 1492, and two of Juan de Flores' sentimental novels, Grimalte y Gradissa and Grisel and Mirabella, both published in approximately 1495, and how these motifs of feminine culpability are subverted in the anonymous fifteenth-century Catalan chivalric novel Curial e Güelfa. This subversion of culpability motifs is facilitated in Curial e Güelfa since there is also a subversion of gender roles within the amorous relationship of the novel's protagonists: a female lover, Güelfa, who courts her male beloved, Curial. To execute this study, I begin by discussing the origins of this rhetoric of feminine culpability in patristic, Biblical and philosophical texts, illustrating their sedimentation into the collective ideologies of medieval audiences. I also examine these feminine culpability models in Provençal lyric poetry written and recited by Occitan troubadours between the eleventh and thirteenth centuries, as one of its particular genres, the mala cansó, aims to not only blame the beloved lady, but also to publicly defame her, a threat that is also ever-present in the words of the male lover in the sentimental novel. After analyzing the tactics used by the male courtly lover to blame the beloved lady for his suffering and the demise of the relationship, I demonstrate how these same tactics are employed by the female characters of Curial e Güelfa toward the beloved man. However, feminine blame still occurs in Curial e Güelfa, manifested as feminine self-blame and blame between women, while the male characters engage in self-absolution, absolution of other men, and utter shirking of the blame. The theoretical framework employed is that of medieval canon law, and the way in which culpability was determined under this law from the twelfth century onward, which was by the intentions of the offender at the time of the crime or transgression rather than the consequences of the transgression. If we examine these fifteenth-century courtly love texts, it becomes clear that the beloved lady is innocent, while the male lover himself is the culpable party. Finally, following Rouben C. Cholakian's reading of the troubadour poetry through the work of twentieth-century psychoanalyst Jacques Lacan, I conclude that although the poet-lover verbally enunciates erotic metaphors and adulating language toward his beloved lady in the guise of courtly love, the true desire that he cannot articulate is to dominate, to overpower, and possibly to eradicate the feminine. Thus, in a Lacanian sense the notion that courtly love literature praises the woman is a fallacy. Both the poet-lover of the Provençal lyric and the courtly lover of the sentimental novel subvert the concept of alleged feminine superiority and exaltation in these texts. / Spanish

This dissertation examines the procedure of musical borrowing, in which melodies are recycled or reworked, in the sung, vernacular poetry of the troubadours. Their usage of the practice (specifically, that of contrafacture, wherein pre-existing melodies are retexted) is attested to in poetic treatises, confirmed by a small number of examples transmitted with musical notation, and further supported by a large body of poems that share a versification structure. The paucity of extant melodies, however, has prevented scholars from fully exploring the musical implications of the technique. Through close and multidisciplinary analysis of music, text, image, and material object, this study uses intermusicality as an entry point to address larger questions about the musical practice of the Occitan poet-composers: how were songs crafted, and what is the relationship between music and text? How was this repertoire spread, and what roles did oral and notated transmission play? How would audiences have interpreted the songs of the troubadours? To that end, I examine a series of case studies drawn from Paris, Bibliothèque nationale de France, f. fr. 22543. Throughout, I characterize musical borrowing as a generative procedure used commonly by the troubadours, and foreground the connections (aural and otherwise) that arise as a consequence. As such, the dissertation offers a new way of understanding the musico-poetic practice of the troubadours, with respect to both mechanics and meaning, through the lens of a well-attested but largely-silenced compositional practice.

Le corpus se compose de trois ouvrages de non-fiction The Soul of London (1905), The Heart of the Country (1906) et The Spirit of the People (1907), regroupés en un seul volume sous le titre England and the English – an Interpretation lors de la publication de la trilogie à New-York en 1907. Cette trilogie a été ensuite éditée en 2003 par Carcanet Press sous la direction de Sara Haslam. Peu étudiées, ces oeuvres ont une existence propre à l'intérieur de la trilogie, au coeur del'oeuvre fordienne, voire au sein de la littérature moderne. Ce travail herméneutique permet de mettre au jour le feuilletage d'un texte prétexte à une réflexion à la fois autobiographique, philosophico-théologique, socio-historique et théorique portant sur l'écriture et l'art en général. Il révèle l'esthétique innovante d'un auteur qui cherchera sans relâche sa place dans le paysage littéraire international, entre impressionnisme et futurisme, et essaiera de recueillir l'adhésion de « l'homme moyen sensible » en la personne de son lecteur, en lui transmettant un message d'amour par le biais d'une langue hybride et plurielle inspirée de la « langue des oiseaux ». Derrière l'Angleterre se dessine la Provence et une esth/éthique du troubadour. / The three books collected in England and the English are The Soul of London (1905), The Heart of the Country (1906) et The Spirit of the People (1907). Although the complete trilogy was edited in New-York in 1907 it was made available to English readers in 2003 only, when Sara Haslam edited the volume for Carcanet Press. This study means to show in what ways those so-called essays are crucial and make sense as a trilogy, within Ford's own work as well as within modern literature. The hermeneutic approach adopted here attempts to decipher a multi-layered text and brings out underlying themes and intertexts that bear on the author's biography as well as on his interests in philosophical, religious, and socio-historical topics and reflect his passion for writing. The trilogy comes out as emblematic of the original aesthetic of a writer who, hovering between impressionism and futurism, tried to find his own way within the international literary landscape. Ford defines and addresses here an homme moyen sensible, very close to his ideal reader and transmits to him a specific message of love resorting to a hybrid, joyful and plural language inherited from the medieval langue desoiseaux. England becomes indistinguishable from Provence and from aesth/ethics connected with its troubadours.

Purpose of my thesis is create a precise register of inversion in chante-fable from XIIIth century: Aucassin et Nicolette. Main point of view is connected with a converse of woman and man part. This noticeable destabilization brings an inversion of further rules defined by literary discourse of medieval literature, above all by courtly culture. The first part included a basic definitions of misogyny, courtly love, chivarly and carnival principle. Following analysis of Aucassin et Nicolette indicates medieval need to show aberrations from social order and tries to find way to cure that "illness" of age.