La lyrique lorraine connut son plein essor au XIIIe siècle et au début du XIVe. Terre d’entre-deux, la Lorraine, héritière directe du duché de Haute-Lotharingie, a abrité un groupe de trouvères que la langue française, la culture et les aspirations politiques rapprochaient étroitement du Royaume de France, alors même qu’ils composaient en terre d’Empire. Cette étude vise d’abord à identifier ces poètes à travers une approche à la fois biographique et réticulaire permettant de découvrir l’individu et de le replacer dans son milieu socio-littéraire. Elle cherche ensuite à caractériser le style propre à chacun de ces trouvères et la persona littéraire qu’ils ont façonnée par l’écriture. Pour ce faire, elle s’appuie sur un corpus de textes dont la variété générique (pastourelles, chansons et jeux-partis) révèle l’étendue du répertoire lorrain et rend possible l’identification des spécificités de la lyrique lorraine à travers l’étude comparative d’éléments thématiques et formels. Or, cette image littéraire ne peut prendre forme que si l’on tient également compte de l’horizon d’attente d’un public qui trouve son plaisir dans la reconnaissance des topoï lyriques, subtilement adaptés par le poète, et qui cherche son plus beau reflet dans le miroir tendu par le trouvère, prenant ainsi une part active à la création littéraire et la survivance de certaines pièces. Il s’agit donc de cartographier l’espace poétique lorrain et de montrer comment, à travers son réseaulittéraire et la production de ses trouvères, cette région peut être considérée, à l’instar des régions voisines du Nord et de la Champagne, comme une terre lyrique et une province littéraire. / Lyrical poetry from Lorraine is highly prized in the thirteenth and the early first half of the fourteenth centuries. The Buffer area located between the Kingdom of France and the Germanic Empire, Lorraine has almost the same border as the duchy of Haute-Lotharingie. Trouvères who live in this area speak the same French language, share the same culture and have similar political ambitions. All of these points bring them closer to France, even though they depend politically on the Germanic Empire. The present work aims at identifying these poets thanks to a biographical approach and an analysis of social and literary networks that make it possible to uncover each poet and his background. I tried also to distinguish features of each poet and their persona created by writing. Consequently, I chose miscellaneous poems from different genres (pastourelles, jeux-partis and songs) that reveal Lorraine poetry’s variety. A comparative analysis of the themes and forms of these poems brings to light characteristics of Lorraine poetry. Nevertheless, this approach would be incomplete without a study of the poems’ reception. Actually, out of these poetic forms, comes a literary society more or less fictive in which the trouvères and their lords are side by side. This public appreciates lyrical topoï that the poet adapts cleverly and in which he finds his own picture. All things considered, public contributes to lyrical poetry’s creation. In this work, I want torepresent the poetical area of Lorraine and prove that, thanks to her literary network and to trouvères’ output, this area can be considered a veritable lyrical country, like adjoining areas, in particular Champagne and the North.

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.

Interactions between polyphonic motets and monophonic trouvère song in the long thirteenth century have been characterised in a number of different ways. Mark Everist and Gaël Saint-Cricq have focused on motets' use of textual and musical forms usually thought of as typical of song. Judith Peraino, on the other hand, has explored the influence of motets on a range of pieces found in manuscripts that mainly contain monophonic songs. This thesis re-examines motet-song interaction from first principles, taking as its basis the 22 cases in which a voice part of a polyphonic motet is also found as a monophonic song. The thesis's analysis of this corpus has two central themes: chronology and quotation. In addressing the first, it develops a music-analytical framework to address the compositional processes involved in these case studies, arguing that in some of them a monophonic song was converted into a motet voice, while in others a motet voice was extracted from its polyphonic context to make a song. It also emphasises, however, that chronology is often more complicated than these two neatly opposed categories imply, showing that different song and motet versions can relate to each other in ways that are dynamic, complex, and often hard to recover from the extant evidence. The conversion of song material for motets and vice versa is placed within a larger context of musical quotation and re-use in the thirteenth century, showing that many of these case studies play with the pre-existence of their song or motet material: some transfer their voice parts from one medium to another in a way that consciously foregrounds their previous incarnations, whereas others mask the pre-existence of the voice part by absorbing it into new textual and musical structures. The thesis closes with a consideration of the wider implications of the motet-song interaction it analyses. It examines the generic boundary between songs and motets and suggests a model of generic analysis that centres on the complexities of manuscript transmission. Finally, it considers the use of refrains within its corpus of motets and songs, demonstrating that these short passages of music and text are often quoted in ways similar to those analysed in motets and songs earlier in the thesis.