Cette thèse offre une nouvelle édition de trois documents essentiels pour l’histoire du monastère italien de Bobbio au 9e siècle :le « Breve memorationis » de l’abbé Wala (c. 835) et les polyptyques de 862 et 883. Au travers d’une analyse qui prête une attention inédite à la matérialité des documents originaux, il a été possible de mettre en évidence un certain nombre de logiques internes aux documents et de démarches d’enquête et de mise par écrit jusque là totalement ignorées par la recherche. L’importance des logiques de succession géographique des possessions a notamment été mise en évidence, en rapport direct avec la forme donnée au texte de 862 par son rédacteur. La personnalité de Wala est longuement étudiée, ainsi que l’organisation interne du monastère à laquelle son nom est associé. Enfin, le polyptyque de 883 bénéficie d’une attention nouvelle, qui permet de rédéfinir sa place et son rôle par rapport à son modèle de 862. / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished

No description available.

The diploma thesis named Gender Stereotypes in Contemporary British Period Drama. The Comparative Analysis of Downton Abbey and Mr Selfridge compares the marks of gender stereotypes and conservative principles in British period drama series. The analysis of their clash with progress in society and technology during the first two decades of the 20th century is performed on the method of qualitative content analysis of two examples of popular contemporary British costume drama Downton Abbey and Mr Selfridge. The theoretical framework of the thesis is based on the concept regarding history in film. The main category of research is the work with female characters and their social roles in Edwardian Britain which is characterized by unprecedented social change. The objective of the thesis is to analyze the way a female character reflects stereotypes and conservative principles that are usually believed to be characteristic features of period drama series. Additional objective is to examine how the 21st century society is mirrored in manipulation with stereotypes and social values in the series. The content analysis is based on the three criteria most interconnected wih position and social change of women of that era. These refer to property and proprietorship, sexuality, and emancipation of women in...

Seit mehreren Jahren steht die Landesstelle für Bestandserhaltung der Bibliothek des Klosters Marienthal in Ostritz beratend zur Seite. Folgerichtig ergaben sich während und nach dem Hochwasser der Neiße im August 2010 besonders intensive fachliche Kontakte (siehe auch Thomas Bürger; Michael Vogel: Kulturgutschutz und Notfallverbünde. – In: BIS. – 3(2010)4, S. 223 – 224). Zwar war die im ersten Stock gelegene barocke Saalbibliothek nicht unmittelbar von den Fluten betroffen, jedoch waren verschiedene im Erdgeschoss aufbewahrte Objekte durchnässt worden und die sehr ungünstigen raumklimatischen Bedingungen nach der Flut führten auch zu Gefährdungen vor allem durch Schimmel in höher gelegenen Räumen.

In recent decades there have been many attempts to pull Austen into the fold of high Romantic literature. On one level, these thematic comparisons are useful, for Austen has long been anachronistically treated as separate from the Romantic tradition. In the past, her writings have essentially straddled Romantic classification, labeled either as hangers-on in the satiric eighteenth-century literary tradition or as early artifacts of a kind of proto-Victorianism. To a large extent, scholars have described Austen as a writer departing from, rather than embracing, the literary trends of the Romantic era. Yet, while recent publications depicting a “Romantic Austen” yield impressive insights into the timeliness of her fiction, they haven't fully addressed Austen's participation in some of the most crucial literary debates of her time. Thus, it is my intention in this essay to extend the discussion of Austen as a Romantic to her participation in Romantic-era debates over emergent literary categories of authorship and realism. I argue that we can best contextualize Austen by examining how her model of authorship differs from those that surfaced in literary conversations of the time, particularly those relating to the high Romantic myth of the solitary genius. Likewise, as questions of solitary authorship often overlap with discussions of realism and romance in literature, it is important to reexamine how Austen responds to these categories, particularly in the context of a strictly Romantic engagement with these terms. I find that, though Austen's writing has long been implicated in the emergence of realism in literature, little has been written to link this impulse to the earlier emergence of Romantic-era categories of authorship and literary creativity. I contend that Austen's self-projection (as both an author and realist) engages with Romantic-era literary debates over these categories; likewise, I argue that her response to these emergent concerns is more complex and nuanced than has heretofore been accounted for in literary scholarship.

The thesis focuses on the economy of the Cistercian Order, from its inception until the end of the 13th century. There are two parallel analysis of monasteries Obazine (France) and Plasy (Bohemia), which are compared in the final part of the research. First the study present foundation of monasteries in the historical context of the country and the region. Then he focuses on the process of acquiring property and attempts to reveal common and different features in the economic development of the courts and farming. The work may present the real situation only to the extent that it allows the historical sources. The main historical source is cartulary of Obazine and documents of Plasy from Codex diplomaticus et epistolaris regni Bohemiae. In addition, the study draws information from various foreign and czech literature.

This thesis takes as its starting point the use of extracts from the works of historical authors who wrote in England in the early to mid twelfth-century. It focuses upon the ways in which their works began to be incorporated into three particular texts in the later twelfth and early thirteenth centuries. Through the medium of individual case studies – De Abbatibus (Abingdon), CCCC 139 (Durham) and The London Collection three elements are explored (i) how mediaeval writers used extracts from the works of others in ways which differed from modern practices with their concerns over charges of plagiarism and unoriginality (ii) how the structural and narrative roles which the use of extracts played within the presentation of these texts (iii) how the application of approaches developed in the twentieth century, which transformed how texts are now analysed, enabled a re-evaluation and re-interpretation of their use of source material with greater sensitivity to their original purposes This analysis casts fresh light upon the how and why these texts were produced and the means by which they fulfilled their purposes and reveals that despite their disparate origins and individual perspectives these three texts share two common features: (i) they follow a common three stage pattern of development (ii) they deal with similar issues: factional insecurities and concerns about the quality of those in power over them – using an historical perspective The analysis also reveals the range of techniques which were at the disposal of the composers of these texts, dispelling any notion that they were either unsophisticated or naïve in their handling of their source materials. Together these texts demonstrate how mediaeval authors used combinations of extracts as a means of responding quickly and flexibly to address particular concerns. Such texts were not regarded as being set in stone but rather as fluid entities which could be recombined at will in order to produce new works as required.

L’abbaye Saint-Michel de Saint-Mihiel est fondée par l’abbaye de Saint-Denis, sur l’ordre du roi Pépin le Bref, après 755 et avant 772, sur les hauteurs boisées de la rive droite de la Meuse, à une trentaine de kilomètres au sud de Verdun. Elle est réinstallée avant 824 au bord de la Meuse et agrégée à l’ordre de saint Benoît, réorganisé par saint Benoît d’Aniane, à la demande del’empereur Louis le Pieux.En 954, l’abbaye est donnée en dot à la fille d’Hugues le Grand qui épouse le duc de Haute-Lorraine Frédéric 1er. Ils sont les ancêtres des ducs de Bar, devenus aussi ducs de Lorraine au XVème siècle. L’abbaye reste barroise jusqu’en 1766, date du rattachement des deux duchés à la France.C’est une des abbayes bénédictines importantes des deux duchés. Elle fait partie de la province de Lorraine de la congrégation bénédictine de Saint-Vanne, créée en 1604, et qui regroupe une cinquantaine de maisons en Champagne, Lorraine et Franche-Comté.Le XVIIème siècle est une période difficile pour la Lorraine et le Barrois, pris dans la terrible guerre de Trente Ans de 1631 à 1661. Les duchés et l’abbaye de Saint-Mihiel se relèvent de leurs ruines et se préparent pour un XVIIIème siècle qu’on pourrait prédire d’épanouissement matériel, intellectuel et spirituel. Semblent en témoigner, pour l’abbaye, ses bâtiments que l’on peuttoujours admirer au XXIème siècle et, en particulier, sa magnifique bibliothèque réaménagée vers 1775 et qui renferme toujours plus de 6 000 livres ayant appartenu aux bénédictins.La réalité est plus nuancée et complexe si l’on s’intéresse à ces religieux de 1689, sommet de leur épanouissement spirituel et intellectuel, à 1790, année de la suppression des ordres religieux en France. Nous avons la chance de disposer de leurs témoignages, le plus important étant celui de leur très savant bibliothécaire, de 1717 à 1756, dom Ildefonse Catelinot. / The Saint-Michel monastery of Saint-Mihiel was founded by the SaintDenis abbey, on the request of King Pépin the Younger, after 755 and before 772, on the forested heights of the right bank of the river Meuse, at about 30 km south of Verdun. It was reinstalled before 824 on the edge of the Meuse and aggregated to the Saint Benedict order, reorganized by Saint Benedict d’Aniane on the request of the emperor Louis the Pious.In 954, the monastery is given as a dowry to the daughter of Hugh the Great who marries the Duke of Haute-Lorraine Frederick 1st. They are the ancestors of the Dukes of Bar, who also became the Dukes of Lorraine in the 15th century. The abbey remains linked to the Barrois until 1766, which is the date of attachment of the two duchies to France.It is one of the important Benedictine abbeys of the two dukedoms. It is part of the province of Lorraine of the Benedictine congregation of Saint-Vanne, created in 1604, which comprises about fifty monasteries in Champagne, Lorraine and Franche-Comté.The 17th century is a difficult period for the Lorraine and Barrois, involved in the terrible Thirty Years war from 1631 to 1661. The dukedoms and the Saint-Mihiel abbey recover from their ruins and get prepared for an 18th century that one could predict as a material, intellectual and spiritual blooming. What seems to testify, for the abbey, are its buildings that one can still admire in the 21th century, and particularly its magnificent library refurnished around 1775 and which still comprises over 6 000 books having belonged to the Benedictines.The reality is more balanced and complex if one gets interested in these religious figures from 1689, culmination of their spiritual and intellectual blooming, until 1790, year of the withdrawal of the religious orders in France. We are lucky to have their testimonies, the most important being the one of their scholarly librarian, from 1717 to 1756, Dom Ildefonse Catelinot.

Walter M. Miller, Jr.’s A Canticle for Leibowitz is a timeless story about apocalyptic cycles, conflicts and similarities between religion and science, religious ethics and secular ethics, sin and redemption, myth and preternatural innocence. Canticle is a very religious story about a monastery dedicated to preserving scientific knowledge from the time before nuclear war which devastated the world and reduced humanity to a pre-technological civilization. The Catholic Church and this monastery are portrayed as a bastion of civilization amidst barbarians and a light of faith amidst atheism. Unfortunately, humanity destroys the Earth once again, but Miller ends with two beacons of hope: a starship headed for the unknown to help humanity begin again and the preternaturally innocent Rachel who portends a future for similarly innocent human beings repopulating the Earth. Thus, faith ultimately triumphs over atheism even in the midst of almost total catastrophe.

Grâce à la présence et à l’instrumentalisation de la Mare de Déu, l’abbaye et le massif de Montserrat sont devenus, au fil des siècles, un symbole religieux et un bastion du christianisme, puis les gardiens des traditions, de la culture et de l’identité catalanes. Le mythe fondateur religieux, lié à la Vierge de Montserrat, est associé au mythe fondateur de la Catalogne, lié au comte de Barcelone Guifré le Velu, de sorte que religion et identité nationale sont étroitement imbriquées dès la fin du Moyen Âge. Beaucoup d’autres légendes sont élaborées à cette époque, mais la relation entre les Catalans et la Mare de Déu de Montserrat prend une orientation particulière et s’exerce dans un cadre à part.L’universalité de la pensée mythique permet une instrumentalisation politico-religieuse de l’image mariale tout au long de l'histoire de la Catalogne, jusqu’à aujourd’hui. Le XIXe siècle marque une étape majeure dans l’instrumentalisation de la Moreneta et sa liaison avec le sentiment identitaire. Le massif de Montserrat devient le symbole de la patrie catalane et la Vierge de Montserrat se transforme en Vierge de la Patrie. Le régime franquiste signifie une rupture profonde. La Moreneta, dans un premier temps, protège l’action de suppléance intellectuelle et culturelle accomplie par les Bénédictins de Montserrat, puis l’engagement politique devient total. Avec l’arrivée de la démocratie, la Catalogne se réapproprie son passé, et un nouveau rôle se dessine pour la Mare de Déu de Montserrat. / Thanks to the presence and implementation of the Mare de Déu, the abbey and the mountain of Montserrat became, in the course of the centuries, a religious symbol and a bastion of christianity, and, later on, the guardians of the catalan traditions, culture and identity. The religious founding myth, linked to Montserrat Virgin, is associated with Barcelona Count Guifré le Velu, so that religion and national identity have remained closely interlinked since the end of the Middle Ages. Numerous other legends were created at the same time, but the relationship between Catalan people and the Mare de Déu of Montserrat takes a special orientation and grows in a specific place.The universality of the myths enables a political and religious implementation of the marian image throughout the history of Catalonia, until nowadays. The XIXe century marks a major step in the implementation of the Moreneta and Her connection with the sense of identity. The Montserrat mountain becomes the symbol of the Catalan mother country and the Virgin of Montserrat is transformed into the Virgin of the mother country. The pro-Franco regime meant a deep change. At first, the Moreneta protectd the intellectual and cultural substitution carried out by the Montserrat Benedictines, then their political commitment became total. With the arrival of democracy, Catalonia has been recovering its past, and a new role has been emerging for the Mare de Déu of Montserrat.