Thesis--Würzburg. / Vita. Bibliographical references in "Einleitung": p. [7]-13.

The purpose of this study is to consider the extent to which the text of the medieval French epic, Le Pelerinage de Charlemagne, shows evidence of having been composed according to the techniques of a traditional oral style. By an analysis, both descriptive and statistical, along the lines of the "formulaic" diction shown by recent critics to be the basis of oral epic song, it is demonstrated that Le Pelerinage de Charlemagne is constructed in large part according to the same categories of formula or types of formulaic system as have been identified elsewhere in other "chansons de geste." It is therefore concluded that the poet or "jongleur" to whom the Pelerinage de Charlemagne should be attributed shows mastery of the technique of, the oral epic which, in all probability, it was his purpose to parody. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

Originally presented as the author's thesis, Columbia. / "RPL 14." Original ed. issued in series: Columbia University studies in Romance philology and literature. Bibliography: p. 252-267.

Thesis--New York University. / Bibliography: p. 280-293.

Originally presented as the author's thesis, Columbia. / "RPL 14." Original ed. issued in series: Columbia University studies in Romance philology and literature. Bibliography: p. 252-267.

A Dissertation submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, for the degree of master of Arts. / This thesis examines a medieval text which forms part of Italian chevalric literature i.e. The story of Ugone d'Alvernia. Its original name was Huon d'Auvergne. Firstly the text will be examined from the historic angle and then from a more scientific point of view. It shows how the original "chanson de geste", written in French was brought by the French "jongleurs" into Italy and became initialized, producing a unique phenomenon, a linguistic mixture known as franco-venetian. This literature played a decisive part in the diffusion of the stories surrounding Charlemagne. Huon d'Auvergne was elaborated and extended by Andrea da Barberino (c. 1370-1432) and called La Storia di Ugone d' Alvernia (The story of Ugone Of Alvernia). Various descents into Hell are then examined , from both the classic and the Christian point of view. This examination leads on to the comparison of the two "Inferni" described by Andrea da Barberino in his two works La Storia di Ugone d' Alvernia and in Guerino il Meschino with the descent described by Dante in his Inferno. A morphological analysis of the text is then undertaken. It applies the theory propounded and used by Propp in his morphological analysis of some Russian fairy tales. According to the theory there are thirty-one "functions" which can be applied in such an analysis / Andrew Chakane 2018

No description available.

Le terme gouslé (du serbe " gusle ") désigne à la fois un instrument de musique et la tradition épique des Slaves du Sud. Du fait qu'elle est restée vivante jusqu'à nos jours, cette tradition est susceptible de contribuer à la compréhension des autres épopées, en substituant son contexte aux leurs, souvent perdus ou incomplets. Je présente les gouslé, leur technique, leur histoire et leur tradition, avant de passer à une comparaison avec les chants homériques et les chansons de geste.<br /><br />Cette comparaison repose sur la linguistique de corpus et l'utilisation des technologies de l'information. Un corpus contenant 3.665.309 mots est établi à cette fin, dont la partie slave est rendue publique sur le site http://guslarskepesme.com. Tout en suivant le sillage de Milman Parry et Albert Lord, je propose un élargissement de leur concept de formule. Je réintroduis le cliché, une unité englobant l'invariant et sa concrétisation variable, et prétendant recouvrir toute récurrence du langage poétique : phraséologique ou autre. En effet, ma thèse montre un réseau de liens établis non seulement entre les clichés d'un même niveau, mais à travers les niveaux, ce que j'explique par une théorie de la résonance.<br /><br />Les correspondances trouvées intègrent un classement typologique : paroles, lieu, temps, sentiments... Outre cette " morphologie " commune, je démontre que les trois traditions partagent, du point de vue socio-historique, des modèles de développement comparables. Finalement, un cliché particulièrement complexe, la figure de style dénommée " antithèse slave ", sert à examiner l'origine monogénétique ou polygénétique des correspondances.

Habilitationsschrift--Zürich. / Bibliography: p. 203-217.

Habilitationsschrift--Zürich. / Bibliography: p. 203-217.