Thesis (Ph.D.)--Faculty of Music, University of Melbourne, 2000. / Typescript. Includes bibliographical references (p. 257-280).

Thesis (Ph. D.)--University of Missouri-Columbia, 1997. / Appendices in English and Siouan. Typescript. Vita. Includes bibliographical references (leaves 532-546). Also available on the Internet.

Originally presented as the author's thesis, Göttingen, 1954. / Includes bibliographical references (p. 427-445) and index.

Thesis (Ph. D.)--University of Missouri-Columbia, 1997. / Appendices in English and Siouan. Typescript. Vita. Includes bibliographical references (leaves 532-546). Also available on the Internet.

Thesis (Ph.D.)--Ohio University, November, 2004. / Includes bibliographical references (leaves 229-242)

Thesis (Ph. D.)--University of Wisconsin--Madison, 2003. / "From: ProQuest, company." Authorized facsimile made from the microfilm master copy of the original dissertation. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 355-388).

Cette thèse se propose de rendre compte de l’oeuvre de Marie-Louise Taos Amrouche (1913-1976) comme prise de parole, engagement et écriture des identités multiples. Pour faireressortir de nouveaux aspects en lien avec la problématique de la parole des femmes parl’écriture, une analyse socioculturelle contextualisée et historicisée est privilégiée. L’enjeu estde montrer comment la carrière d’Amrouche, de sa venue à l’écriture à sa projection dans lepaysage littéraire français, est traversée par des obstacles liés aux origines et au genre. Uneapproche intersectionnelle permet notamment de (re)penser les différentes dominations – ladiscrimination de genre et de « race » et la problématique des identités plurielles – sans leshiérarchiser et en mettant à jour les mécanismes d’oppression et les stratégies de résistance dusujet écrivant.Pionnière sur l’écriture de sujets sensibles à son époque, Amrouche n’est pas seulementécrivaine mais également cantatrice des chants berbères. Cette thèse démontre, par ailleurs,comment l’écriture et le chant se font simultanément et traduisent le même besoin celuid’accord entre : la prise de parole d’une femme « indigène » sous la colonisation, la recherchedes origines berbères et la part de l’héritage chrétien et français. Est particulièrement mise enlumière la façon dans laquelle Amrouche devient un sujet hybride résultant de plusieursidentités créées par l’Histoire coloniale et postcoloniale : elle refuse de choisir entre lesidentités multiples, ne voulant en brader aucune au profit d’une autre. La recherche d’unaccord im/possible ressort ainsi comme la métaphore privilégiée pour qualifier ses luttes etson écriture. / This dissertation aims to take stock of the work of Marie-Louise Taos Amrouche (1913-1976), in its capacity to speak out, engage politically, and write multiple identities. Acontextualized and historicized socio-cultural analysis is favored in order to bring out newaspects in conjunction with other research on women’s voices in writing. I hope to show howthe development of Amrouche’s career, how she began writing and her arrival into the Frenchliterary scene, is crossed by obstacles tied to constraints related to her origin and her gender.An intersectional approach allows us in particular to (re)think different types of dominationsuch as race and gender discrimination, according to themes of plural identities, withoutinternal hierarchies, and to take an up-to-date approach to mechanisms of oppression and thewriting subject’s capacity for strategies of resistance.Pioneer of writing on sensitive subjects of her time, Amrouche is not only a writer but also asinger of traditional Berber music. I intend to show the interrelatedness of song and writingand their mutual translating of the same call to find an agreement between the “indigenous”woman’s need to speak out from under colonization, the search for Berber origins and the roleplayed by Christian and French heritage. I thus shed light on the way in which Amrouchebecomes a hybrid subject resulting from the many identities created out of colonial andpostcolonial History: she refuses to choose between multiple identities, not wanting to sell offone in exchange for another. The search for an im/possible agreement thus emerges as thepreferred metaphor characterizing her struggles and her writing.

In 1290, members of the de Viane family donated a six-volume set of large, deluxe liturgical manuscripts to the Cistercian nuns of Beaupré in Grimminge, East Flanders. The three extant volumes and a later supplement are now known as the Beaupré Antiphoner (Baltimore, Walters Art Museum, W. 759-762). The nuns used, extensively revised, and supplemented the antiphoner for the next five hundred years until the abbey was suppressed in 1796 during the French Revolution. The manuscript offers a bottom-up perspective on the history of Cistercian chant in a women’s community. It also fills lacunae in the documentary sources related to reform and change in the history of the abbey. Revisions made in the late fifteenth century under the Observant movement suggest a revival of interest in St. Bernard and the “Bernardine” recension of Cistercian chant. Further alterations in the early modern period demonstrate that the nuns did not abandon their medieval chant tradition and adopt post-Tridentine versions until the late eighteenth century, approximately two hundred years after the publication of the Roman breviary of Pope Pius V (1568). The nuns viewed their carefully considered revisions as a necessary condition of continuity, not as a threat to it.

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