Ces deux volumes présentent les résultats de recherches doctorales dans le domaine de la philosophie illuminationiste (ishrâqî). Le premier volume contient lédition cri-tique du Kitâb al-rumûz wa-l-amthâl al-lâhûtiyya fî l-anwâr al-mujarradat al-Malakûtiyya (Le livre des symboles et des paraboles divines à propos des lumières immatérielles du Malakût), un traité de noétique composé au XIIIème siècle AD par al-Shahrazûrî al-Ishrâqî. Ce premier volume comporte également une description et une tentative de classification des manuscrits ayant servi à létablissement de la stemma. Le second et présent volume offre une brève introduction à la vie et luvre de lauteur ainsi quune analyse détaillée déléments tant internes quexternes visant à confirmer lattribution de ce traité à al-Shahrazûrî, à soutenir lhypothèse de sa dimension illu-minationiste, objet de ces recherches, et à tenter de proposer une fourchette de da-tes pour la composition de cet ouvrage. La seconde partie de ce volume consiste en la première traduction annotée de ce traité en une langue occidentale, à savoir le français. These two volumes present the results of doctoral researches in the field of illumi-nationist (ishrâqî) philosophy. The first volume displays the critical edition of the Kitâb al-rumûz wa-l-amthâl al-lâhûtiyya fî l-anwâr al-mujarradat al-Malakûtiyya (the Book of the divine symbols and parables about the immaterial lights of the Malakût), a noetical treatise composed in the XIIIth century AD by al-Shahrazûrî al-Ishrâqî. This first volume also contains a description and an attempt of classification of the manuscripts used for the establishment of the stemma. The second and present vol-ume offers a brief introduction to the life and work of the author as well as a de-tailed analysis of internal and external elements aiming to confirm the attribution of this treatise to al-Shahrazûrî, to support the hypothesis of its illuminationist dimen-sion, subject of these researches, and to tempt to propose a range of dates for the composition of this work. The second part of this volume consist in the first anno-tated translation of this treatise in a Western language, i.e. French.

Le Livre Roisin est l'un des rares coutumiers français du XIIIe siècle. Il contient les coutumes de la ville de Lille, mises par écrit en 1267, puis recopiées et enrichies en 1297, en 1349 et enfin de façon continue jusqu'au XVIe siècle. Une dernière copie officielle fut faite en 1618-1619. L'analyse approfondie du plus ancien manuscrit du Livre Roisin qui nous soit parvenu, celui de 1349, révèle les secrets de son élaboration. Les nombreuses chartes, actes, arrêts et bans joints au coutumier à proprement parler durant plus de deux siècles donnent une vue d'ensemble des lois qui régissaient les Lillois du Moyen Âge. Au passage, les producteurs du recueil, les clercs de ville, ont laissé des traces de leur travail, de telle sorte qu'il est possible de dresser l'inventaire de leurs responsabilités et comprendre l'importance de ces officiers tant dans la perspective des institutions municipales médiévales que dans celle de l'historien, pour qui ils font partie de la chaîne de transmission des textes. De leur côté, les récepteurs, tout aussi discrets mais présents, se manifestent dans le détail de la procédure judiciaire que contient le document. L'utilisation qu'ils en ont faite, tantôt pratique, tantôt mémorielle surgit. Il en ressort que le recueil fût à la fois un aide-mémoire et un outil de défense de l'identité urbaine et même picarde. Enfin, le Livre Roisin est un outil privilégié pour l'étude de l'histoire de la ville, puisque sa rédaction et chacune de ses copies sont ancrées dans des événements politiques aux conséquences majeures pour la ville de Lille. / The Livre Roisin is one of the rare french customary of the XIIIth century. It contains the customs of the city of Lille, written down in 1267, then copied and expanded in 1297, 1349 and from then continuously until the XVIth century. One last manuscript copy was made in 1618-1619. Thorough analysis of the oldest manuscript of the Livre Roisin to have survived, that of 1349, reveals the secrets of its development. Numerous charter, acts, bans, and judgments that have been added to the customary for more than two centuries give an overview of the laws that governed the medieval Lillois. Incidentally, the producers of the collection, the clerks of town, have left traces of their work, so it is possible to take stock of their work and understand the importance of these officers both in view of municipal institutions and the medieval historian, for whom they are part of the chain of transmission of the texts. On the other hand, the receivers, just as discreet but nonetheless present, are evident in the detail of the proceedings contained in the document. Thus, the document was both practical and memorial. It was used as a reminder and as a powerful instrument to preserve urban and picard identities. Finally, the Livre Roisin is a tool for studying the history of the city, as his writing and each of its copies are rooted in political events with major consequences for the city of Lille.

The Mudawwana is a work which is traditionally credited to Saḥnūn, a legal jurist from Kairouan, North Africa in the 2nd-3rd/8th-9th century. It is one of the major legal texts at the foundation of the Mālikī madhhab named after Mālik b. Anas. The text is a large compendium of hypothetical scenarios requiring resolution. The style of the text is masāʾil, i.e. question-and-answer, between a disciple and his teacher. This research examines ancient manuscripts, commentaries and modern editions of the Mudawwana for a comparative analysis in attempting to understand the way in which the text was formed. The text will be examined in the areas of structure, content and presentation. The roles and influences of those responsible for the development of the text will be examined using definitions set out by Sebastian Günther. Discrepancies and variances amongst the manuscripts and modern editions, along with insights gleaned from the commentaries will yield a formative process in the development of the text over a period of centuries. It will be shown that although much of the content of the text was likely set by the creator of the text, various influences through the centuries by personalities and individuals fulfilling certain roles have impacted the structure and presentation of the text. The various roles in the creation of the text will be examined including author, writer, scribe, student, transmitter and editor. The influences of these various roles have developed the text further, therefore distancing it from the intentions of the creator of the original text. Structural changes were most prominent in the medieval period with kitābs within the text being bound in kurrāsas, one or more to a group. In the modern period, these nearly one hundred kitābs were then bound in multi-volume hardcover sets providing a very new presentation form for the text. Additionally, a new name was given with the publication of the first modern edition in 1323/1905, al-Mudawwana al-kubrā. The textual changes will be examined in light of these roles in order to better understand how the text has been modified and formed over the centuries. Results will demonstrate that the text of the Mudawwana has undergone three primary periods of development: formative, classical and renaissance. The roles and personalities have impacted its development in content, structure and presentation, with the latter two having been more significantly affected during its classical and renaissance stages. / Graduate / 0333 / wat@uvic.ca

The Mudawwana is a work which is traditionally credited to Saḥnūn, a legal jurist from Kairouan, North Africa in the 2nd-3rd/8th-9th century. It is one of the major legal texts at the foundation of the Mālikī madhhab named after Mālik b. Anas. The text is a large compendium of hypothetical scenarios requiring resolution. The style of the text is masāʾil, i.e. question-and-answer, between a disciple and his teacher. This research examines ancient manuscripts, commentaries and modern editions of the Mudawwana for a comparative analysis in attempting to understand the way in which the text was formed. The text will be examined in the areas of structure, content and presentation. The roles and influences of those responsible for the development of the text will be examined using definitions set out by Sebastian Günther. Discrepancies and variances amongst the manuscripts and modern editions, along with insights gleaned from the commentaries will yield a formative process in the development of the text over a period of centuries. It will be shown that although much of the content of the text was likely set by the creator of the text, various influences through the centuries by personalities and individuals fulfilling certain roles have impacted the structure and presentation of the text. The various roles in the creation of the text will be examined including author, writer, scribe, student, transmitter and editor. The influences of these various roles have developed the text further, therefore distancing it from the intentions of the creator of the original text. Structural changes were most prominent in the medieval period with kitābs within the text being bound in kurrāsas, one or more to a group. In the modern period, these nearly one hundred kitābs were then bound in multi-volume hardcover sets providing a very new presentation form for the text. Additionally, a new name was given with the publication of the first modern edition in 1323/1905, al-Mudawwana al-kubrā. The textual changes will be examined in light of these roles in order to better understand how the text has been modified and formed over the centuries. Results will demonstrate that the text of the Mudawwana has undergone three primary periods of development: formative, classical and renaissance. The roles and personalities have impacted its development in content, structure and presentation, with the latter two having been more significantly affected during its classical and renaissance stages. / Graduate / 2015-04-22 / 0333 / wat@uvic.ca

Au cours des premiers siècles de l’Islam, le rôle du manuscrit est essentiel dans la transmission du texte coranique. Cependant, comment utiliser les manuscrits dans une perspective historique, alors qu’ils sont aujourd’hui réduits à l’état de fragments, dispersés dans les collections mondiales ? En soumettant les fragments à une étude pluridisciplinaire unissant l’approche formelle et l’analyse textuelle, nous parvenons à reconstituer les liens entre les manuscrits et à en évaluer la portée historique. Ces liens révèlent qu’au 2e/8e siècle, il existe plusieurs traditions manuscrites en cours de normalisation et de codification. En définitive, l’étude des manuscrits met à jour les détails d’un épisode effacé de l’histoire du Coran : celui de sa standardisation progressive, tant dans sa forme que dans son texte. / During the first centuries of Islam, the Qur’anic manuscript plays an essential role in the textual transmission of the Qur’an. However, how can we use these manuscripts, now preserved as fragments scattered all over the world, in the light of history? Through a multidisciplinary way, combining formal and textual analyses, we are able to reconstruct the links between the manuscripts and to evaluate their historical implication. These links reveal that the 2nd/8th century is a decisive stage for the Qur’anic normalization, where several Qur’anic traditions are concurrent. Thus, the study of the Qur’anic manuscript elucidates some details of a significant moment for the history of the Qur’an: the process of its codification and canonization, in its form and its text.

The musical notation of the northern Italian Benedictine abbey of St Sylvester in Nonantola has hitherto been neglected by most scholarship on early music scripts, mainly because of the paucity of surviving music manuscripts and their limited geographical diffusion. A new study was needed in order to develop a full understanding of the abbey’s role and importance in the first phases of development of the writing of music in the early Middle Ages. A Lombard foundation, Nonantola acquired much of its prestige from the links with the Carolingian court as early as the late eighth century. From the first decades after its foundation, the Po Valley abbey also benefited from an active scriptorium; this shaped a local type of text script that endured until after the fall of the Carolingian empire, when the abbey, including most of its library, was destroyed by the Hungarian invasion in 899 (§1). The study of the earliest surviving notated liturgical manuscripts revealed that, by the late ninth century, Nonantola already developed an institutional type of musical notation, making it the earliest known music script ever to be written in the Italic peninsula and, thus, among the earliest in Carolingian Europe (§§2–3). The unique design and use of musical signs showed that this northern Italic notation developed, for the most part, independently from a basic repertory of graphs derived from grammatical accents (§4). Finally, observations of the influences of the central Italic nota romana, which this study only began to explore, opened up the possibility that Nonantolan notation may preserve the oldest traces of graphic conventions for the representation of sound that can be associated with the city of Rome (§5). Placed between the northern and southern fringes of the Carolingian empire, the Benedictine abbey of Nonantola played an important role in the early history of music writing, and this study contributes to the breaking of new ground for further explorations.

La production de copies littéraires connaît un important développement à Chirâz en Iran sous la dynastie des Turkmènes Aq Qoyyûnlû entre 1467 et 1503. Peut-on cerner des caractéristiques de cette production ? Se différencie-t-elle de celles d’autres centres contemporains, notamment Tabrîz et Hérât ? En examinant un corpus de soixante manuscrits datés, cette étude vise à analyser les différentes composantes du codex de Chirâz (papier, mise en page et réglure, écritures, reliure, …) ainsi que les décors (enluminures et illustrations) mis en œuvre afin d’en dégager les spécificités. Héritiers de la tradition de livres décorés timourides, des artisans du livre deviennent les experts de ce qu’il convient une production en série d’items finement calligraphiés, toujours enluminés et souvent ornés d’illustrations. La présente étude permet de montrer l’évolution d’une production de cour à une conception de copies par des ateliers privés, à un moment où la gestion du pouvoir passe d’un système princier à un gouvernorat de généraux turkmènes vers 1480. Cette période est alors marquée par des changements visuels importants, notamment l’usage d’un style particulier d’écriture nasta‘lîq, employé par les copistes de la ville, des formes d’enluminures stéréotypées, ainsi que l’emploi de styles de peintures qualifiés de « commerciaux ». Il en résulte une forte identité visuelle des manuscrits réalisés à Chirâz dans le dernier tiers du XVe siècle, qui sont largement exportés à travers le monde iranien. La pérennité sera assurée au cours du siècle suivant sous la dynastie safavide par les mêmes familles d’artisans, mais aussi sur une plus grande échelle, dans le domaine ottoman notamment. / The production of belletristic copies encountered an important development in the city of Shiraz in Iran between 1467 and 1503. Is it possible to determine characteristics of this production? Are differences visible with manuscripts made in other centres, such as Tabriz and Herat? By examining a corpus of sixty dated manuscripts, this study aims to analyse the physical components of the Shiraz codex (paper, layout and ruling, binding…) as well as decorations (illuminations and illustrations) in order to identify specificities.The book craftsmen inherited their skills and the styles they use from the former Timurid period. They specialized in a mass production of neatly copied items, always adorned with illuminations, and often illustrated. The present research underlines the interactions between this manuscript production and the historical events in Shiraz, in a time when the governorate of Turkmen generals replaced the rule of the prince. The transfer of production from the court atelier to private workshops echoes this change of power. At the same time profound visual changes distinguish the book production, notably a peculiar writing style of nasta‘lîq, only used by Shiraz copyists, as well as stereotyped forms of illuminations and various “commercial” styles of paintings.As a result, a strong visual identity characterises the Chiraz manuscripts. As they were exported to various parts of the Persianate sphere, they had a strong impact on local productions, notably in the Ottoman realm. Furthermore, the same artisans families in Shiraz ensured the permanency of Aq Qoyyunlu models in the first third of the 16th century under the Safavid dynasty.

This thesis undertakes a close study of a single manuscript of the early 1320s, written at the priory of Fineshade, Northamptonshire. The manuscript contains a short chronicle and several documents related to the failed baronial rebellion of 1321-22. I argue that, in collaboration with the priory’s patrons, the Engayne family, the chronicler responds to the current situation with an attempt to create meaning from a time of crisis. In the process, he attempts to shape his material through patterns of style and thought inherited from both chronicle and hagiographical traditions, to make the present conform to the known and understood shape of the past. His success is limited by his inability to establish sufficient distance from traumatic events, a difficulty that many chroniclers seemed to encounter when they attempted to turn current events into meaningful historical narrative.

This thesis undertakes a close study of a single manuscript of the early 1320s, written at the priory of Fineshade, Northamptonshire. The manuscript contains a short chronicle and several documents related to the failed baronial rebellion of 1321-22. I argue that, in collaboration with the priory’s patrons, the Engayne family, the chronicler responds to the current situation with an attempt to create meaning from a time of crisis. In the process, he attempts to shape his material through patterns of style and thought inherited from both chronicle and hagiographical traditions, to make the present conform to the known and understood shape of the past. His success is limited by his inability to establish sufficient distance from traumatic events, a difficulty that many chroniclers seemed to encounter when they attempted to turn current events into meaningful historical narrative.

This thesis undertakes a close study of a single manuscript of the early 1320s, written at the priory of Fineshade, Northamptonshire. The manuscript contains a short chronicle and several documents related to the failed baronial rebellion of 1321-22. I argue that, in collaboration with the priory’s patrons, the Engayne family, the chronicler responds to the current situation with an attempt to create meaning from a time of crisis. In the process, he attempts to shape his material through patterns of style and thought inherited from both chronicle and hagiographical traditions, to make the present conform to the known and understood shape of the past. His success is limited by his inability to establish sufficient distance from traumatic events, a difficulty that many chroniclers seemed to encounter when they attempted to turn current events into meaningful historical narrative.