Thèse--Lettres--Bordeaux, 1901.

Undergraduate honors paper--Mount Holyoke College, 2007. Dept. of Art. / Includes bibliographical references (leaves 108-112).

Thesis (M.A.)--Catholic University of America, 1986. / Includes bibliographical references (leaves 104-106).

The tympanum of the Porte-de-Ste-Anne at Notre-Dame, Paris, has aroused the interest of scholars for decades. The lack of inscription or documentation has led to the ascription of various identities to the figures depicted in company with the Theotokos. Apart from assigning it a donative or commemorative function, little light has been shed on the subject by the many extant theories. To further complicate the problem, the physical composition of the portal has only recently been deciphered. It is the consensus of current opinion that the portal, erected from the ground up, was begun as early as 1140-45. Also, the earliest sculptural components, the tympanum, upper lintel, archivolts and jamb-statues are thought to have been created for the refurbishment of the older church prior to the current building, although they may never have been used. This thesis has attempted to demonstrate the tympanum scene actually depicts the equality of regnum and sacerdotium in an accord brought about by a balance of forces, both political and theological, which produced the Ideal State. I have been concerned with an examination of the twelfth century events which could have exerted an influence on the development of the iconographical program. In so doing, I have outlined the pertinent historical background of the building itself, including a description of the portal and its sculptures, as well as a short discussion of the main theories regarding its place within the stylistic orbit of Early Gothic development. I have described the problem of the iconography which, until recently has consisted mainly of efforts to identify the figures of king, cleric and scribe, but of late has dealt with the relationship of regnum and sacerdotium. In this context the work of Adolf Katzenellenbogen on the west front of Chartres has shed light on the portal, and his relating of the tympanum scene to the ideal relationship between the two spheres was further expanded upon by Walter Cahn. He saw in the tympanum a demonstration of the status of the royal and ecclesiastical sectors of the Christian Commonwealth during this period with power vested in the Church. The opinions of Jacques Thirion who proposes very early dates and identities agree with those of Alain Erlande-Brandenberg and Cesare Gnudi who dealt with the portal after the discovery of facade fragments in Paris in 1977. The historical setting dealt with the Capetian rulers in the person of Louis VII, and the papacy in the person of Alexander III, both of whom were in power when the portal was conceived. The pope was a central figure in events that included the first compilation of Canon law by Gratian, a development as central to this thesis as it was to Cahn's. Space has been devoted to a discussion of the Decretum, to its expression of the Ideal State, and to the iconography which arose around illustrated copies of this work, particularly as it relates to the tympanum. Also explained was Gratian's connection to the Reform Party of Haimeric. An examination of some of the symbols chosen by Cahn from the composition to support his theory has determined that they may be reinterpreted. They have been expanded on or refuted in order to illustrate the flexibility of Medieval symbolism, and in order to reveal the many levels of imagery contained in this composition. While so doing, I have I believe, exposed the propagandistic nature of the surface imagery which was deliberately cultivated by the Church with full co-operation from the State in order to expound a politico-theological reality. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

British composer Tarik Hamilton O’Regan (b. 1978, London) is earning a reputation as an important composer of today. The innovative works of O’Regan are entering the spectrum of professional, educational, and community performing organizations across the United States and Europe. Scattered Rhymes’ intricate melodic, harmonic, and rhythmic relationships with Messe de Notre Dame by Guillaume de Machaut (c.1300-1377) make an examination and comparison of the two works significant. Analyzing Scattered Rhymes by tracing its roots to Guillaume de Machaut’s Messe de Notre Dame, results in a renewed interest in this ancient work and brings prominence to Tarik O’Regan’s modern musical interpretation of ancient ideas. Understanding Scattered Rhymes as a work based on ideas from the fourteenth century in fusion with compositional concepts rooted in the modern era promotes Scattered Rhymes as one that is valuable in the current musical landscape.

No description available.

This work reconsiders the tribune, its functional and symbolic importance in Gothic style architecture of twelfth-century France. Three case studies, the cathedrals of Notre-Dame of Noyon and Senlis and the priory church of Saint-Leu at Saint-Leu-d’Esserent, serve as a means to examine the origins, function and medieval conceptions of this enigmatic second story. An analysis of the cathedral fabric, together with the episcopal palace and chapel, in conjunction with an examination of the sociological and political context are undertaken in an effort to start a new dialogue regarding this architectural entity, long neglected in the discourse of Gothic architecture. The outlier in this study is the Cluniac priory of Saint-Leu, constructed with a tribune-like elevation yet lacking a proper tribune; the priory serves as a foil with which to test the assumptions surrounding the cathedral case studies. The careful examination of evidence reveals a nuanced understanding of this architectural entity, undermining the traditional narrative that holds it to be purely a constructional device used by medieval builders in the race for taller, more spacious churches. This new perspective situates the tribune in the broader context of the episcopal complex as an architectural entity physically and symbolically linking the different buildings of the cathedral, episcopal chapel and palace. Finding its roots in royal and imperial architectural complexes of the Byzantine and medieval empires the tribunes of Notre-Dame of Noyon and Senlis express propriety befitting the stature of the bishop and his cathedral, while this second story as a space of devotion confirms its spiritual supremacy. Notably, the use of this architectural form at this time occurs when bishops sought to reassert their authority, following a period of institutional weakness.

Inaug.-Diss.--Bonn. / Vita. Bibliography: p. 8-18.

Access to abstract restricted until May 2015 / Access to thesis restricted until May 2015 / Department of History

Th. archiviste-paléographe--Paris--Ecole nationale des chartes, 2002. / Bibliogr. t. 1, f. 47-78.