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The present work examines the role played by oral tradition in the evolution of the Persian (written) epic tradition, which virtually began with the Shadhname of Ferdowsi (ShNF). The text is also the culmination of a long development that stretches back into ancient times. In the process of transmission of narratives, both writing and oral tradition are assumed to have played a role. While Ferdowsi's written sources have been studied, the influence of oral tradition on his work remains largely unexplored. In order to explore oral influence on the ShNF, the thesis suggests a new approach. Based on formal characteristics of naqqali (the Persian storytelling tradition as it is known from later times), a set of criteria is proposed to demonstrate the extent to which a written text shows structures which could be explained as deriving from oral composition, here called "Oral Performance Model" (OPM). The OPM consists of formal and thematic criteria. The former consider whether a text can be divided into a sequence of instalments, and the latter examine how instalment divisions affect the thematic organisation of the story. By applying the OPM to the ShNF, it becomes clear that Ferdowsi used techniques associated with oral storytelling. Such findings on the ShNF throw new light on the later epics, which are not only influenced by the ShNF as a model but are also influenced by oral performance. To demonstrate this, the OPM is applied to the Garshaspname of Asadi (GN). While oral performance continues to influence the structure of the text, it is also clear that literary elements play a greater role in the GN than in the ShNF. Despite his literary ambitions, Asadi displays his implicit dependence on oral performance, which seems to have fundamentally shaped his perception and appreciabon of heroic stories.

Ce travail comparatif étudie les ressemblances thématiques, symboliques et narratives entre plusieurs romans du Graal de la fin du XIIe siècle et du 1er quart du XIIIe siècle [le Conte du Graal de Chrétien de Troyes, le Parzival de Wolfram von Eschenbach, la Troisième Continuation du Conte du Graal de Manessier, le Haut Livre du Graal], et l’épopée persane du Livre des rois de Ferdowsi, achevée au début du XIe siècle. On étudie d’abord les ressemblances entre le Graal et le farr ou gloire royale iranienne : tous deux se caractérisent par la luminosité, constituent des sources d’abondance, ont une relation particulière avec les êtres, sont liés à la royauté. On étudie ensuite les destins parallèles du chevalier Perceval et du roi iranien Key Khosrow, en mettant en évidence les ressemblances entre les moments clés de leur existence : leur lignage, leur jeunesse orpheline loin du monde, leurs qualités spirituelles et royales, les épreuves qu’ils traversent, leur consécration, leur relation au sacré [au Graal pour le premier, au farr pour le second]. / This comparative work examines the thematic, symbolic and narrative similarities between several texts of the Grail legend written between the late 12th century and the 1st quarter of the 13th century [the Conte du Graal of Chrétien de Troyes, Parzival of Wolfram von Eschenbach, the Troisième Continuation du Conte du Graal of Manessier, le Haut Livre du Graal], and the Book of Kings of Ferdowsi, a Persian epic completed at the beginning of the 11th century. A first part examines the similarities between the Holy Grail and the farr [the Iranian royal Glory]: both are characterized by light, are sources of abundance, have a special relationship with human beings, are linked to the kingship. A second part examines the destinies of the knight Perceval and of the Iranian King Key Khosrow, highlighting the similarities between the key moments of their lives: their lineage, their orphaned youth away from the world, their spiritual and royal qualities, their ordeals, their consecration, their relationship to the sacred [to the Grail for the former, to the farr for the latter].

L’art du naqqâli en Iran est basé sur une longue tradition de récits épiques portant sur des héros de la légende nationale iranienne. La principale source de ces épopées, Le Livre des rois de Ferdowsi, est un œuvre fondamentale de la culture nationale. Les conteurs professionnels «naqqâl» récitent, en les adaptant, les passages du Livre des rois pendant des heures à l’assistance dans certaines maisons de thé, plus connues sous l'appellation de cafés traditionnels. La représentation du naqqâli qui dure approximativement une heure et demi comporte trois parties d’environ une demi-heure chacune. Une session habituelle commence par une introduction poétique suivie d’une entrée en matière pour introduire l’histoire et s’achève par l’histoire proprement dite. Le début et la fin de chaque partie sont marqués par une combinaison de salavât (prière récitée en chœur) et de récitations de poèmes classiques qui ne sont pas nécessairement liés à l’histoire elle-même, mais servent en général à retenir l’attention du public pendant la représentation. Les qualités de la récitation du naqqâl reposent sur un ensemble de méthodes complémentaires permettant de donner plus de relief au spectacle : les méthodes oratoires, gestuelles et l’approche musicale. Les naqqâl utilisent les rouleaux de parchemin appelés tumâr pour préparer la représentation et s’aider pendant la récitation tout en prenant des libertés par rapport au texte dans le but de retenir l’attention de leur auditoire. Les caractéristiques formelles spécifiques de ce genre de représentation qui se rapporte à ses contraintes minimales sont : la durée fixe d’une représentation et son découpage sérialisé, l’influence plus ou moins directe de la structure du tumâr et en particulier sa division en trois niveaux d’unités structurelles : le chapitre, la partie et l’épisode. / The art of naqqâli in Iran is based on a long tradition of epics involving heroes of the Iranian National legend. The main source of these epics, Ferdowsi’s Book of the Kings, is a cornerstone of the national culture. Over long hours, professional naqqâl recite passages from the Book of the Kings to the audience in tea-houses, known as traditional cafes. The naqqâli performance lasts about one and half hours and up to three parts for about half an hour each. A session usually begins with an introduction followed by a poetic prelude to outline the story and ends with the story itself. The beginning and end of each part are salavât (prayer recited in unison) and recitations of classic poems which are not necessarily related to the history itself, but in general serve the purpose of gaining the public attention during the performance. The quality of the naqqâl’s recitation based on a set of methods to give a larger dimension to the show such as: oratory techniques, gesture and musical approach. Naqqâl use parchment scroll called tumâr prepared for the performance which help with the recitation while taking liberties with respect to the text in order to attract the attention of their audience. The formal features of this type of performance which refer to its minimal constraints are : the fixed duration of performance and its serial form, the more or less direct influence of the structure of the tumâr, particularly its division into 3 levels of structural units : chapter, instalment and episode.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Cette étude examine si les sites historiques pourraient être considérés comme des biens publics ou non. Il étudie aussi les caractéristiques d'un site d’être considéré comme un bien public mondial. Considérant les sites historiques comme biens publics exige différent type de planification et gestion car ces sites sont généralement gérés par les gouvernements et les gouvernements engagent des coûts élevés pour leur restauration et leur entretien. Par conséquent, il serait important d'évaluer la valeur des différents sites de prioriser la restauration de ces sites. Donc, dans cette recherche différents types de valeurs générées par des sites historiques a été étudié et la méthode la plus appropriée pour évaluer la valeur totale des sites a été proposé. Ensuite, une étude empirique a été réalisée en constituant des données originales pour l'évaluation de la valeur du site du mausolée de Ferdowsi en Iran et la valeur totale du site ainsi que ses sous valeurs a été évaluée. / This study considers whether historic sites could be considered as public goods or not. It also studies the characteristics of a site to be considered as a global public good. Considering historic sites as public goods demands different kind of planning and management as these sites are usually are managed by Governments and Governments incur high cost for their restoration and maintenance. Therefore, it would be important to assess the value of the different sites to prioritize restoration of these sites. To this mean, in this research different kind of values generated from historic sites has been considered and the most proper method in order to assess the total value of the sites has been proposed. Then an empirical study has been carried out by constituting original data for the value assessment of the Ferdowsi mausoleum site in Iran and the total value of the siteas well as its sub values has been assessed.

This thesis is a study of the pre-Islamic passages of Abū Ḥanīfa Aḥmad ibn Dāwūd ibn Wanand Dīnawarī's Kitāb al-Aḫbār al-Ṭiwāl. This is to say that it stops at the beginning of the Arab conquest of Iran. It is intended for scholars of Late Antiquity. Special emphasis is placed on Dīnawarī's exposition of the rule of the Sasanian dynasty and questions relating to the mysterious Ḫudāynāma tradition which are intimately connected with it. Beginning with a discussion of Dīnawarī and his work, the thesis moves into a discussion of indigenous Iranian historiography. Speculation on the sources of Kitāb al-Aḫbār al-Ṭiwāl follows, and the historiographical investigation of the most substantial portion of Kitāb al-Aḫbār al-Ṭiwāl's notices on the Sasanian dynasty comes next. The conclusion summarises the findings of the thesis. The final section (an appendix) is a translation of the relevant part of Kitāb al-Aḫbār al-Ṭiwāl running from the beginning of that text to the reign of Šīrūya. This thesis was written with one main question in mind: what does Dīnawarī's Kitāb al-Aḫbār al-Ṭiwāl have to say about pre-Islamic Iranian history? A host of other questions arose immediately: who was Dīnawarī; when did he live; what did he do; how was his work perceived by others; where did Dīnawarī get his information and how did he present it; is Dīnawarī's information reliable? These questions are addressed one by one in my thesis.