Thesis (D. Ed. Min.)--New Orleans Baptist Theological Seminary, 2002. / Includes abstract and vita. "October 2002." Includes bibliographical references (leaves 139-144).

Neste trabalho nos propomos analisar a concessão de perdão para os crimes contra a pessoa e sua honra durante o reinado de D. João II [1481-1495]. Para tanto inferimos que, muito embora fosse uma prerrogativa do rei, uma atribuição que evidenciava a pretensão do poder régio em tutelar outros poderes que exerciam competência judicial, este ato gracioso implicava, fundamentalmente, numa negociação entre o monarca e seus súditos. Essa negociação envolvia obrigações e reciprocidades, que encerravam o rei e os três estamentos da sociedade numa complexa relação de subordinação e dependência. Desta forma, procuraremos evidenciar que o exercício da justiça e da misericórdia contribuiu para reforçar a imagem de D. João II como promotor da justiça e do bem-comum e mantenedor da ordem no corpo social. Assim, punição e perdão, justiça e misericórdia, serão trabalhados como aspectos complementares no processo de legitimação e fortalecimento do poder real, expresso de maneira muito peculiar na divisa adotada pelo Príncipe Perfeito: polla ley polla grey. / In this work we propose the analysis on the concession of pardon for the crimes against the person and his honor throughout the reign of John II [1481 1495]. We consider that though this concession was a kings attribute, an attempt of the royal power to regulate the other powers that had judicial competence, this gracious act implied, fundamentally, in a negotiation between the monarch and his subjects. Such negotiation involved obligation and reciprocity that placed the king and the three states of this society in a complex relation of subordination and dependence. Therefore we will attempt to show that the exercise of justice and mercy contributed to strengthen the image of John II as a supporter of justice and the common good as well as the maintainer of order in the social body. Hence punishment and forgiveness, justice and mercy will be worked as complementary aspects in the process of legitimacy and fortification of the royal power, expressed in a very peculiar way in the motto adopted by the Perfect Prince: polla ley polla grey.

Dans la deuxième moitié du XVe siècle, les Croniques et conquestes de Charlemaine de David Aubert, l’Histoire de Charlemagne de Jean Bagnyon et l’anonyme Cronique associee ont cherché à rassembler et compiler les récits associés à Charlemagne. Composées dans des milieux différents à un moment où tant la réécriture en prose que le personnage de l’empereur étaient en vogue, ces compilations ont recyclé des chansons de geste et des chroniques des siècles précédents pour (re)constituer une histoire cohérente du personnage. Leur résultat est tantôt une biographie princière, tantôt un fragment cyclique qui s’arrête à la mort de l’empereur. La prose donne une forme nouvelle à ces récits inédits par leur organisation et leur extension, mais banals par leur matériau, recyclé de compilation en compilation. Par l’étude du contexte historique, et surtout la comparaison des versions proposées, dans leur récit, leurs articulations et leur présentation, nous souhaitons montrer comment la compilation est le reflet d’une lecture critique et organisée propre aux nouvelles habitudes de la fin du Moyen Âge. Le remaniement oriente sa propre lecture en fonction d’un public familier de la tradition littéraire : les morceaux de bravoure sont réécrits, comme l’épisode de Roncevaux, d’autres sont triés et oubliés en fonction du projet propre à chacune des œuvres. La compilation oscille entre la reconnaissance des textes et la déprise introduite par le nouvel ensemble. Au cœur de notre questionnement se trouve la double dynamique de fixation et de malléabilité de la mémoire, érigée au Moyen Âge comme modalité de l’activité littéraire. Nous proposons en annexe la transcription de la Cronique associee (ms Paris, Arsenal 3324) pour rendre ce texte plus facilement accessible. / In the second half of the fifteenth century, David Aubert’s Croniques et conquestes de Charlemaine, Jean Bagnyon’s Histoire de Charlemagne and the anonymous Cronique associee tried to collect and compile the stories linked to Charlemagne. Composed in various circles, when both rewriting in prose and Charlemagne himself were popular, these compilations recycled epic songs and chronicles written in the previous centuries to piece together a coherent story of this character. What results is either a princely biography or a cyclic fragment that is interrupted when the emperor dies. The prose form revives these stories whose structure and scope were novel but whose material had become trite after being compiled again and again. By studying the historical context, and especially by comparing the composition, narrative structure and presentation of different versions, I wish to show how the compilation reflects a critical and organized reading which epitomizes the new practices of the late Middle Ages. The rewriting process bears its own guidelines, depending on a reading public who is familiar with literary tradition: the purple patches, such as the Roncesvalles episode, are rewritten, while other passages are sorted away or forgotten, in keeping with the objective of each specific work. Through compilation, texts are either recognized or abandoned, blended within the new unit. At the heart of my investigation is the twofold dynamic of the fixation and malleability of memory, fashioned in the Middle Ages as a modality of literary activity. A transcript of the Cronique associee (ms Arsenal 3324) is appended to the dissertation in order to make this text more readily accessible.

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Veit Stoss (ca. 1438/1447-1533), a contemporary of Albrecht Dürer (1471-1528), was one of the most prominent limewood sculptors of the late fifteenth-early sixteenth century in Central Europe. Stoss worked in Nuremberg for a majority of his career, commissioned by its leading patrician families to make various pieces of limewood sculpture for the city's churches. His work in Nuremberg was interrupted by a nearly twenty-year stay in Krakow, Poland, from 1477 until 1496, where he undertook two monumental sculptural projects that remain his earliest extant works today, the multi-winged altarpiece of the Dormition of the Virgin Mary (1477-1489) done in limewood and the red marble tomb effigy for King Casimir IV Jagiellon (1492). Previous scholarship on Stoss has focused on the commission of the Dormition of the Virgin Mary, but has ignored the importance of this work both within the artist's large artistic development and within the already existing tradition of wood sculpture in late-fifteenth-century Poland. What is more, many twentieth-century German and Polish art historians have mobilized Stoss's career anachronistically within modern nationalist frameworks to support their own political agendas, choosing to ignore the cosmopolitanism of Krakow's mixed population and the dynamic hybrid nature of his works' iconography and artistic style. This thesis seeks to move beyond the limiting and distorting lens of earlier nationalist agendas with the aim to restore Stoss to his historical context as an artist who borrowed stylistically from painting, prints, and sculpture, and who met the demands of diverse patrons, both in Germany and in Poland, by creating a dynamic hybridity of styles, local and foreign. / Art History

Educational provision in Scotland was revolutionised in the fifteenth century through the foundation of three universities, or studia generale, at St Andrews, Glasgow and Aberdeen. These institutions can be viewed as part of the general expansion in higher education across Europe from the late-fourteenth century, which saw the establishment of many new centres of learning, often intended to serve local needs. Their impact on Scotland ought to have been profound; in theory, they removed the need for its scholars to continue to seek higher education at the universities of England or the continent. Scotland’s fifteenth-century universities were essentially episcopal foundations, formally instituted by bishops within the cathedral cities of their dioceses, designed to meet the educational needs and career aspirations of the clergy. They are not entirely neglected subjects; the previous generation of university historians – including A. Dunlop, J. Durkan and L. J. Macfarlane – did much to recover the institutional, organisational and curricular developments that shaped their character. Less well explored, are the over-arching political themes that influenced the evolution of university provision in fifteenth-century Scotland as a whole. Similarly under-researched, is the impact of these foundations on the scholarly community, and society more generally. This thesis explores these comparatively neglected themes in two parts. Part I presents a short narrative, offering a more politically sensitive interpretation of the introduction and expansion of higher educational provision in Scotland. Part II explores the impact of these foundations on Scottish scholars. The nature of extant sources inhibits reconstruction of the full extent of their influence on student numbers and patterns of university attendance. Instead, Part II presents a thorough quantitative and qualitative prosopographical study of the Scottish episcopate within the context of this embryonic era of university provision in Scotland. In so doing, this thesis offers new insights into a neglected aspect of contemporary clerical culture as well as the politics of fifteenth-century academic learning.