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Nul n’est sans savoir l’influence de l’ésotérisme sur la formation de la« littérature nouvelle » et pourtant, des questions essentielles demeurent toujours sansréponse : quelle place prend véritablement le fait ésotérique dans l’esthétiquesymboliste ? Jusqu’où peut-on parler d’ésotérisme, où celui-ci s’arrête-t-il, et quel estréellement son rôle dans l’avènement du sacerdoce poétique de la fin du XIXe siècle ?Notre réflexion se réfère à une méthode académique nouvelle qui a su proposerune définition de l’objet ésotérisme. Les différentes publications des historiens ontfavorisé une démarche historico-critique permettant l’isolement de critères identifiantaujourd’hui cette forme de pensée. À partir d’un des critères, l’analogie et lescorrespondances, nous aborderons l’ensemble des autres composantes, en explorant lesliens cosmologiques, anthropologiques et esthétiques qui se sont progressivement tissésavec les « sciences maudites ». Cette grille de lecture nous permettra de retracerl’avènement d’une véritable religion esthétique, d’approfondir la représentation de laNature considérée par les poètes comme le Liber Mundi, et de délimiter l’influence del’ésotérisme qui a concouru à l’originalité de l’esthétique symboliste dans l’histoire dela littérature française / No one ignores the influence of esoterism on the making of the "littératurenouvelle". Yet essential questions remain still unanswered: what is the real place heldby esoterism in the aesthetics of the Symbolist movement? How far reaches themeaning of the word, where are the borders of esoterism, and what was its contributionto the concept of the poet's priesthood at the end of the XIXth century?Our reflection refers to a new academic method which provided us with a definitionof the esoterism object. By their textual criticism, historians have isolated a number ofcriteria which allow us to identify this kind of thought. Starting from one of thosecriteria, i. e. analogy and correspondences, we will deal with all the others components,and explore the cosmologic, anthropologic and aesthetic links which were progressivelywoven with the "cursed knowledge". This process will enable us to observe the arisingof a true religion of aesthetic, to examine thoroughly the representation of Nature asLiber Mundi for the poets'eye, and to delimit the influence of esoterism,which contributed to the originality of the Symbolist aesthetics in the history of Frenchliterature

This thesis represents the first full-scale, English commentary on the opening book of Lucan�s epic poem, De Bello Ciuili, in sixty-five years. Its fundamental purpose is to explain the language and content of the Latin text of the book. The subject matter of the thesis beyond the introduction is naturally dependent upon the content of each individual line under consideration, but the following questions may help establish some of the larger issues I have prioritised throughout my response to the Latin text of book one. These questions may be variously relevant to an episode within book one of De Bello Ciuili, or else a sentence, a line, a word, a metrical issue, or a combination of these. How does it help locate the text within the genre of epic? What does it contribute to the overall meaning of the poem? What does it contribute to our understanding of epic narrative technique? What does it contribute to our understanding of Lucan�s poetic usage and technique? How does it interact with the rest of the poem (i.e. what are the structural or intratextual markers advertised and what do they contribute to the meaning of the passage under consideration or the structure of the book or poem as a whole)? How does it interact with its (especially epic) models (i.e. what intertextual markers are at work and how does the invocation of earlier models affect the meaning of the passage under consideration)? How does it behave in relation to what we know of the norms espoused by Classical literary criticism? What are the programmatic issues, themes, and images explored or established by book one?

This thesis represents the first full-scale, English commentary on the opening book of Lucan�s epic poem, De Bello Ciuili, in sixty-five years. Its fundamental purpose is to explain the language and content of the Latin text of the book. The subject matter of the thesis beyond the introduction is naturally dependent upon the content of each individual line under consideration, but the following questions may help establish some of the larger issues I have prioritised throughout my response to the Latin text of book one. These questions may be variously relevant to an episode within book one of De Bello Ciuili, or else a sentence, a line, a word, a metrical issue, or a combination of these. How does it help locate the text within the genre of epic? What does it contribute to the overall meaning of the poem? What does it contribute to our understanding of epic narrative technique? What does it contribute to our understanding of Lucan�s poetic usage and technique? How does it interact with the rest of the poem (i.e. what are the structural or intratextual markers advertised and what do they contribute to the meaning of the passage under consideration or the structure of the book or poem as a whole)? How does it interact with its (especially epic) models (i.e. what intertextual markers are at work and how does the invocation of earlier models affect the meaning of the passage under consideration)? How does it behave in relation to what we know of the norms espoused by Classical literary criticism? What are the programmatic issues, themes, and images explored or established by book one?

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This thesis deals with the work Liber de coronatione Karoli IV. imperatoris (Book on the coronation of Emperor Charles IV) from the middle of the 14th century. Its author Iohannes Porta de Annoniaco was a personal secretary and confidant of Cardinal Peter of Colombier who was commissioned by Pope Innocent VI to perform the imperial coronation of Charles IV in Rome in 1355. As an eyewitness, Iohannes Porta describes the cardinal's and Charles's journey to Rome, focuses in more detail on the events in Rome, and above all, the very act of coronation. The author also deals with the following events of the return journey of both the cardinal and the emperor. In addition, he included in his work copies of documents and correspondence related to the coronation. The text offers a valuable source of direct testimony about the course of Charles's Italian journey. The thesis aims to present a Czech translation of selected parts of Iohannes Porta's text, supplemented by explanatory notes, the purpose of which is to clarify certain factual or linguistic particularities of the text. The translation is accompanied by an introductory study. Its first part explains the historical context of Charles's imperial coronation, the next part focuses on the author and the overall characteristics of the work.

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

Le Liber de Caesaribus d’Aurélius Victor est une œuvre traitant des vies des empereurs romains à partir d’Auguste jusqu’à Constance II. Examiner des particularités sur les sources et la signification de ce livre, c’est le but de cette thèse. Le chapitre 1 traite de la vie de Victor selon les témoignages littéraires et épigraphiques. Le chapitre 2 parle des manuscrits du Livre des Césars. Nous ne possédons aujourd’hui que deux manuscrits de cette œuvre, mais il y en avait un troisième qui a disparu après XVIème siècle. Le chapitre 3 traite des sources du Livre des Césars en regardant les études précédentes depuis la fin du XIXème siècle. Il a utilisé quelques sources diverses ainsi que la Kaisergeschichte d’Enmann, une œuvre perdue. Le chapitre 4 travaille sur la Kaisergeschichte selon Victor, Eutrope etc. pour prouver son existence. Dans le chapitre 5 on étudie comment Victor décrit Constance II. Son portrait dans ce livre est très élogieux, mais Victor critique ses valets, ses ministres et son entourage à la fin de son œuvre. Le chapitre 6 traite des fonctionnaires critiqués dans cette œuvre. Victor blâme non seulement l’entourage de Constance II mais il critique aussi quelques fonctionnaires et les organisations qui étaient contemporaines de Victor. Le chapitre 7 essaie l’identification des gens que Victor critique dans son livre en concluant que les gens critiqués dans ce livre était connus comme les magistrats corrompus, et que la plupart d’entre eux étaient des ennemis de Julien. Le but de son œuvre était la dénonciation de ces mauvais fonctionnaires. Par conséquent, il a obtenu le poste du gouverneur de la Pannonie Seconde sous Julien. / Aurelius Victor’s Liber de Caesaribus is a historical work of lives of Roman emperors from Augustus to Constantius II. To examine the features of the sources and the signification of this book is the purpose of this thesis. Chapter 1 works on the life of Victor according to other literary works and epigraphic testimonies. Chapter 2 discusses the manuscripts of Liber de Caesaribus. We have now only 2 manuscripts of Liber de Caesaribus, but there was the third one missing after 16th century. Chapter 3 works on sources of Liber de Caesaribus, following earlier studies since the end of 19th century. Victor used various sources as sell as now non-extant Enmann’s Kaisergeschichte. Chapter 4 works on the Kaisergeschichte using the comparisons among Victor, Eutropius and other works to prove its existence. Chapter 5 treats how Victor depict Consantius II. His figure is described with full of praises, but Victor criticizes his servants, his ministers and his entourage in the end of Liber de Caesaribus. Chapter 6 discusses public officials criticized in this work. Victor blames not only the entourage of Constantius II, but also condemned various civil servants and organizations who were his contemporaries. Chapter 7 tries the identifications of people that Victor criticizes in this work, drawing a conclusion that these people were known as corrupted magistrates, and that most of them were enemies of Julien. The purpose of this book is to denounce these incompetent government officials. Thanks to his work, Victor gained the post of governor of Pannonia Secunda under the reign of Julien.