L'Ovide moralisé en vers marque l'avènement, au début du XIVe siècle, d'une longue tradition de traductions intégrales et moralisées des Métamorphoses d'Ovide. Le succès du long poème est tel que, jusqu'à la Renaissance, les versions en prose et les remaniements en vers se succèdent régulièrement. Parue entre 1470 et 1480, la seconde mise en prose de la version rimée est représentée par quatre manuscrits dont le B.N., ms. fr. 137. Cet ouvrage cultive, comme son ancêtre versifié, un goût certain pour les interprétations allégoriques qui, au gré des commentaires, traductions et traités mythographiques, ne cessent de travailler la matière fabuleuse ovidienne pour l'adapter aux exigences du monde chrétien. Toutefois, au sein de cette grande famille de traductions, chaque remaniement se distingue par la sélection opérée dans les commentaires apposés aux légendes ovidiennes. Cette recherche est consacrée à l'examen particulier du système interprétatif du B.N., ms. fr. 137 qui offre l'occasion de jeter les bases d'une théorisation de l'allégorie fabuleuse par l'analyse, plus approfondie, de l'expression de l'allégorie anagogique dans ce manuscrit encore inédit.

From the viewpoint of classical reception studies, I am asking what contemporary British art (by, for example, Sarah Lucas, Damien Hirst, and Mark Wallinger) has to do with the classical tradition – both the art and literature of Greco-Roman antiquity. I have conducted face-to-face interviews with some of the leading artists working in Britain today, including Lucas, Hirst, Wallinger, Marc Quinn, and Gilbert & George. In addition to contemporary art, the thesis focuses on Greco-Roman art and on myths and modes of looking that have come to shape the western art historical tradition – seeking to offer a different perspective on them from that of the Renaissance and neoclassicism. The thesis concentrates on the generation of artists known as the YBAs, or Young British Artists, who came to prominence in the 1990s. These artists are not renowned for their deference to the classical tradition, and are widely regarded as having turned their backs on classical art and its legacies. The introduction asks whether their work, which has received little scholarly attention, might be productively reassessed from the perspective of classical reception studies. It argues that while their work no longer subscribes to a traditional understanding of classical ‘influence’, it continues to depend – for its power and provocativeness – on classical concepts of figuration, realism, and the basic nature of art. Without claiming that the work of the YBAs is classical or classicizing, the thesis sets out to challenge the assumption that their work has nothing to do with ancient art, or that it fails to conform to ancient understandings of what art is. In order to do this, the thesis analyses contemporary works of art through three classical ‘lenses’. Each lens allows contemporary art to be examined in the context of a longer history. The first lens is the concept of realism, as seen in artistic and literary explorations of the relationship between art and life. This chapter uses the myth of Pygmalion’s statue as a way of thinking about contemporary art’s continued engagement with ideas of mimesis and the ‘real’ which were theorised and debated in antiquity. The second lens is corporeal fragmentation, as evidenced by the broken condition of ancient statues, the popular theme of dismemberment in western art, and the fragmentary body in contemporary art. The final chapter focuses on the figurative plaster cast, arguing that contemporary art continues to invoke and reinvent the long tradition of plaster reproductions of ancient statues and bodies. Through each of these ‘lenses’, I argue that contemporary art remains linked, both in form and meaning, to the classical past – often in ways which go beyond the stated intentions of an artist. Contemporary art continues to be informed by ideas and processes that were theorised and practised in the classical world; indeed, it is these ideas and processes that make it deserving of the art label.

《奧菲歐爵士》(Sir Orfeo) 是一首十三世紀晚期至十四世紀初期的傳奇敘事詩，其中重複出現的時空特性強調出奧菲爾斯傳統中「失去」的主題。克服失去的難題顯示了在無常的世界中維持恆常的困頓—如何在娑婆的世間找尋精神的寄託所在，以解失去對於個人時空感受所造成的罣礙，體驗生命的當下？於多數奧菲爾斯版本之中，到冥界挽回尤瑞柢思 (Eurydice) 的旅程是一個重要的場景，其突顯了在無常之中對於秩序與生命延續 (continuity) 的訴求。這首詩中，不同的延續觀出現於聽覺導向的人間王國與視覺導向的精靈王國，再再顯示了維持恆常的重要性。作為重回秩序的工具，奧菲歐的豎琴為此議題提供了重要的線索。問題的重心在於音樂中協調時空的力量，也就是所謂的共時性，其中蘊涵了奧菲爾斯文本中自身與世界的關係，及其與變動時空，延續感，以及重建秩序的關聯。 奧古斯都 (St. Augustine) 的《音樂論》(De musica) 從八世紀晚期到十五世紀以來一直都是一部影響深遠的著作，為音樂中的時間經驗提供了完整的哲學分析。從奧古斯都的音樂時間觀所呈現的先驗及秩序概念出發，此論文目的在於檢視奧菲歐的豎琴中所顯示出中古時期對於無常 (temporalia) 與先驗(transcendence) 的關懷主題。此項研究在於一種經由音樂與時空所協調出的經驗感受。除了探討人類王國與精靈王國之間的辯證關係，也揭示了《奧菲歐爵士》對於存在、當下、以及人類價值 (humanity) 所表現出來的核心態度。誠如奧菲歐與野外動物們共享短暫的和諧經驗所示 (272-80)，奧古斯都的先驗及永恆觀與奧菲歐豎琴中變動的感官特性並不相符。儘管如此，他對於靈魂律動所提出的解釋，以及記憶是一種出於心智印象 (phantasiai) 的看法，為我們提供檢驗精靈王國時空感的理論基礎。 為了解釋音樂中的和諧如何經由時間經驗讓奧菲歐在變動的世界中維持恆心，此篇論文分成四個章節：第一章介紹相關主題及評論。第二章介紹 中古時期與奧菲爾斯神化相關的音樂理論背景並且闡釋奧古斯都音樂論中的時間觀。在第三章中，我將進一步分析《奧菲歐爵士》中的時空觀。奧菲歐的豎琴所帶來的和諧經驗將會以個人內在與變動外在的互動回饋機制來檢視。這樣的內外交流呈現出一種變動的先驗觀，將永恆寄託在一種有機變動中所體驗的延續感。 其同時也揭露了自身與世界互動的關鍵模式，透過精神蛻變 (metamorphosis) 和冥界之旅等面向，增進我們了解失去及無常的主題。最後，我將在第四章以豎琴的社會意義作結，解釋其對於口說傳統的文化傳承帶來什麼樣的影響，並提供其他奧菲爾斯文本一個不同的角度來觀看自身與世界的關係。 / Loss, the dominant theme in the Orphic tradition, is accentuated by the recurring issue of temporality in Sir Orfeo, a late thirteenth or early fourteenth century romance. The difficulty of overcoming loss posts the question of finding spiritual residence and maintaining spiritual progress in the temporal world. The underworld journey to retrieving Eurydice, as a major scene in most adaptations of the myth, signifies the quest of order and continuity through changes. Such an issue of maintaining constancy is highlighted by the different features of continuity appearing in the hearing-oriented human kingdom and the sight-oriented fairy world. Orfeo’s harping, as the means for recovery, offers a significant clue in viewing this issue. The question falls on the meditative power of music itself, i.e. the contemporal experience of sentiments, which reveals the particular self-world relationship embedded in the Orphic texts and its relation to temporality, duration, and the restoration of order. Augustine’s De musica, which had been an influential work from the late eighth century to the fifteenth century (Fitzgerald 575-76), provides an overall philosophical illustration on the experience of time in music and its relation to maintaining order. Deriving from Augustine’s idea of how the experience of time in music contributes to an understanding of transcendence and order, this thesis aims to examine the medieval concern of temporalia and transcendence manifested in Orfeo’s harping. It is a study of a relationship in space and experience of time that is negotiated through music, which explores the dialectic relationship between Orfeo’s kingdom and the fairyland, and also reveals essential attitude toward existence, presence, and humanity in Sir Orfeo. Although Augustine’s conception of timeless transcendence does not match the temporal and sensual nature of Orfeo’s harping, as seen in the temporary harmony Orfeo shares with the wild animals (272-80), his exposition on the movement of the soul, together with the explication of memory as images (i.e. phantasiai) operated in the motions of the mind, provide us a theoretical basis for examining the temporality of the fairy world. To illustrate how the harmonic order generated through the experience of time in music contributes to the maintenance of internal consistency within the temporal world, this thesis is divided into four chapters: Chapter one introduces relevant issues and literary criticism. Chapter two offers a detailed explanation of the historical background of medieval music theories, the associated allegorical readings of the Orphic texts, and Augustine’s conception of time in the experience of music. In chapter three, I further analyze the temporality of music in Sir Orfeo and distinguish two types of temporality, that of Orfeo’s court and that of the fairyland. The harmonic relationship maintained by Orfeo’s harping is examined in terms of the reciprocal interaction between the inner self and the operating world, which prescribes continuity in temporal transcendence and reveals a significant mode of self-world relationship. Such a study contributes to our understanding of the theme of loss and change in relation to spiritual metamorphosis and the underworld journey. Finally, I conclude in chapter four with the social significance of the harping in order to examine the cultural legacy of the bardic tradition. Through the examination of the mediation of music, I offer an alternative view on the self-world relationship in the Orphic texts.

Les romans grecs et les Métamorphoses d’Apulée – même si les modalités sont différentes pour ce dernier – sont des fictions en prose qui fonctionnent autour de topoi auxquels la figure de l’Autre n’échappe pas. Bien que le monde grec soit alors radicalement différent de ce qu’il était au Ve siècle avant J.-C., période à laquelle l’identité grecque est construite par opposition à la figure du barbare, les romanciers qui prennent la plume à partir du Ier siècle avant notre ère utilisent un certain nombre de stéréotypes hérités de l’époque classique, alors mise à l’honneur par le mouvement de la Seconde Sophistique. Il s’agit d’étudier dans le détail certains éléments de la représentation de l’Autre pour déterminer qui il est, comment il se comporte, ce qui le constitue en Autre. Puis, à partir de cette esquisse, nécessairement incomplète, d’évaluer ce que cette représentation peut induire sur l’image de l’identité grecque à l’époque impériale, par le jeu de miroir que F. Hartog a décelé dans l’œuvre d’Hérodote. Une première partie est consacrée aux rapports entre l’homme et l’animal ainsi qu’à l’image de la sauvagerie, ce qui permet d’explorer les bornes romanesques de l’humanité. La seconde partie s’attache à des éléments que l’époque classique a plus particulièrement mis en avant pour distinguer les Grecs des non-Grecs : le critère de la langue, l’art de faire la guerre et le discours politique qui est tenu sur les institutions barbares. La troisième partie étudie la place des dieux et des pratiques religieuses dans la définition de l’Autre. J’espère ainsi contribuer à la compréhension du genre romanesque et des représentations culturelles de l’empire « gréco-romain ». / The Greek novels and The Metamorphoses of Apuleius, even if it is in different terms for the last, are prose fictions which are based on topoi, and the figure of the Other is one of them. Although the Greek world was radically different of what it was in the fifth century BC, time during which Greek identity is contructed as opposed to the figure of the barbaros, the authors of novels, who wrote from the first century BC onward, used some stereotypes inherited from classical period, which was celebrated by the Second Sophistic movement. The aim of this thesis is to study in detail some elements of the representation of the Other to determine who it is, how he behaves, what makes him other. Then, from this sketch, necessarily incomplete, to evaluate what this representation says about the image of Greek identity in the imperial age, according to the play of the mirror detected by F. Hartog in the text of Herodotus. The first part of the thesis is dedicated to the relationship between man and animal and to the image of savagery, in order to explore the novelistic limits of humanity. The second part concentrates on elements that classical period had particularly insisted on to promote the distinction between Greeks and non-Greeks : the linguistic criterion, the way to make war, and the politic discourse on the barbaric institutions. The third part study the place of the gods and of religious practices in the definition of the Other. I hope to contribute to the understanding of novel genre and of cultural representations of the « greco-roman- empire ».