La thèse se propose, dans une première partie, d’analyser et d'actualiser la tradition manuscrite de la Comedia delle Ninfe Fiorentine, œuvre de jeunesse de Giovanni Boccaccio, composée immédiatement après le retour à Florence de la cour angevine de Naples.L'édition actuelle de Comedia delle Ninfe, est due à Antonio Enzo Quaglio et remonte à 1963. Elle fournit, comme il était d'usage à l'époque, une description brève et peu précise des témoins interrogés. Les manuscrits sont donc classés selon un critère socioculturel (copie a prezzo et copie per passione), datant des codex au quart de siècle. Quand cela est possible, un profil biographique des copistes est fourni. Le travail est complété par les fiches de chacun des témoins individuels acceptés dans le corpus.La deuxième partie de la thèse est un travail de commentaire d’historie littéraire divisé par thèmes. La composition de la Comedia delle Ninfe est liée à l'expérience biographique de son auteur et au développement de son expérience littéraire.L’histoire du dédicataire de l’œuvre, Niccolò di Bartolo del Buono, nous permet de fournir des repères chronologiques pour chacune des deux rédactions de la Comedia.La proposition de mettre en relation Caccia di Diana, Comedia et Amorosa Visione nous donne l’occasion de comparer trois œuvres de Boccaccio, en considérant l’utilisation du capitolo ternario comme premier dénominateur commun.Le chapitre sur le prosimètre donne un aperçu des sources possibles auxquelles Boccaccio peut, ou ne peut pas, faire référence pour cette forme particulière (prose et vers).Enfin, l'analyse de la production bucolique de Boccace et de son évolution amène à considérer le Comedia comme une première œuvre de ce genre avec l’utilisation du vulgaire. / The aim of this thesis is to analyze and updating the manuscript tradition of the Comedia delle Ninfe Fiorentine, written by a young Giovanni Boccaccio in Florence, as he came back there from Naples. The current edition by Antonio Enzo Quaglio (1963) only provides, as was customary at the time, a brief and inaccurate description of the witnesses surveyed. For that reason, in this work manuscripts have been dated a divided into a prezzo and per passion copies. Where possible, a biographical profile of the copyists have been included. Moreover, each copy has its own detection form.The second part of the thesis consists of a historic-literary commentary: the Comedia delle Ninfe is has been interpreted on the basis of the biography of the author and of his literary production. The two draftings of the Comedia have been also dated according to the biography of Niccolò di Bartolo del Buono, to whom this opera was dedicated. Besides, the Comedia has been compared to the Caccia di Diana and the Amorosa Visione, on the basis of the use of the capitolo ternario. A chapter on the prosimetrum provides some hypoteses on the literary sources Boccaccio may have, or may not, referred to. At last, by analysing the bucolic literary works by Boccaccio, the Comedia can be considered the first example in this genre, regarding the use of the vernacular. / La tesi si propone, nella prima parte, di analizzare, aggiornandola, la tradizione manoscritta della Comedia delle Ninfe Fiorentine, opera della giovinezza di Giovanni Boccaccio, composta subito dopo il ritorno del Certaldese a Firenze dalla corte angioina di Napoli. L’edizione esistente della Comedia delle Ninfe, datata 1963 per la cura di Antonio Enzo Quaglio, fornisce, come d’uso all’epoca, una descrizione sommaria e poco accurata dei testimoni censiti. Si classificano quindi i manoscritti secondo un criterio socioculturale (copia a prezzo e copia per passione), datando i codici al quarto di secolo. Si fornisce, ove possibile, un profilo biografico dei copisti. Il lavoro è completato dalle schede di rilevamento dei singoli testimoni accolti nel corpus, redatte secondo un criterio stabilito a priori.La seconda parte della tesi è un lavoro di commento letterario suddiviso per tematiche. La composizione della Comedia delle Ninfe viene messa in relazione con l’esperienza biografica del suo autore e con il dipanarsi della sua esperienza letteraria. La vicenda del dedicatario dell’opera, Niccolò di Bartolo del Buono, permette di collocare con riferimenti cronologici l’identificazione delle due redazioni della Comedia.Occasione di confrontare tre opere del Boccaccio è la proposta di mettere in relazione Caccia di Diana , Comedia e Amorosa Visione considerando come primo denominatore comune l’utilizzo del capitolo ternario.Il capitolo sul prosimetro fornisce una rassegna sulle possibili fonti alle quali Boccaccio può, o non può, aver fatto riferimento nella composizione dell’opera con questa particolare forma.Infine l’analisi della produzione bucolica del Boccaccio, e della sua evoluzione, propone di considerare la Comedia come un’opera prima in questo genere per l’utilizzo del volgare.

Texte remanié d'une thèse de doctorat, Paris, 2003. / Texte remanié d'une thèse de doctorat, Paris, 2003.

This dissertation examines the nature and influence of the structural complexity of Boethius’ Consolation of Philosophy on Dante’s Commedia, arguing that the latter is a deliberate response to the former. The General Introduction sets the groundwork through a survey of the major scholarship on Dante and Boethius; the genre of the Consolation as understood through the modern, but inadequate, category of Menippean satire and through accessus ad auctores in the medieval commentary tradition on Boethius and related authors; and the conception of intertextuality used in the study, which is connected to both the practice of allegory and Boethius’ understanding of metaphysics. Chapter One examines the Consolation, beginning with the presentation and roles of its two major characters, Boethius and Philosophy. Anchoring the more abstract discussion of the Consolation’s structure and its scholarly interpretations is the subsequent analysis of three main themes, time, love, and prayer. Chapter Two considers five twelfth-century prosimetra and their intertextual relationships with the Consolation in order to map authorial strategies of imitation: Bernard Silvestris’ Cosmographia; Alan of Lille’s Plaint of Nature; Hildebert of Lavardin’s Liber de querimonia; Adelard of Bath’s De eodem et diverso; and Lawrence of Durham’s Consolatio de morte amici. Each work is examined for its Boethian elements and structural complexity; the most original, the Cosmographia, is considered at greatest length. This provides an overview of common interpretive and imitative options for the Consolation. Chapter Three examines the Boethian elements of Dante’s Vita Nuova and the Convivio before engaging with the Commedia in order to take issue with the prevailing scholarly opinion that the Commedia can be understood as a rejecton of Dante’s Boethian stage as symbolized by the Convivio. Through a thorough examination of the many ways the Consolation is an intertext in the Commedia, this chapter argues that the Commedia is deeply responsive to the challenges of the Consolation both philosophically and artistically, and, in fact, is positioned by Dante so as to supersede and typologically fulfill the Consolation. In conclusion, therefore, Boethius’ work is demonstrated to be integral to a proper understanding of Dante’s purpose in the Commedia.

This dissertation examines the nature and influence of the structural complexity of Boethius’ Consolation of Philosophy on Dante’s Commedia, arguing that the latter is a deliberate response to the former. The General Introduction sets the groundwork through a survey of the major scholarship on Dante and Boethius; the genre of the Consolation as understood through the modern, but inadequate, category of Menippean satire and through accessus ad auctores in the medieval commentary tradition on Boethius and related authors; and the conception of intertextuality used in the study, which is connected to both the practice of allegory and Boethius’ understanding of metaphysics. Chapter One examines the Consolation, beginning with the presentation and roles of its two major characters, Boethius and Philosophy. Anchoring the more abstract discussion of the Consolation’s structure and its scholarly interpretations is the subsequent analysis of three main themes, time, love, and prayer. Chapter Two considers five twelfth-century prosimetra and their intertextual relationships with the Consolation in order to map authorial strategies of imitation: Bernard Silvestris’ Cosmographia; Alan of Lille’s Plaint of Nature; Hildebert of Lavardin’s Liber de querimonia; Adelard of Bath’s De eodem et diverso; and Lawrence of Durham’s Consolatio de morte amici. Each work is examined for its Boethian elements and structural complexity; the most original, the Cosmographia, is considered at greatest length. This provides an overview of common interpretive and imitative options for the Consolation. Chapter Three examines the Boethian elements of Dante’s Vita Nuova and the Convivio before engaging with the Commedia in order to take issue with the prevailing scholarly opinion that the Commedia can be understood as a rejecton of Dante’s Boethian stage as symbolized by the Convivio. Through a thorough examination of the many ways the Consolation is an intertext in the Commedia, this chapter argues that the Commedia is deeply responsive to the challenges of the Consolation both philosophically and artistically, and, in fact, is positioned by Dante so as to supersede and typologically fulfill the Consolation. In conclusion, therefore, Boethius’ work is demonstrated to be integral to a proper understanding of Dante’s purpose in the Commedia.

Written as prose began to garner attention in literary cultures that had long privileged poetic composition, prosimetra offer a unique perspective on what authors in eleventh-century al-Andalus and thirteenth- and fourteenth-century Spain and Italy singled out as the special capabilities of poetry. Further, as the only shared theme across mixed-form texts in Arabic, Hebrew, Italian, and Spanish, love acts as a go-between across these varied literary traditions.