Thesis (Ph.D.)--Ohio State University, 2003. / Title from first page of PDF file. Document formatted into pages; contains xiv, 286 p.; also includes graphics. Includes abstract and vita. Advisor: Charles M. Atkinson, College of Music. Includes bibliographical references (p. 267-286).

Th. État--Lett.--Paris 4, 1981.

Univ. dos Açores, Diss.--Ponta Delgada, 1996.

Extr. de: Th.--Lettres--Paris I. / Bibliogr. p. 533-552 . Index. Thèse soutenue sous le titre "Aux sources du romantisme français, la formation du style troubadour"

Diss. phil. hist. Bern, 1942.

No description available.

Cette thèse, inscrite dans le cadre méthodologique de l’histoire des représentations, vise à identifier les caractéristiques littéraires, visuelles et musicales de l’imaginaire médiévaliste inventé par le genre de l’opéra-comique français entre 1810 et 1830. Ces années correspondent à une tranche de vie privilégiée de l’imaginaire, celle de son épanouissement et de sa parfaite lisibilité. L’imaginaire se révèle aujourd’hui sur le mode de reflets d’une sensibilité désormais évaporée. Ses contours, conditionnés par l’impératif de la couleur locale, sont précisés au moyen d’une pluricité de méthodes : la prise en compte des conventions de l’opéra-comique, le recoupement d‘oeuvres – livrets, scénographie, partitions –, l’étude de la presse et du regard parodique qui lui est porté a posteriori. L’ensemble des informations collectées mène aux motifs médiévalistes d’opéra-comique, parmi lesquels une bande-son médiévaliste.Le défi méthodologique de cette thèse tient à sa démarche pluridisciplinaire, qui associe étroitement l’opéra-comique à son contexte. L’idée selon laquelle la musique ne prend son sens et sa couleur que dans un cadre imaginaire sous-tend cette approche. Parmi les autres pans médiévalistes de la culture d’époque, les romans de Charles Prévost d’Arlincourt constituent le socle de comparaison le plus précieux.C’est sur fond d’altérité que les contours du médiévalisme se dégagent le mieux, notamment par sa mise en regard avec ce qu’il devient en Italie et en Allemagne, dans le cadre d’adaptations. Si certaines intrigues françaises médiévalistes sont reprises à l’étranger, des motifs pourtant essentiels à la couleur locale en France restent intraduisibles et interdisent d’évoquer un style médiévaliste européen de l’art lyrique. En revanche, à l’heure où chaque pays se cherche une identité, certaines références européennes se retrouvent bel et bien d’une scène à l’autre. / This thesis is rooted in the methodological framework of the history of representations. It aims to identify the literary, visual and musical features of the medievalist imaginary invented in the French opéra-comique between 1810 and 1830. The imaginary now only appears through the reflections of an evaporated sensitivity and through discontinuous hintsthat need to be reassembled.Thus the characteristics of this imaginary conditioned by the couleur locale emerge from the combination of several methods: the comparison of several opéras-comiques – taking into account their booklets, set designs and scores –, the study of the Parisian press and investigation of parodic manifestations of the medievalism in the years that followed.The methodological challenge consists in a multidisciplinary approach, which tightly binds the opéra-comique with its context. The idea that music only acquires its meaning and color in an imaginary framework underpins this approach. Among the other French medievalist aspects considered, Charles Prévost Arlincourt’s novel provide the most valuableway to clarify the lyrical imaginary.The comparison with adaptations and translations of French medievalist plots in Italy and in Germany is one of the best way to identify the characteristics of the imaginary. Thus this study does not identify a European style but rather reveals some untranslatable components in the wake of French medievalist intrigues. However, at the time when each country is seeking roots and identity, some European references emerge in the context of the lyrical medievalism.

Street musicians in New Orleans are one of type of contemporary performers or buskers who represent an occupational community located in the French Quarter. Though often marginalized or seen as deviant, these urban troubadours regard themselves as professional entertainers who adhere to ethical standards and business practices. This study is an analysis of these performers that includes a description of their cluster of performing activities, the concomitant artifacts used in the performances, and the cohesiveness of this group during times of difficulty. Because of a dearth of published research on this specific topic, this study will contribute a new dimension of cultural knowledge.

This dissertation explores the relationship of the act of singing to being a human in the lyric poetry of the troubadours, traveling poet-musicians who frequented the courts of contemporary southern France in the twelfth and early thirteenth centuries. In my dissertation, I demonstrate that the troubadours surpass traditionally-held perceptions of their corpus as one entirely engaged with themes of courtly romance and society, and argue that their lyric poetry instead both displays the influence of philosophical conceptions of sound, and critiques notions of personhood and sexuality privileged by grammarians, philosophers, and theologians. I examine a poetic device within troubadour songs that I term ‘personified song’—an occurrence in the lyric tradition where a performer turns toward the song he/she is about to finish singing and directly addresses it. This act lends the song the human capabilities of speech, motion, and agency. It is through the lens of the ‘personified song’ that I analyze this understudied facet of troubadour song. Chapter One argues that the location of personification in the poetic text interacts with the song’s melodic structure to affect the type of personification the song undergoes, while exploring the ways in which singing facilitates the creation of a body for the song. Chapters Two and Three examine specific types of body formation located in the tornadas of the personified songs. In Chapter Two, I argue that the troubadours exploit pedagogies of singing and philosophical conceptions of sound to undercut the privileging of heterosexual relationships as the only, “natural” form of sexual relationship. In Chapter Three, I argue that troubadour lyric poetry engages with Latin grammatical treatises to undermine the primacy of a binary gender system, and open up space within the lyric for a third gender. I examine songs whose tornadas include both of the differently gendered (masculine and feminine) versions of the Old Occitan noun for “song,” exploring the complicated (and often contradictory) way in which multiple subject positions were expected to inhabit a single person, and suggesting a fluidity of gendered constructs that permeates the lyric corpus as a whole. In my final chapter, I argue that the troubadours continue to act as social critics even after their poetic tradition comes to an end, as the songs form different types of bodies through their contact with the parchment page of the manuscripts in which they are preserved. I analyze the songs’s lives as objects of literary transmission, exploring how the concept of the personified song changes when its audience no longer encounters it in performance. I argue that, although the personified songs do not make explicit reference to the parchment on which they come to be written, they are similarly embodied with parchment-skins that simultaneously serve as body and body-covering.

Univ., Diss--Basel, 1998.