Diss.--Philosophische Fakultät--Münster--Westfälische-Wilhelms Universität, 2000. / Bibliogr. p. [483]-505.

Texte remanié de: Diss.--Philosophische Fakultät II--Universität Augsburg, 1986.

Diss. : Literaturwissenschaften : Mainz : 1983. - Bibliogr. p. 240-309. Index. -

This thesis is devoted to an examination of the music of the troubadours, a group of poet-musicians which flourished in southern France during the twelfth and thirteenth centuries. Musicological research has been conducted in this area only since the turn of the present century, although philological study began much earlier. The main aim of the Introduction is to bring together some of the most widely accepted theories regarding both literary and musical aspects of the movement and to sum up generally the state of troubadour scholarship as it exists today. The Introduction also includes a brief historical survey of the troubadour movement, its scope, significance and influence. The poems were meant to be sung, not merely read; thus the art of the Provençaux embodies two disciplines: poetry and music. Yet while much is known of the poets, very little is known about the composers of the melodies. Did the troubadour write his own music? Did he borrow it? How similar are the melodies set to the texts of a single poet? How are they related? Was one composer involved in setting them, or several? Chapter I attempts to answer some of these questions. Attention is focused on the music associated with the texts of seven troubadours in order to discover internal evidence which would shed light on this problem. La Doctrina de compondre dictatz is the subject of Chapter II. This short, little-known treatise dating from around 1250 A.D. discusses the poetic genres of the troubadours and gives suggestions for the writing of suitable melodies. It is with the musical considerations that this chapter is primarily concerned. How accurate are La Doctrina’s descriptions in the light of the extant Provencal melodies? Were any poetic types associated in actual practice with specific melodic forms? The subject of the final chapter is a comparison of troubadour melodies and the chants of the Gregorian rite. / Arts, Faculty of / Music, School of / Graduate

Texte remanié de: Thèse de doctorat--Études occitanes--Montpellier, 2003. / Bibliogr. p. 403-411. Index.

Habilitationsschrift--Universität Trier. / Includes bibliographical references (p. 258-265) and index.

Habilitationsschrift--Universität Trier. / Includes bibliographical references (p. 258-265) and index.

Diss.--Philosophie--Berkeley, Calif.--Univ., 1995. / 2 t. en 1 vol. Contient de nombreux exemples musicaux. Bibliogr. p. 304-312.

Les auteurs qui vivaient à la cour des Plantagenêt, créaient une sorte de mythe historique et culturel, appelé à contribuer à la consolidation politique et sociale de leur royaume. Les Lais de Marie s’inscrivent dans ce contexte. La première partie montre pourquoi et comment Marie s’adresse à l’œuvre historiographique de Wace. L’influence de cet écrivain transparaît incontestablement dans l’œuvre de Marie et il n’est pas impossible que son projet littéraire, consistant à créer un recueil des douze lais, puisse être inspiré par la chronique de l’historiographe. La seconde partie dégage de nombreux liens intertextuels entre Marie et Chrétien de Troyes. Les contes d’origine celtique portant sur les transformations des personnes en animaux, « métamorphoses bretonnes », furent aux yeux de Marie une sorte de version des Métamorphoses antiques, un monument littéraire adapté par le jeune Chrétien. Celui-ci n’hésitait pas à faire dans ses romans des allusions plus au moins claires aux lais. La troisième partie étudie les notions-clés de la poésie des troubadours, ainsi que certains genres de la lyrique provençale qui auraient pu influencer les Lais. La quatrième partie met en lumière l’aspect parodique de la réception de la matière bretonne, ainsi que des lais de Marie par les auteurs anonymes. Marie transforme radicalement le statut culturel et littéraire des contes bretons, en imprégnant leurs adaptations françaises des réminiscences des écrits créés par ses contemporains et en ennoblissant les personnages conformément à la nouvelle morale de la société courtoise. Le genre de lai acquiert des contours précis, le chronotope breton se fixe en tant qu’élément essentiel du lai. / Authors who lived at the Plantagenet court created a historical and cultural myth that was meant to contribute to the political and social consolidation of the kingdom. Marie de France’s Lais are situated in this context. The first part of my thesis focuses on how and why Marie addresses the historiographical work of Wace. Not only is his influence visible in the lais but his voluminous poetical chronicle might have inspired in Marie the very idea of composing a collection of twelve lais. The second part brings to light a significant number of intertextual connections between Marie de France and Chrétien de Troyes. It is argued that Marie saw some similarities between the tales of Celtic origin about the transformation of humans into animals and Ovid’s Metamorphoses, translated by young Chrétien de Troyes. In his turn, Chrétien did not hesitate to allude to Marie’s Lais, more or less openly. The third part centers on the key notions and certain genres of troubadour poetry as a potential source of Marie’s Lais. The fourth part examines the parodic aspect in the reception of the Matter of Britain and of Marie’s Lais by anonymous authors. The results of my research have lead me to the conclusion that Marie radically transformed the cultural and literary status of Breton tales, filling them with reminiscences of her contemporaries’ writings, ennobling the characters of her tales in accordance with the new moral code of the court, and endowing them with the gloss of a fairy-tale ideality. Her immediate successors made this gloss even more pronounced. Thus the genre of the lai acquired a precise shape, and the Breton chronotope became an essential element of the lai.

Title of the thesis: Female sexual discourse in contrast to the Middle Ages and XX. century Keywords: perception of love, women, troubadours women, society, literature. Abstract: The main theme of this diploma thesis is to understand how the socio-cultural aspects and the changes affect the view on love in medieval literary production and production of writers of the 20th century. The focus of the thesis is primarily the writing of Marie de France, a representative of women author in medieval literature, and the deputy from production of contemporary writers - Simone de Beauvoir. In the introduction of my thesis I depick the development of literary genres in the historical context in the periods mentioned above. Next chapters directly address the theme of love from different perspective and the status of women in society. The last chapter analyzes the way women exhibit their emotions in the times of courtly literature and to devote part of the embattled Simone de Beauvoir and her different view on the concept of love in the contexte of female sexuality and experience life as a couple.