Avis de soutenance - doctorat - Giulio MARTIRE

This work aims at presenting a muliperspectival view on Le Moniage Guillaume long, chanson de geste composed in the last quarter of XIIth century and transmitted by seven manuscripts. My work is divided in three main sections: 1) Philological study; 2) Critical edition, annex and glossary; 3) Study of the narrative models and of the cultural models, which emerges in the two main branches of the poem (Moniage ‘proprement dit' and branche d'Ysoré). The first section is divided in three chapters: In the first chapter, some of the issues related to the connection between Moniage Guillaume long (MGl) and Moniage Guillaume bref (MGb) are studied. The study proceeds with a description of the manuscripts through which the MGl is transimitted, then with a presentation of the recensio, followed by the proposal of a new stemma codicum, rather different from the one provided by the first editor of the chanson (W. Cloetta, 1906-1911). A study of the versification of the poem concludes this chapter. In the second chapter, the critical edition is introduced. I start from the critical discussion of the two previous editions of the MGl (Cloetta 1906-1911, Andrieux-Reix 2004), both methodologically outdated. The principles of my new edition are therefore outlined: I propose a reconstruction of the ‘subarchetype/adaptation' A. Subsequently, the transcription criteria are exposed as well as the critical apparatus. This apparatus is highly innovative: it is organized in three sections. In the first of them, the corrective interventions on A4 (my manuscript de référence) are pointed out. The second section is divided in a left and a right field: the first one contains the varia lectio of the whole tradition; the second one shows the ‘macro-variants' (verses belonging to the others subarchetypes, omissions of A and of the others subarchetypes, inversions etc.). Further, the right field is linked to the critical text with a réclames system; in this way the reader will be more easily oriented, in a sort of ‘triangulation' between text, right field and left field of the apparatus. The exposition of the ratio of the reconstructive interventions concludes the chapter. The third chapter consists in a study of the ms. A4 and it is composed of a codicological paragraph, a study of the enluminures, and a linguistic study. The second section of my work consists in the critical edition of MGl , followed by an annex and a little glossary. The third section consists in the study of the narrative models of the poem's first and last branches (the two undoubtedly ‘originals'). The analysis relies on a morphological basis: the adhesion of the récits to the meta-plot enucleated by V. Propp in his Morphology of the fairy-tale is certified. I used the Propp's scheme as a guide for my narrative analysis: whenever I found out a narrative function, I substantiated the study with anthropological dossiers, pointing out the interlink between the historical and historico-literary dimension. Among Propp's works, my ideal reference of The Historical Roots of the Wonder Tale. In the concluding part, the interweaving of ‘carnival models' and ‘ritual models' emerging in the first branche is studied, along with ‘familiarizing' (Bachtin) indicators in the first and in the last branche. In particular, the main focus is the double-edged role of the representation of food: ‘familiarizing' element and objectual relais of ideological struggle at the same time. In this regard, certain episodes have been privileged: the analysis of the conventual bagarre, which concludes the first branche, will set the pace of the research. The study is then extended to the meeting between Guillaume and the robbers and to the first experiences of the hero within the abbey (laisses VII-XVII); some class dialectics proper to the Central Middle-Ages (relationship between great aristocracy, monks and sergents) are underlined in this part.