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The Isotopy of the Leap in Béroul's Tristan and the Tristrant by Eilhart von Oberge
Based on an inventory and a detailed examination of the morphological and lexicological paradigm of the verb “salir”, the study shows how the isotopy of the leap is an essential foundation of Béroul's Tristan and Eilhart von Oberge's Tristrant, and how it makes it easier to understand the consistency and senefiance (importance) of the “common” version. Focusing initially on the two famous episodes of the “Flour on the Floor” and the “Leap from the Chapel”, the author extends his analysis to the tale's structures, the various reprises and variations of the theme from one text to the other, finally to reveal a “poetics of the leap”. The leap seems to be a new key to the reading of Tristan subject matter: an aesthetic principle in Béroul's narrative that proceeds in successive bursts, an archaic and mythical hero's signature, symbol of Tristan's wild aspects and his affinity with transgression.

Notes On Scientific Translations into the Vernacular (14th–15th Centuries), and the Palatine 641 Manuscript (BNC Florence)This paper sets out a critical panorama of scientific translations in Italian from the 14th through the 15th century, with particular focus on translations from Arabo-Latin sources. It examines the intellectual status of scientific texts in the late Middles Ages with respect to the classifications of knowledge developed in the context of scholastic and university culture. At the same time, the paper attempts to reconstruct certain characteristics of the readers of these translations. Particular focus is given to the Palatine 641 Manuscript in the Florence BNC. This manuscript dates from the end of the 15th century and has so far been overlooked as evidence of a series of Italian translations of Arabo-Latin astrological sources. There appears to be some cultural and textual continuity between the astrological collections produced in Latin circles and their acceptance into the vernacular.

Domus, Grangia, Honor and Others. Naming Cistercian Houses in Languedoc and Eastern Gascony (1130–1220)Semantic analysis shows that the vocabulary of the 3,785 Cistercian orders, which were generally older than the 1,200 monasteries of Berdoues, Gimont, Grandselve, Silvanès and Valmagne, is not significantly different from that of their Benedictine equivalents when naming their monastic houses. In Languedoc and Eastern Gascony, there are, at most, only two specific usages found: the use of domus to designate the house's spiritual side, and grangia for other houses on the estate. The use of the latter term is rare and subject to varying criteria depending on distance from the monastery. However, examining the information from the observing scribe's perspective imposes modest conclusions. Whereas the analysis highlights common practice within an establishment, by using earlier documents and formularies as examples, it also reveals that there were more distinctive usages, which were probably linked to learning traditions.

The Compendium and Collection of Opposites. Cristal et Clarie, D'Amour and the Arsenal 3516 ManuscriptThe 3516 manuscript in the Arsenal Library gives us the specific example of the same text being transcribed twice within the same collection. This is the work of Robert de Blois, D'Amour, dating from the mid-13th century. The verses of this didactic poem on the art of love initially seem to be an individual piece, but they are then integrated word for word and surreptitiously into the prologue of the romance of Cristal et Clarie. The phenomenon of undeclared citation, of “implicitation”, is typical of this anonymous romance from the end of the 13th century, cheerfully carrying out a form of collage. What is the implication behind repetition of the same verses within the same collection, just a few works apart? This paper explores these issues by looking at intertextuality, the questions of editorial choice and of compendiums of heterogeneous compositions.

From the Château de Gaillon to the Louvre: Louis XII's Bust, a Royal Effigy Dismembered
This paper follows the journey of the 1508 bust of Louis XII by Lorenzo da Muzzano from its dominant position on the façade of the courtyard of the Grant'Maison of the Château de Gaillon to the Louvre, where it is now exhibited. Starting in the French Revolution, the sculpture was repeatedly mutilated and restored, which each time changed its possible interpretation. The aim of this paper is to rediscover the representation of this King of France as a Roman Imperator by understanding his objectives during the Italian wars. The map, part of which was also mutilated and restored over time, is held firmly in his left hand and is testimony to his ambitions for the peninsula and helps us to redefine and better understand them.