title: The occult in Rabelais: three supplementary aspects of the Rabelaisian allegory

authors: Horgan, James Barrie

abstract: The Occult in Rabelais concerns itself with all references, explicit or implied, to the systems of contemporary occultism in Rabelais’s work. Although a division may be made between those allusions which seem merely to reflect humanist preoccupation with the occult and those which are functional in terms of the proposed allegory, it is argued that all occult references, by supposing the existence of a cosmic dualist (Above and Below), and by supposing the possibility of mutual interaction, support the theme of human perfectibility called the Itinerarium Mentis in Deum. Early references to the occult may therefore be of importance in Pantagruel and Gargantua, not only those from Le Tiers Livre onward, where the theme of perfectibility of will (treated by Rabelais, it is proposed, under the guise of the marriage question) has had time to evolve in the imagination of the author.
The thesis covers all occultism which exists in Rabelais under the broad headings:
1 Alchemy, Tarot and the Mysteries
2 Divination
3 Numerology
Renaissance and classical sources are listed, the nature and limitations (if any) of the occult systems are treated, examples of their use by Rabelais are noted, and their allegorical implications are discussed.
The study suggests the following major conclusions:
1 Alchemy, other similar traditions, divination and numerology may be considered as supplementary aspects of Rabelaisian allegory.
2 An important allegory of the T.L., Q.L. and C.L. involves the Itinerarium mentis in Deum, of which Panurge is the central character.
3 Spiritual alchemy, tarot and the Mysteries provide an occult background to the idea of Itinerarium since they are concerned with human perfectibility.
4 Chapters 33 - 47 of Le Cinquiesme Livre, while full of occult allusions, are thematically necessary to the completion of Rabelais’s work in terms of the allegory proposed.
Other conclusions are reached:
1 The weight and role of each occult tradition may change from one book to another.
2 The stages of alchemy called separatio, qeneratio and coniunctio relate to the principles of death, rebirth and marriage respectively, and these principles of the Itinerarium may be found in Rabelais’s work.
3 The progress of Panurge may be related to the progress towards fulfilment of the materia prima of alchemy.
4 Pantagruel and Gargantua come to represent the Salt of alchemy.
5 The stock figures of the tarot coincided with the characters and actions of Rabelais’s work.
6 There are strong links between the Temple of Rabelais and the classical temples of Apollo, and between Rabelaisian and Apolline ritual and mysticism.
7 Divination in Rabelais supports the Itinerarium in that it similarly supposes recourse to a final truth existing in immutability. Panurge may reject contrary divinatory projections, as divination has never had power over the will. This does not mean Panurge is right to do so.
8 The double nature of number (mathematical and ideal) points upward from the material to the divine, and therefore supports the Itinerarium.
9 The true efficacy of the Dive Bouteille as oracle rests in the fact that it is also a Christian mystery.
10 The Temple represents an ideal human body, of which the main temple is the trunk and the circular chapel the head. Panurge is born again (like Pantagruel, from the ear). Panurge can only enter this body by passing via Lanternois.

text: The occult in Rabelais: three supplementary aspects of the Rabelaisian allegory The Occult in Rabelais concerns itself with all references, explicit or implied, to the systems of contemporary occultism in Rabelais’s work. Although a division may be made between those allusions which seem merely to reflect humanist preoccupation with the occult and those which are functional in terms of the proposed allegory, it is argued that all occult references, by supposing the existence of a cosmic dualist (Above and Below), and by supposing the possibility of mutual interaction, support the theme of human perfectibility called the Itinerarium Mentis in Deum. Early references to the occult may therefore be of importance in Pantagruel and Gargantua, not only those from Le Tiers Livre onward, where the theme of perfectibility of will (treated by Rabelais, it is proposed, under the guise of the marriage question) has had time to evolve in the imagination of the author.
The thesis covers all occultism which exists in Rabelais under the broad headings:
1 Alchemy, Tarot and the Mysteries
2 Divination
3 Numerology
Renaissance and classical sources are listed, the nature and limitations (if any) of the occult systems are treated, examples of their use by Rabelais are noted, and their allegorical implications are discussed.
The study suggests the following major conclusions:
1 Alchemy, other similar traditions, divination and numerology may be considered as supplementary aspects of Rabelaisian allegory.
2 An important allegory of the T.L., Q.L. and C.L. involves the Itinerarium mentis in Deum, of which Panurge is the central character.
3 Spiritual alchemy, tarot and the Mysteries provide an occult background to the idea of Itinerarium since they are concerned with human perfectibility.
4 Chapters 33 - 47 of Le Cinquiesme Livre, while full of occult allusions, are thematically necessary to the completion of Rabelais’s work in terms of the allegory proposed.
Other conclusions are reached:
1 The weight and role of each occult tradition may change from one book to another.
2 The stages of alchemy called separatio, qeneratio and coniunctio relate to the principles of death, rebirth and marriage respectively, and these principles of the Itinerarium may be found in Rabelais’s work.
3 The progress of Panurge may be related to the progress towards fulfilment of the materia prima of alchemy.
4 Pantagruel and Gargantua come to represent the Salt of alchemy.
5 The stock figures of the tarot coincided with the characters and actions of Rabelais’s work.
6 There are strong links between the Temple of Rabelais and the classical temples of Apollo, and between Rabelaisian and Apolline ritual and mysticism.
7 Divination in Rabelais supports the Itinerarium in that it similarly supposes recourse to a final truth existing in immutability. Panurge may reject contrary divinatory projections, as divination has never had power over the will. This does not mean Panurge is right to do so.
8 The double nature of number (mathematical and ideal) points upward from the material to the divine, and therefore supports the Itinerarium.
9 The true efficacy of the Dive Bouteille as oracle rests in the fact that it is also a Christian mystery.
10 The Temple represents an ideal human body, of which the main temple is the trunk and the circular chapel the head. Panurge is born again (like Pantagruel, from the ear). Panurge can only enter this body by passing via Lanternois.

year: 1979

title: A subset of precise UML for Model-based Testing

authors: Bouquet, Fabien

subjects: computer science

abstract: This paper presents an original model-based testing approach that takes a UML behavioural view of the system under test and automatically generates test cases and executable test scripts according to model coverage criteria. This approach is embedded in the LEIRIOS Test Designer tool and is currently deployed in domains such as Enterprise IT and electronic transaction applications. This model-based testing approach makes it possible to automatically produce the traceability matrix from requirements to test cases as part of the test generation process. This paper defines the subset of UML used for model-based testing and illustrates it using a small example.

text: A subset of precise UML for Model-based Testing This paper presents an original model-based testing approach that takes a UML behavioural view of the system under test and automatically generates test cases and executable test scripts according to model coverage criteria. This approach is embedded in the LEIRIOS Test Designer tool and is currently deployed in domains such as Enterprise IT and electronic transaction applications. This model-based testing approach makes it possible to automatically produce the traceability matrix from requirements to test cases as part of the test generation process. This paper defines the subset of UML used for model-based testing and illustrates it using a small example.

year: 2007

title: Ngā mana-kura-nui kei te ao wahine Māori

authors: Campbell, Hinehou

subjects: Wāhine Māori

abstract: ‘He wahine, he whenua e ora ai te tangata. He wahine, he whenua e mate ai te tangata!'
Ko te tino kaupapa o tēnei puawānanga, he rapu, he kimi hoki i ngā Mana-Kura-Nui kei Te Ao Wahine Māori. Ka āta tirohia ngā ingoa i tapaina ki ngā ao me ā rātau nā whakatipuranga, e puta ai ngā pūmanawa motuhake kei a te wahine, me ngā tauritenga mahi kei a te tāne rāua ko te wahine. 
Koirā ēnā ko Te Aoaonui, ko Te Kore, ko Te Pō, ki ngā Ao-Mārama ka heke ki Te Ao-Tūroa, ka hoki atu anō ki Te Pō, ki Te Muriwai-hou, ki Rarohenga. Ka āta rapua ngā tikanga kei aua ao, hei pou-herenga kōrero, ki waenga i ngā ao me ngā reanga whakatipu. Ko te kimi anō hoki i ngā tikanga i whakaū ai i ēnei Mana-Kura-Nui. Koia nei ētahi o aua tikanga ka āta tirohia i konei arā ko te toi o ngā mahi, te roi o ngā mata, te poi i ngā uri, te hoe i ngā tira, te koi o te hinengaro, te oi o te wairua, te kō o te reo, te ngoi o te mauri, me te kikokikotanga o te wahine.
Kua rangahautia ētahi kōrero mai i ngā kura koroiti, i ngā kete raukura, me ngā wānanga nui, o te ao Māori me i o te ao Pākehā. Ka tīmata mai i te pūtahitanga o ngā ao, o Te Kore, o Te Pō, o Te Māramatanga iti, o Te Awatea, o Te Ao-tūroa, me o Te Muriwai-hou. Ahakoa iti te whakaputa o ēnei ko te mea nui kē, arā ko ngā tauritenga kōrero, tauritenga tikanga, atu i ngā ao o Tauiwi mā ki ō tātau. Nā ka āta wānanga kia mōhio ai te kaipānui ki ngā ritenga me ngā rerekētanga kei aua ao e hāngai ana ki te wahine Māori.
Ko ētahi o ngā whakamārama kei te reo o tauiwi, itiiti noa nei ēnā. Ka mau hoki ki te whakaaro Māori, hei taonga here i te ngako o ngā kōrero me i o ngā tikanga. Ka āta rapua mai i roto i ngā whakapapa, karakia, waiata, pōkeka, tauparapara, kōrerorero, kupu whakaari, whakataukī hoki, me ngā waituhi, waitohu o te ao wahine Māori. Ka haria mai anō hoki e te kaituhi ēnei waituhi kia puta ko ngā whakaaro nui o te wahine Māori i roto hoki i Te Ao-hurihuri.
He mea hou ki ngā taringa o te kaituhi, ki te whakarongo ki te wahine e whakaputa ana i tōna nui. Koia tēnei ka haria mai e te kaituhi ōna whakakitenga nui, ka tāpiri atu ki ērā o ngā hākui, hākoro o ngā wānanga nui, inā ka tuia ēnei kōrero kia tina.
“He hapū ki te wahine, e kapi ai te ao,
he tauā ki te tāne, e ora ai te ao."
Waiho mā ngā tāne e whakaputa i te taha ki a rātau.

text: Ngā mana-kura-nui kei te ao wahine Māori ‘He wahine, he whenua e ora ai te tangata. He wahine, he whenua e mate ai te tangata!'
Ko te tino kaupapa o tēnei puawānanga, he rapu, he kimi hoki i ngā Mana-Kura-Nui kei Te Ao Wahine Māori. Ka āta tirohia ngā ingoa i tapaina ki ngā ao me ā rātau nā whakatipuranga, e puta ai ngā pūmanawa motuhake kei a te wahine, me ngā tauritenga mahi kei a te tāne rāua ko te wahine. 
Koirā ēnā ko Te Aoaonui, ko Te Kore, ko Te Pō, ki ngā Ao-Mārama ka heke ki Te Ao-Tūroa, ka hoki atu anō ki Te Pō, ki Te Muriwai-hou, ki Rarohenga. Ka āta rapua ngā tikanga kei aua ao, hei pou-herenga kōrero, ki waenga i ngā ao me ngā reanga whakatipu. Ko te kimi anō hoki i ngā tikanga i whakaū ai i ēnei Mana-Kura-Nui. Koia nei ētahi o aua tikanga ka āta tirohia i konei arā ko te toi o ngā mahi, te roi o ngā mata, te poi i ngā uri, te hoe i ngā tira, te koi o te hinengaro, te oi o te wairua, te kō o te reo, te ngoi o te mauri, me te kikokikotanga o te wahine.
Kua rangahautia ētahi kōrero mai i ngā kura koroiti, i ngā kete raukura, me ngā wānanga nui, o te ao Māori me i o te ao Pākehā. Ka tīmata mai i te pūtahitanga o ngā ao, o Te Kore, o Te Pō, o Te Māramatanga iti, o Te Awatea, o Te Ao-tūroa, me o Te Muriwai-hou. Ahakoa iti te whakaputa o ēnei ko te mea nui kē, arā ko ngā tauritenga kōrero, tauritenga tikanga, atu i ngā ao o Tauiwi mā ki ō tātau. Nā ka āta wānanga kia mōhio ai te kaipānui ki ngā ritenga me ngā rerekētanga kei aua ao e hāngai ana ki te wahine Māori.
Ko ētahi o ngā whakamārama kei te reo o tauiwi, itiiti noa nei ēnā. Ka mau hoki ki te whakaaro Māori, hei taonga here i te ngako o ngā kōrero me i o ngā tikanga. Ka āta rapua mai i roto i ngā whakapapa, karakia, waiata, pōkeka, tauparapara, kōrerorero, kupu whakaari, whakataukī hoki, me ngā waituhi, waitohu o te ao wahine Māori. Ka haria mai anō hoki e te kaituhi ēnei waituhi kia puta ko ngā whakaaro nui o te wahine Māori i roto hoki i Te Ao-hurihuri.
He mea hou ki ngā taringa o te kaituhi, ki te whakarongo ki te wahine e whakaputa ana i tōna nui. Koia tēnei ka haria mai e te kaituhi ōna whakakitenga nui, ka tāpiri atu ki ērā o ngā hākui, hākoro o ngā wānanga nui, inā ka tuia ēnei kōrero kia tina.
“He hapū ki te wahine, e kapi ai te ao,
he tauā ki te tāne, e ora ai te ao."
Waiho mā ngā tāne e whakaputa i te taha ki a rātau.

year: 1996