Dissertations / Theses on the topic 'Antiquarianism'

The last thirty years of Renaissance scholarship has debated the extent to which the origins of English nationalism can be traced back to the early-modern period. Countering the scepticism of modernists like Gellner, who date the rise of nationalism to the eighteenth century, Richard Helgerson and others have argued that the literary, legal, theatrical, and religious cultures of the period all present evidence for the existence of an early-modern English nationalism. Historiography has always been key to these debates: national identity is defined by creating histories and modes of historical thought suitable for the needs of that nation. This thesis will show that early-modern culture can better be interpreted through an understanding of its prevailing 'regionalism', and that local affiliations to places, counties, institutions, or patronage circles are obscured by a teleological interest in the rise of nationalism. The first chapter presents a re-evaluation of British antiquarianism from the perspective of the history of scholarship. It argues both that antiquarianism was an outgrowth of the transnational world of Latin scholarship, and that regional histories were emerging through the work of devolved networks of scholars. The second chapter considers two poets, one the poet of nationalism (Spenser), the other the poet of metropolitanism (Jonson), and through picking apart their encounters• with early-modern antiquarianism shows that each had complex regional affinities. The third chapter, on drama in the regions, shows that the circumstances of dramatic performance make for unique (and problematic) encounters with regional jurisdictions. The history play, and the historical scholarship of early-modern dramatists, are the focus here. And finally a chapter on Milton explores the impact of the polarising effect of the civil war on clerical erudition

The history of the madrigal in England is a significant one, traversing the final decades of the 16th century to the present day; as a vehicle for music, the madrigal has been an inspiration to composers and singers alike. This thesis surveys the revival of interest in the madrigal from the early 18th century to the mid-19th century; it investigates the madrigal's resurrection through a seminal period of English musical history, and examines its rise in artistic and social contexts where nexuses are established with the Gothic Revival and the re-accommodation, from the late-18th century onwards, of Roman Catholicism in England. The examination of contemporaneous newspapers, musical journals, minute books and other operational apparatus that relate to both metropolitan and provincial madrigal societies has not only revealed how extensive are the existing archives, but has also allowed in-depth investigation and discussion of their meaning and impact. A core group of five antiquarians is also examined: Sir John Leman Rogers (1780-1847), William Hawes (1785-1846), Edward Taylor (1784-1863), Thomas Oliphant (1799-1873), and James Turle(1802-1882). These men were brought together by their fascination for old music under the aegis of the Madrigal Society (whose continuous existence of over 270 years makes it the oldest music-performing society today); they saw themselves as restorers of a long-lost national heritage, and as advocates of a return to excellence in musical composition. The composer Robert Lucas Pearsall (1795-1856), the most prolific of madrigal writers in the 19th-century, was caught up in the tide of the five men's work; the outcome was his production of some of the most exquisite vocal writing of his century. All six of these men are discussed in detail within the thesis. The end of this thesis gathers together the evidence examined, and arrives at the conclusion that despite the consistently small circle of amateurs and connoisseurs for whom madrigal singing was an interest and pastime in the 18th and early 19th centuries, their efforts nurtured and sustained the madrigal, and promoted it as a patriotic emblem of musical achievement. In so doing, they laid the foundation for a second wave of interest that rose again in the early 20th century, and established firmly the madrigal as a constituent part of English musical ipseity.

This thesis is an exploration of the antiquarian materiality of Walter Scott’s fiction, considering his antiquarian practices alongside his fictional output to suggest that the two are vitally and intricately connected. It locates Scott’s antiquarian researches within the context of a contemporary antiquarianism increasingly concerned with safeguarding the relics, ruins, memories and manners of the national past. The aims of this thesis are threefold. First, it illuminates a more dedicated and dynamic participation in contemporary antiquarian practices than has previously been attributed to Scott, exploring a broad scope of material antiquarian activities in which he was engaged throughout his life. Second, it demonstrates how Scott’s literary output was shaped by his participation in aspects of material antiquarianism, populating his fictions with relics and remains, and recognising the potential of the material artefact as a productive site of narrative. Finally and most importantly, it argues that Scott’s fictions frequently act as textual extensions of his material practice. Scott’s poems and novels are in multifarious and dynamic ways actively involved in the processes of collection, exhibition, preservation, and conservation evident in Scott’s material practices. In so frequently and deliberately incorporating the material relics unearthed by his antiquarian practices into the corpus of his fiction, Scott’s literary works might be regarded as an additional space in which the material past might be preserved, conserved, exhibited, and enshrined. In this way, Scott’s literary works might therefore be considered as antiquarian repositories in which predominantly Scottish antiquities might be preserved.

In eighteenth-century Britain, many aristocrats studied music, participated as amateurs in musical clubs, and patronized London’s burgeoning concert life. Richard Fitzwilliam, Seventh Viscount Fitzwilliam of Merrion and Thorncastle (1745-1816), was one such patron and amateur. Fitzwilliam shaped his activities – participation, patronage, and collecting – in a unique way that illustrates his specialized tastes and interests. While as an amateur musician he sang in the Noblemen’s and Gentlemen’s Catch Club (the premiere social club dedicated to musical performance), he rose to the highest level of patronage by spearheading the Handel Commemoration Festival of 1784 and serving for many years as a Director of the Concert of Antient Music, the most prestigious concert series in Georgian Britain. His lasting legacy, however, was his bequest to Cambridge University of his extensive collection of art, books and music, as well as sufficient funds to establish the Fitzwilliam Museum. At the time of his death, Fitzwilliam’s collection of music was the best in the land, save that in the Royal Library. Thus, his collection is ideally suited for examination as proof of his activities, taste and connoisseurship. Moreover, the music in Fitzwilliam’s collection shows his participation in the contemporary musicological debate, evidenced by his advocacy for ancient music, his agreement with the views of Charles Avison and his support for the music of Domenico Scarlatti. On one side of this debate were proponents of learned, ancient music, such as Fitzwilliam and Avison, whose Essay on Musical Expression of 1752 was a milestone in musical criticism. On the other side of the discussion were advocates for the more modern, “classical” style and genres, led by historian Charles Burney.

Thesis (Ph. D.)--Stanford University, 2004.
Submitted to the Department of History. Copyright by the author. Description based on web page; title from title screen (viewed 1 September 2005). Includes bibliographical references.

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A tese tem como objeto de estudo a historiografia de Gilberto Ferrez e como fonte principal os documentos de seu arquivo pessoal existente no Arquivo Nacional, além de suas obras publicadas e pareceres para o SPHAN. O trabalho se insere no campo dos estudos da história da escrita da história e caracteriza como a obra de Gilberto Ferrez exemplifica o antiquariado enquanto forma de construção do conhecimento histórico. Discute também de que maneira esse modelo se mantém atual, contrariando a tendência a vê-lo apenas enquanto uma expressão da Época Moderna. Para definição do antiquariado, nos valemos de conceitos desenvolvidos por Arnaldo Momigliano. Considerando que Gilberto Ferrez também foi um colecionador notório, a pesquisa evidencia de que modo a prática de colecionar se constituiu como a base de sua formação de pesquisador em história, definindo o documento de época, sobretudo imagens, como objeto de estudo principal da História. Ao lado disso, a partir de Michel de Certeau, discute-se o lugar social da construção de sua historiografia, demarcando sua participação no IHGB e no Conselho Consultivo do SPHAN e sua rede de colaboração, descrevendo um ambiente de sociabilidade intelectual marcada por laços pessoais. Em seguida, a tese discute suas práticas de pesquisa, explorando os trabalhos publicados, os pareceres produzidos para o SPHAN e a correspondência mantida com seus pares. É apresentada ainda uma interpretação de sua leitura da história do Brasil como memória da civilização europeia, associada a estrangeiros que viveram no Brasil.
This dissertation discusses Gilberto Ferrez’s historiography. It uses as its main source the documentation from his personal archives preserved at the Arquivo Nacional, and cite as well the works the published and the technical judgements he issued as counselor at SPHAN. This text belongs to the field of studies dealing with the history of historical writing, and considers the manner in which the work of Gilberto Ferrez exemplifies antiquarianism taken as a form of constructio9n of historical knowledge. This dissertation also seeks to discuss how that model remains current, differing from those who tend to consider it only as an expression of the Modern Age. In order to define antiquarianism, we made use of concepts developed by Arnaldo Momigliano. Given the fact that Gilberto Ferrez also was a well-known collector, our research attests how the practice of collecting turned out to provide the foundations for his formation as a researcher in the historical field, choosing historical documents – especially images – as history’s main object of study. Making use of Michel de Certeau’s work, the social place in which Ferrez’s historiography is constructed is also explored, outlining his participation at IHGB and on SPHAN’s advisory board as well as his network of collaborators, disclosing an atmosphere of intellectual sociability characterized by personal tyes. This thesis then proceeds, to discuss his practice in research work, considering the books he published, the technical opinions issued as a counselor for SPHAN and the correspondence he maintained with he peers. Finally this thesis interprets the way in which Ferrez viewed Brazil’s history as a memory of European civilization, closely linked for foreigners who played a relevant role while living in the country.

This paper examines the connection between art and nationalism in Chinese culture and asserts that the recent market boom and price jump in Chinese fine art reflects a concerted yet conflicted effort by the Chinese government and Chinese society as a whole to reconcile with a problematic twentieth-century past. The paper first delves into the historical practice of utilizing art to construct political narratives though Ming-Qing dynasties before examining how antiquarianism was utilized by Mao Zedong himself and by the modern day Chines Communist Party.

The popular image of Richard III remains, even today, deeply indebted to Shakespeare's portrayal; however, the century following the publication of Shakespeare's play in 1597 witnessed a fresh and vibrant re-evaluation of this character in a diverse range of texts from poems and history works to pamphlets. While many authors still perpetuated the negative Tudor image, original writings challenged this ingrained view and resulted in a more nuanced assessment of Richard III than the one pervading the sixteenth century. The present thesis investigates a range of seventeenth-century texts about Richard III which shed new light on the reception of Shakespeare's play, bring unique testimony to the contemporary understanding of tyranny, and capture specific social and political anxieties of the period: the end of the Tudor dynasty, the conflict between the Crown and Parliament culminating in the Civil Wars, and the execution of Charles I. These texts offer a fuller picture of the contemporary literary-political climate, while illuminating the role of historical memory in forming national consciousness, including the forging and dismantling of myths. The thesis analyses seventeenth-century responses to Richard III in historiography, legal and constitutional debates, poetry, plays, and the visual arts. The first two chapters demonstrate that historians and legal theorists during the Stuart reign and the Civil Wars proved unexpected advocates of Richard III. Challenging the traditional narrative of Tudor chronicles, they reappraised Richard's election by parliament and his moderate taxation policies and contrasted them with the controversial high-taxation programmes of the Stuarts. The third chapter offers a re-evaluation of Richard's portraits which betray hitherto unnoticed marks of ageism as a symbol of governmental inadequacy. The chapter explores visual art as a distinct incarnation of historical commentary. Chapter four examines the depictions of Richard's conscience in poems by Richard Niccols and Christopher Brooke. The final two chapters analyse two extensive poems on Richard III. John Beaumont's 'Bosworth Field' (1629) offers an original account of the battle and Richard III as a study of patriotism and leadership. Thomas Wincoll's Plantagenets Tragicall Story (1649) transforms Richard III into a vehicle of anti-Cromwellian political allegory in the time of the regicide. By reconstructing the life of Wincoll, a royalist poet from a puritan family, the chapter outlines the contradictory nexus of convictions which underlie Civil War literature. Overall, my thesis argues that Richard III evolved from the plainly negative tyrant of Tudor chronicles to a more complex figure, resulting in a more original and balanced portrayal of his character in the seventeenth century.

This thesis studies contemporary China's heritage boom phenomenon as experienced through the everyday lives of antiquarian communities (collectors, antique dealers etc.) and heritage professionals in and around Beijing. Aiming to extend our vision beyond heritage sites and museums, which constitute the traditional subject of anthropological studies of heritage, the thesis explores the ways in which 'heritage' and 'treasure' are lived by wider Chinese urban residents, constituting a total social fact. Challenging the popular assumption made by heritage scholars in which heritage phenomenon is considered a by-product of modernity's tendency to contrast the current progress with the past as a benchmark, this thesis argues that contemporary China's heritage fever is, however, a social symptom of utopian replacement, in which the idea of linear progress promised by modernisation has been challenged by a recent nationwide utopian project of returning to 'the prosperous age' ('shengshi') with its emphasis on cyclical 'rise and fall'. Treasures of China, as 'Fragments of the Prosperous Age', have thus emerged as powerful imaginaries and resources to open up a utopian vision of ideal society based on fantastic imaginations of China's past glories. Foregrounding the relations between heritage and utopianism, the thesis subsequently investigates the complex ways in which heritage activists from state systems and antiquarian communities contribute to the utopian project from different pathways, bifurcating China's heritage phenomenon into formal and informal parts. Chapters one and two demonstrate that state-led imaginings have changed from the evolutionary perspective to one pursuing the glory of the past under the new spell of 'civilisational revival'. Officials and activists associated with formal heritage deploy a variety of discursive and bureaucratic technologies to securitise, manage and utilise China's ancient treasures, so as to legitimise the current regime. On the other hand, Chapters three and four show that collectors associated with informal heritage encounter fragments of the past in a bodily and joyful way. In ordinary antiquarian practices which juxtapose the cultivation of moral self with the patination of antique objects, collectors pursue an archaic yet neoliberal custodianship which has altered the ethics and sense of moral responsibility in the domains of market exchange. These two factions in China's heritage world may differ from each other in many aspects, but Chapter five suggests both of them, in fact, conspire to reproduce ancient 'prosperous age' ('shengshi') in the present and for the future. The thesis concludes with a discussion about the extent to which Hegel's future-oriented conception of 'capitalised History' that structures the writing of national history has transformed into a 'capitalised Heritage' in contemporary China. 'Capitalised Heritage' works to recast the importance of the Chinese nation in the contemporary world, reaching an ultimate reconciliation with the spectre and material legacies of the past.

The writings of John Aubrey (1626-1697) cover a variety of subjects, including natural philosophy, mathematics, educational theory, biography, and magic, among others. His principal scholarly interest, however, was antiquarianism, the early modern discipline which embraced subjects such as archaeology, anthropology, and palaeography. This thesis is a study of Aubrey’s antiquarian writings within the context of the European Republic of Letters. It begins with a revisionary survey of antiquarianism in England, 1660-1720, and proceeds to map his personal contacts and library before studying each of his major antiquarian works in detail. Aubrey emerges from this as a product of his time, but somewhat unusual in his eclectic use of the antiquarian tradition and his blending of antiquarian and natural philosophical methodologies. He was receptive to the latest scholarship, regardless of its origin, and his antiquarian writings were never mere antiquarianism, but moved beyond technical scholarship to address wider issues concerning the origins of English culture, the evolution of religion, the antiquity of the earth, and the nature of human invention. Aubrey is now best known for his so-called Brief Lives, a series of biographies of contemporaries, and this thesis also includes a chapter studying the Lives as a form of antiquarianism. It argues that their keen observation and unconventional form are due to a mixture of antiquarian minuteness with traditions of Theophrastan character-writing and Tacitean historiography and that previous readings of them rely too heavily upon an outdated view of Aubrey as eccentric and peripheral to the larger intellectual movements of the century. This thesis concludes with a reassessment of Aubrey’s scholarship and an argument that the patterns revealed highlight the insufficiency of current theories of antiquarian development in the early modern period. It also argues for the “literary” quality of Aubrey’s work and emphasises the importance of reading his antiquarian texts within the context of early modern definitions of literature.

This thesis offers a reappraisal of the Sabine glosses through the analysis of thirty-nine words, all glossed explicitly as Sabine in ancient sources ranging from the first century BCE to the sixth century CE. The study of the Sabine glosses found in ancient grammarians and antiquarians goes back to the beginnings of Italic scholarship. Over time, two positions on the Sabine glosses have crystallised: (a) the Sabine glosses are evidence of a personal obsession of the Republican author Varro, in whose work many Sabine glosses survive, and (b) the Sabine glosses are true remnants of a single language of which little or no epigraphic evidence has survived. By using the neogrammarian observation that sound-change is regular and exceptionless, it is possible to ascertain whether or not the Sabine glosses are likely to be from the same language. This thesis finds that the sound-changes undergone by the Sabine glosses show no broad agreement. The developments are characteristic of different languages – Latin, Faliscan and various Sabellic languages – and many changes are mutually exclusive. This consequently throws doubt on the assertion that the Sabine glosses are all taken from one language. Instead, the glosses should be seen as part of a discourse of the relationships between Romans, Sabines and Sabellic-speaking peoples. During the Republic, Sabines were central to Roman myth, historiography and political rhetoric. As the Sabines were a distinct people in the Roman foundation myths, but were largely Romanised in the Republican present, they became a convenient bridge between Rome and the Sabellic-speaking peoples of Central and Southern Italy, to whom Greek and Roman writers ascribed myths tracing origin back to the Sabines. This continued into the Empire, when emperors such as Claudius and Vespasian utilised their (supposed) Sabine heritage to gain ideological capital. In light of this, the phenomenon of Sabine glosses cannot be seen as one man’s interest, but as a means of reflecting on Rome’s relations with Sabellic-speaking Italy.

The essay deals with the early archaeology in Sweden during the 17th and 18th centuries in generally and with Henric Jacob Sivers excavations at Skrickerum in particularly. In the medieval, Christian Sweden, the relics from the antiquity was considered merely as symbols of the heathen past  but with the foundation of Sweden as a united kingdom they awoke interest as symbols for the nation and were used as tools in the nation building. The interpretation of the antiquity and the ancient relics where done with the Bible and the ancient writers of Greece and Rome as guides and sources. With the new scientific approach, inspired by the Enlightenment, the Swedish antiquity and its relics gained other meanings and understandings and during the early 19th century Swedish archaeology developed into a scientific subject. The aim of this essay is to retain a deeper understanding for how Swedish antiquity was looked upon during the period between the Renaissance and 1800 among scholars of the time. What similarities and differences can be spotted in a comparison with archaeology of today? Due to this, the essay concentrate on a few, selected scholars from each century and takes a look at questions like; what was considered antiquities, how where they interpreted and what part did the Christianity, and later on the Enlightenment, play in the view upon Sweden´s ancient past. In order to find answers on a broader and deeper level, the essay makes a detailed study of excavations performed by Henric Jacob Sivers at Skrickerum, Östergötland in 1757. Sivers, who was a priest and a scholar born and educated in Germany, was inspired by the new scientific view and very interested in the ancient past, he collected antiques and called himself “fornälskare”, antique lover. The excavations at Skrickerum took place during two days in June 1757 and Sivers documented the work rather thoroughly in his publication Berättelse om några nyligen i Tryserums Sokn, Tiust Härad och Calmare Län, öpnade hedniska Grafhögar och the theruti fundna Saker (Sivers 1758). How were these excavations conducted and how did they differ from excavations of today, in theoretical, methodical and conductional aspects? Sivers’ publication will give the answers and help us get a glimpse of Swedish archaeology in its early state.

This dissertation provides a study of Michael Drayton’s Poly-Olbion (1612;1622), a loco-descriptive poem divided into two parts consisting of eighteenand twelve Songs, respectively, each one being prefaced by anengraved map. The verse describes the topography of the English and Welsh counties and the historical feats that took place in the locations in question: the ”narrators” are local landscape features, such as woodlands, forests, mountains and valleys, but mainly rivers. In the first part only, each Song closes with a learned prose commentary by the antiquarian John Selden. The study’s purpose is to highlight the position Poly-Olbion held in the network of seventeenth-century and subsequent English literature and culture. It aims to bring together the fragmentary criticism and literary influence of the poem into a coherent view leading to a joint analysis of its contents and the history of its reception. It thus reveals, on the basis of a large amount of information, the interaction of synchronic and diachronic perspectives in order to discuss the poem’s matter in the light of contemporary and later criticism, and vice versa. The reasons for the many ever-shifting opinions on Poly-Olbion are related both to the times and modes of composition and to its content. The work is therefore first contextualised in Drayton’s life and times, as an essential milestone in the poet’s search for patronage and career, which also aims to provide an explanation of the difficulties the work may have encountered in the book market. An analysis of the two main topics dealt with in Poly-Olbion – the topography and the history of Britain – sheds some light on Drayton’s possible authorial intentions and his sources, as well as on the kind of readership he might have had in mind and the reasons for the work’s poor success (according to Drayton himself) in the book market. The use of topography is discussed as an organisational device for antiquarian matter, and is also connected with Drayton’s rhetorical description of the land of Britain, fragmented among dozens of narrative voices belonging to the local landscape, and to the function of engraved maps prefacing each Song. A coherent picture emerges, uniting the map, the topographical content of each Song, and the single landscape features telling their stories, into an entity containing in itself space and time – connecting specific (present) places to specific (past) events, and unifying these two temporal dimensions. So, the single locality is at the same time historically separated from, but physically united with, the rest of Britain, a relationship that connects Drayton’s use of both topography and history. This issue is more likely connected with the almost contemporary debates on the Union of England (and Wales) and Scotland, a country which Drayton would have liked to describe, but never managed to. The role of Britain’s history in Poly-Olbion is first of all analysed in the context of the Drayton-Selden diatribe concerning the sources, methods and contents for the study of British history. Selden’s approach tends to dismantle centuries of Galfridian legends and stories, in order to restore the few reliable sources available for the study of a very fragmented and uncertain British history, while Drayton trusts the Old Welsh/British sources on which the Galfridian legends were based, which he saw as the remains of the knowledge the ancient Druids had orally committed to the song of Bards. A final, crucial point in the discussion, highlighting the issue of the union, or lack of it, of the kingdom is the analysis of the matter relating to the kingdom’s origins, especially with regard to the Saxons (English) and the British (Welsh) peoples. Drayton and Selden devote numerous lines to the ancestry of these peoples, as well as to that of the Danes and the Normans, demonstrating great knowledge of biblical, mythological, and fictional genealogies. What results from these networks of interrelations is a ”unified fragmentation” of the inhabitants of Britain, which also characterises its landscape. This amount of information on the Poly-Olbion matter is filtered through a survey of the large though uneven amount of criticism the poem has been exposed to through the centuries, as well as through an analysis of the work’s literary influence to date. Attention is brought on the ways in which the work was received: by being read in its own right, or subsumed under a specific socio-cultural label determining its meaning a priori – that is to say, the layers of meanings it acquired, or failed to acquire, in the course of time, because of changing literary vogues. Indeed, taking the years of Poly-Olbion’s publication as a starting point, this study is retroactive in its consideration of the sources, matter, and literary background, but also proactive, in its observation of the subsequent criticism on and literary influence of the poem, bearing in mind Drayton’s possible authorial intentions. In turn, the use of contemporary criticism and its approaches cannot but lead to a global retroactive view of Poly-Olbion – of the ways it should have been, would be, and actually was read and studied. The issue of a varied and discordant reception is actually one of the main problems Poly-Olbion has had to face. After a long gestation, the poem was published in two parts in the course of ten momentous years, and was believed to have been ”anachronistic” as early as the publication of the first edition in 1612, even by the poet himself. The ”perspectival” view this dissertation presents has therefore been part of Poly-Olbion’s story all along. Paradoxically, the criticism and literary influence of the poem from the seventeenth to the twenty-first century – what has been written on it, and the ways in which it has been understood – can be extremely helpful in order to study Drayton’s work and pin down its strong relationship with the passing of literary and cultural vogues. The dissertation contends inter alia that the analysis of the Poly-Olbion matter as filtered by its literary influence points at the poem’s importance as the model and apex of a literary genre – the topo-chorographical depiction of the land of Britain, whether in verse or prose – which, though deemed secondary, proves to have survived to date, especially via the contamination with seventeenth-century river and country-house poetry, as well as later loco-descriptive literature. These subgenres, in turn, testify, together with Poly-Olbion criticism, to Drayton’s views of the political and socio-cultural nature of Great Britain, and the ways in which they were read, understood, and elaborated upon by critics and authors in the course of four centuries.
Il Poly-Olbion (1612; 1622) di Michael Drayton è un poema loco-descrittivo suddiviso in due parti costituite, rispettivamente, da diciotto e dodici Canti, ciascuno dei quali preceduto da una mappa. I versi descrivono la topografia delle contee dell’Inghilterra e del Galles, e i fatti storici che accaddero nelle località in questione. La voce narrante si alterna tra vari elementi paesaggistici, come foreste, montagne, valli, ma sopratutto fiumi. Nella prima parte del poema ciascun Canto si conclude con un commento dell’antiquario John Selden. Questo studio si propone di evidenziare il ruolo del Poly-Olbion nel quadro della letteratura e della cultura inglese dal Seicento a oggi. Mira anche a unificare la vasta e frammentaria critica e i dati sull’influsso letterario del poema in una visione coerente finalizzata a un’analisi congiunta dei contenuti e della storia della sua ricezione. Esso fa inoltre uso dell’interazione tra prospettive sincroniche e diacroniche al fine di trattare della materia del poema alla luce della critica secentesca, fino quella dei giorni nostri. Le motivazioni alla base delle varie e mutevoli opinioni sul Poly-Olbion sono collegate sia ai tempi sia alle modalit`a della composizione e del contenuto. L’opera viene innanzi tutto contestualizzata all’interno dell’epoca e della vita di Drayton, in quanto pietra miliare della sua carriera e della sua reputazione presso i mecenati. Questi dati si propongono anche di fornire una spiegazione alle difficoltà che il poema potrebbe aver incontrato nel mercato librario, difficolt`a denunciate dallo stesso poeta. L’analisi dei due principali argomenti del Poly-Olbion – la topografia e la storia della Gran Bretagna – getta luce sulle possibili intenzioni autorali di Drayton e sulle sue fonti, come pure sul tipo di lettori che potrebbe aver avuto in mente e sulle ragioni alla base della scarsa commercializzazione dell’opera. L’uso della topografia in quanto stratagemma organizzativo per la materia antiquaria viene discusso e messo in relazione alla descrizione retorica della terra di Gran Bretagna, frammentata in dozzine di voci narranti, appartenenti al paesaggio locale, nonché al ruolo delle mappe che aprono ciascun Canto. Emerge così un quadro coerente che unisce mappa, materia topografica e singole località narranti in un’entità che contiene in sé spazio e tempo, collegando specifici luoghi (del presente) a specifici eventi (del passato), unificando così nel luogo queste dimensioni temporali. La singola località è nel contempo storicamente divisa e fisicamente unita al resto della Gran Bretagna: relazione, questa, che collega l’uso draytoniano della topografia e della storia. Questo punto, infatti, è probabilmente legato ai dibattiti quasi contemporanei relativi all’Unione tra Inghilterra (e Galles) e Scozia, paese su cui Drayton avrebbe voluto scrivere, senza peraltro riuscire nell’intento. Il ruolo della storia britannica nel Poly-Olbion viene innanzitutto analizzato nel quadro della diatriba tra Drayton e Selden riguardante le fonti, i metodi, e i contenuti del suo studio. Mentre l’approccio di Selden tende a distruggere secoli di storie e leggende risalenti in ultima analisi a Geoffrey of Monmouth, in modo da restituire alla ricerca le poche fonti affidabili per lo studio di una storia britannica assai frammentaria e lacunosa, Drayton si affida alle fonti antico-gallesi/britanniche su cui si basavano le leggende galfridiane, e che il poeta considerava come resti di una conoscenza che gli antichi druidi avevano affidato oralmente al canto dei bardi. Il punto finale, e cruciale, della discussione, collegato al discorso riguardante l’Unione dei due Regni sotto Giacomo VI/I, è l’analisi della materia relativa alle origini della nazione, in particolare quella riguardante i sassoni (inglesi) e i britanni (gallesi). Drayton e Selden dedicano molto spazio alle origini di questi popoli, come pure a quella dei danesi e dei normanni, dimostrando grande conoscenza di genealogie bibliche, mitologiche e leggendarie. Quanto risulta da queste interrelazioni è una ossimorica frammentazione unificata degli abitanti della Gran Bretagna – la stessa frammentazione unificata che ne caratterizza il paesaggio. Tale quantità di informazioni sulla materia oggetto del Poly-Olbion viene filtrata mediante uno studio della critica favorevole e sfavorevole al poema fino ai nostri giorni, nonché mediante un’analisi del suo influsso letterario fino al ventesimo secolo. Si discutono le modalità di ricezione dell’opera, a volte letta in quanto tale, a volte nell’ambito di una particolare etichetta socio-culturale che ne determina il significato a priori – ovvero la stratificazione che ne ha caratterizzato o meno il significato nel corso del tempo, per il susseguirsi delle mode letterarie. Prendendo come punto di partenza gli anni della pubblicazione del Poly-Olbion, questo studio si rivela retroattivo per la sua considerazione delle fonti, del contenuto, e del background letterario, ma anche proattivo, per le osservazioni relative alla critica successiva e all’influsso letterario del poema, mai perdendo di vista le probabili intenzioni dell’autore. A sua volta, l’uso della critica contemporanea e dei suoi approcci non può che portare a una visione globale retroattiva del Poly-Olbion – dei modi in cui avrebbe dovuto essere, sarebbe stato, e fu effettivamente letto e studiato. La questione della ricezione varia e discordante è in effetti uno dei primi e decisivi problemi che il Poly-Olbion ha dovuto affrontare: dopo una lunga gestazione, il poema fu pubblicato in due parti, nel corso di dieci anni cruciali, e fu considerato ”anacronistico,” persino dallo stesso poeta, già al tempo della pubblicazione della prima parte nel 1612. In definitiva, la visione ”prospettica” presentata in questa tesi è stata sempre parte della storia del Poly-Olbion: paradossalmente, la critica e l’influsso letterario del poema dal diciassettesimo al ventunesimo secolo – ciò che ne è stato scritto, e come è stato capito – possono essere molto utili per lo studio dell’opera di Drayton e per comprenderne il forte legame col susseguirsi delle mode letterarie e culturali. Questa tesi dimostra dunque in che modo l’analisi della materia del Poly-Olbion, filtrata attraverso il suo influsso letterario, sottolinei l’importanza dell’opera in quanto modello e apice di un genere letterario – la descrizione topo-corografica della Gran Bretagna, in versi o in prosa – che, sebbene ritenuto secondario, ha dato prova di essere sopravvissuto fino ai nostri giorni, in particolare mediante la commistione con la river poetry e il country-house poem del Seicento, e le opere loco-descrittive del Sette-Ottocento. Questi sottogeneri dimostrano, a loro volta, assieme alla critica del Poly-Olbion, le opinioni di Drayton sulla natura politica e socioculturale della Gran Bretagna, e i modi in cui queste sono state lette, comprese, e rielaborate da critici e autori nel corso di quattro secoli.

This thesis explores the richness of Devon’s antiquarians’ records covering the period from the 15th century through to the early 20th century, and reveals the wealth of information that these archives contain about archaeological sites and medieval buildings that have since been lost. The lives of the Devon antiquarians themselves, how the carried out their research, and the unpublished and published material they have left us, are all reviewed. Of particular importance are unpublished questionnaires, journals, diaries, notebooks and commonplace books which together provide an untapped resource of information on lost and damaged archaeological sites. When assessing the antiquarians’ pictorial evidence it was important to undertake field visits in order to ascertain their accuracy and the amount of damage sites have incurred since. The earliest antiquarians were those who visited Devon during the 16th century in order to collect material for the histories of England they were writing. These were followed by Devonian antiquarians, who from the 16th century onwards wrote histories of Devon, and a later group who visited, and in some cases excavated, archaeological sites. Antiquarians are discussed in depth where they have left us documentary evidence, and in some cases illustrations, from their research. The thesis explores six areas of research pursued by these antiquarians: barrows, hillforts, Roman sites, castles, religious houses and churches. Within the discussion of these types of sites, particular case studies are used to show the progression of archaeological techniques within antiquarian research, it was found that the majority of the sites described by antiquarians have not undergone any further archaeological investigation.

The purpose of this thesis is to formulate a coherent history of Roussillon in the nineteenth century in an attempt to explain the causes for the weaknesses underpinning its Catalan cultural revival. In order to do so, I will commence by broaching the subject of the French process of nation-building, to illustrate how the initial Roussillonese studies were stimulated by research and inquiries into “national antiquities”. Such studies were indeed promoted by consecutive French governments with the aim of classifying, documenting and preserving all the artistic, linguistic and architectural “monuments” of the French nation. My research then proceeds to examine the Occitan-Catalan cultural context, within which the Roussillonese linguistic and cultural revival should be inserted and analysed. Moreover, I shall attempt to quantify the contribution made by Roussillonese scholars to the reflection on the Catalan language during the nineteenth century, as well as the extent and type of knowledge they possessed of Catalan and how they investigated it.
El objetivo de esta tesis es establecer una historia coherente del Rosellón en el siglo XIX con el objetivo de explicar las causas de la “debilidad” del renacimiento cultural en catalán. Para ello, empezaré planteando la cuestión del proceso francés de construcción de la nación con el fin de ilustrar cómo los primeros estudios roselloneses fueron estimulados por las investigaciones y estudios sobre las “antigüedades nacionales”. Estos estudios fueron promovidos por varios gobiernos franceses con el objetivo de clasificar, documentar y preservar todos los “monumentos” artísticos, lingüísticos y arquitectónicos de la nación francesa. A continuación, mi investigación procederá a examinar el contexto cultural Occitano-Catalán, dentro del cual debe inserirse y analizarse el renacimiento lingüístico y cultural rosellonés. Además, pretendo valorar la contribución hecha por los eruditos roselloneses a la reflexión sobre la lengua catalana durante el siglo XIX, así como el alcance y el tipo de conocimiento sobre el catalán que poseían y cómo la investigaban.

Avhandlingen rymmer en ”stor” och en ”liten” berättelse. Den lilla berättelsen börjar omkring 1870 och handlar om Nordiska museet och dess grundläggare Artur Hazelius. Den stora berättelsen tar sin början i 1800-talets första decennier och förankrar det kulturhistoriska museiväsendets framväxt och formering i en mera vidsträckt och kronologiskt utsträckt historie- och museipolitisk kontext. 1800-talet har karaktäriserats som en period av stark statlig mobilisering på det musei- och historiepolitiska fältet. Avhandlingen visar att det var osäkert vilken roll staten skulle spela. Det var osäkert vilket slags offentlighet som museerna tillhörde, vilka syften museer fyllde och hur de skulle utformas. Det var omtvistat vem som ägde fornminnena. Två rörelser kan urskiljas. Den ena rörelsen ville åstadkomma ett långtgående statligt ansvar för historiebevarandet. Den andra rörelsen var framväxten av ett civilsamhälleligt associationsväsende på historiebevarandets område. Historie- och museipolitikens grunddrag kännetecknades av spänningarna mellan dessa rörelser. Den stora berättelsen överlappar den lilla berättelsen om Nordiska museet och Artur Hazelius. Avhandlingen belyser det spelrum som de övergripande osäkerheterna om historiebevarandets mål och organisering lämnade åt Artur Hazelius och hur Nordiska museets utveckling efter hand kom att ge återverkningar på hela det historie- och museipolitiska området. Den belyser också hur Nordiska museets stegvisa etablering som kulturhistoriskt centralmuseum påverkades av det kulturhistoriska museiväsendets professionalisering. I avhandlingen är det historiografiska perspektivet centralt. Ett utmärkande drag för den dubbla historia som avhandlingen berättar är den betydelse som historieskrivningen har haft, både för formeringen av det kulturhistoriska museiväsendet och för efterhandsförståelsen av detsamma.
This thesis traces and analyses important changes in cultural heritage and museum politics during the 19th century. It tells two overlapping narratives. One is about the museum founder Artur Hazelius and the creation and expansion of The Nordic Museum (Nordiska museet). The other concerns the indecisive construction of meaning and organisational forms for state responsibility for the cultural heritage. The latter story begins in 1810 and the former in 1872. The 19th century is commonly described as the breakthrough for a new era, a time when the cultural heritage became a matter of the state and a part of state promoted nationalism. This thesis instead sheds light on the uncertainties, hesitations and conflicts involved in the construction of national cultural heritage politics and practices. It emphasises the alternatives to state administration that were launched and the crucial role played by associations and voluntary organisation in the preservation of the cultural heritage. It observes the significance of histories and of counter-histories in the controversies over the ownership of and responsibility for the cultural heritage. The way different political positions grow out of conflicting stories of institutional origin is considered. The thesis also focuses on the gradual emergence of a museum profession and its implications for the development of the Nordic Museum and for museum politics in general.

Title from PDF of title page (University of Missouri--Columbia, viewed on Feb 25, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Dissertation advisor: Dr. Devoney Looser. Vita. Includes bibliographical references.

For the past century, medievalism studies generally and Anglo-Saxonism studies in particular have largely dismissed the eighteenth century as a dark period in English interest in the Anglo-Saxons. Recent scholarship has tended to elide Anglo-Saxon studies with Old English studies and consequently has overlooked contributions from fields such as archaeology, art history and political philosophy. This thesis provides the first re-examination of scholarly, antiquarian and popular Anglo-Saxonism in eighteenth-century England and argues that, far from disappearing, interest in Anglo-Saxon culture and history permeated British culture and made significant contributions to contemporary formulations and expressions of Englishness and English national, legal and cultural identities. Each chapter examines a different category of Anglo-Saxonist production or activity, as those categories would be distributed across current scholarship, in order to explore the ways in which the Anglo-Saxons were understood and deployed in the construction of contemporary cultural- historiographical narratives. The first three chapters contain, respectively, a review of the achievements of the ‘Oxford school' of Saxonists of the late seventeenth and early eighteenth centuries; antiquarian Anglo-Saxon studies by members of the Society of Antiquaries of London and their correspondents; and historiographical presentations of the Anglo-Saxons in local, county and national histories. Chapters four and five examine the appearance of the Anglo-Saxons in visual and dramatic art, and the role of Anglo-Saxonist legal and juridical language in eighteenth-century politics, with reference to discoveries resulting from the academic and antiquarian research outlined in chapters one to three. It is my contention that Anglo-Saxonism came to serve as a unifying ideology of origins for English citizens concerned with national history, and political and social institutions. As a popular as well as scholarly ideology, Anglo-Saxonism also came to define English national character and values, an English identity recognised and celebrated as such both at home and abroad.

Mestrado em Marketing
A expressão retro tem ganho uma importância cada vez maior ao longo dos anos, despertando curiosidade um pouco por todos os mercados. O que significa que diversos produtos, serviços e marcas que eram utilizados no passado estão a regressar ao presente com alguma força. Esta investigação tem como objetivo entender as atitudes face aos produtos retro numa amostra de consumidores portugueses, isto é, averiguar qual a influência que a nostalgia, o colecionismo, a experiência com o passado, o interesse para com o passado, o materialismo, a procura da novidade e a necessidade de se sentirem únicos exercem sobre as atitudes de um grupo de consumidores portugueses ao adquirirem estes bens. De modo a alcançar este objetivo foi realizada uma pesquisa de natureza descritiva, utilizando-se um método quantitativo, neste caso, o inquérito por questionário como forma de recolha de dados, no qual as questões fundamentais foram elaboradas tendo em consideração escalas desenvolvidas anteriormente por alguns autores. Este inquérito por questionário foi divulgado online, registando como amostra 320 consumidores portugueses. Constatou-se assim, que tanto a nostalgia como o colecionismo e a experiência que estes consumidores tiveram no passado influenciam positivamente as suas atitudes para adquirirem produtos retro no presente. A variável materialismo não apresentou fiabilidade, enquanto que, as restantes variáveis (interesse para com o passado, procura da novidade e necessidade de se sentirem únicos) não apresentaram significado estatístico, o que significa que não influenciam as atitudes dos consumidores portugueses (presentes nesta amostra) face aos produtos retro.
The retro expression has gained increasing importance over the years, arousing curiosity a little in all markets and in people of all ages. This means that many products, services and brands that were used in the past are returning with some force. This research aims to understand the attitudes towards retro products in a sample of portuguese consumers, that is, finding out what influence the nostalgia, antiquarianism, experience with the past, interest in the past, materialism, consumer novelty seeking and need for uniqueness have on the attitudes of a group of portuguese consumers to purchase these goods. In order to achieve this objective it was conducted a descriptive study, using a quantitative method, in this case the survey as means of data collection, in wich the key questions have been prepared taking into account previously developed scales from some authors. This survey was published online by registering as a sample 320 portuguese consumers. It was found that both nostalgia and antiquarianism and experience that these consumers had in the past, have a positive influence in their attitudes to acquire retro products at the present. The variable materialism was not reliable, while the remaining variables (interest in the past, novelty seeking and need for uniqueness) did not present statistical significance, wich means that they don't influence the attitudes of portuguese consumers (presente in this sample) compared to retro products.
info:eu-repo/semantics/publishedVersion

Furniture history is often considered a niche subject removed from the main discipline of art history, and one that has little to do with the output of painters, sculptors and architects. This thesis, however, connects the key intellectual, artistic and architectural debates surfacing in 'the arts' between 1740 and 1840 with the design of British furniture. Despite the expanding corpus of scholarly monographs and articles dealing with individual cabinet-makers, furniture making in geographic areas and periods of time, little attention has been paid to exploring Gothic furniture made between 1740 and 1840. Indeed, no body of research on 'mainstream' Gothic furniture made at this time has been published. No sustained attempt has been made to trace its stylistic evolution, establish stylistic phases, or to place this development within the context of contemporary architectural practice and historiography — except for the study of A.W.N. Pugin's 'Reformed Gothic'. Neither have furniture historians been willing to explore the aesthetic's connection with the intellectual and sentimental position of 'the Gothic' in the period. This thesis addresses these shortcomings and is the first to bridge the historiographic, cultural and architectural concerns of the time with the stylistic, constructional and material characteristics of Gothic furniture. It argues that it, like architecture, was charged with social and political meanings that included national identity in the eighteenth century — around a century before Charles Barry and A.W.N. Pugin designed the Palace of Westminster and prominently associated the Gothic legacy with Britishness.

This study of the establishment of heritage preservation in Sweden during the first half of the 20th century focuses upon Sigurd Curman (1879-1966), art historian, restoration architect and Director of Antiquities. Its purpose is to show how an older, more research-oriented form of heritage work grew to become a more socially-conscious vari­ant of cultural preservation. The period of establishment embraces organizational inquiries, government legisla­tion and institutionalization, and as Director of Antiquities between 1923 and 1946, Curman was a main actor. He had already become a key figure in debates on the official organization of preservation activities in Sweden well before this, whose early career dealt chiefly with the restoration of churches. Curman advocated the accentuation of aspects of cultural history. An opinion had been formed among cultural historians and museum curators against what they perceived as the obsolete manner of pursuing heritage efforts conducted by the Royal Swedish Acad­emy of Letters, History and Antiquities and its secretary, the Director of Antiquities, who was also head of Swe­den's main official museum, the Museum of History. Criticism was aimed at all aspects of official heritage preservation efforts, including legislation, restoration policy, the care of ancient ruins and treatment of finds, as well as the lack of understanding on the behalf of the central authority for local and regional interests. The latter referred to the emotive aspects of heritage preservation, which in contemporary verbiage was summarized by the term "piety". The central authority was accussed of not understanding "popular" heritage preservation outside the context of the museum and of displaying a lack of piety toward "the cultural memory of the Fatherland". These feelings were based primarily on two prerequisites: an established perception of a homogeneous national culture with ancient roots in the past, and an apprehension that it was in the interests of society that the government become responsible for the administration of this material cultural heritage. This ambition can be summarized by the term "preservation of cultural heritage" and its foremost exponent was Sigurd Curman. The dissertation fol­lows Curman from his childhood in a wealthy Stockholm family, to his early career in restoration and as lecturer in architectural history at the College of Art. In 1912, Curman was appointed to the first chair in these fields estab­lished at the College, which he held until 1918 when he became advisor in the cultural history of architecture at the new Royal Swedish Board of Public Building. When appointed Director of Antiquities he began concretizing the official organization of heritage preservation. During the 1910s he participated in a comprehensive, dual inquiry into the organization and legislation of the government's heritage preservation policy. When its final report was presented in 1922 it was tabled, but still acted as the basis for Curman's continued efforts. He created a modem bureaucracy out of the council of the Department of Antiquities and contributed to moving the central authority from the ground floor of the National Museum to its own premises in midtown Stockholm. Curman would also work to improve legislation to protect cultural monuments and developed museum activities by creat­ing a countrywide organization of county antiquarians and regional museums. When Sweden's new antiquities law was passed by parliament in 1942, Curman had not only led the inquiry leading up to it, but had formulated the draft of the legislation himself. By the time of his retirement in 1946 he was a legend in antiquarian circles, the very personification of Swedish cultural heritage preservation. The present dissertation shows how Curman achieved this status, though it also details the efforts of numerous other actors participating in the process and sees Curman as a bureaucrat who realized demands for a renewal of heritage preservation in the country.
digitalisering@umu

Cette thèse porte sur l’activité épigraphique de F. Ximenez, administrateur de l’hôpital trinitaire de Tunis qui, entre 1720 et 1735, a entrepris plusieurs excursions dans la Régence. Ses ouvrages sont restés inédits pour la plupart et, bien qu’ils aient été dépouillés à l’occasion de la publication du huitième volume du Corpus Inscriptionum Latinarum (CIL), une relecture s’avérait nécessaire. En effet, plusieurs des informations relatives aux inscriptions n’avaient pas été relevées, tandis que d’autres n’avaient pas été interprétées de manière satisfaisante. Ces informations concernent les caractéristiques des monuments épigraphiques, leur localisation ainsi que les conditions de leur découverte. Les erreurs d’interprétation faites lors du dépouillement des manuscrits de F. Ximenez ont mené à la création de doublons, mais ont conduit également à situer la provenance de certaines inscriptions loin du site qui leur correspond. Afin de mieux cerner les itinéraires empruntés par F. Ximenez pour déterminer les sites de provenance des inscriptions, il a été indispensable de consulter des cartes archéologiques tant anciennes que récentes et de se rendre sur le terrain afin de suivre les pas de cet auteur et ainsi reconstituer ceux de ses parcours qui apparaissaient comme les plus obscurs. De même, la relecture des manuscrits de F. Ximenez et la comparaison avec les textes des voyageurs qui lui étaient contemporains ont permis de reconstituer les stemmata de la tradition manuscrite des inscriptions. Il s’agissait d’analyser la transmission des informations entre les antiquaires de l’époque et de rendre à chacune des parties en cause ce qui lui était dû. Ces comparaisons nous ont mené à analyser les motivations et les intérêts de F. Ximenez relativement aux inscriptions anciennes. Qu’est-ce qui l’intéresse principalement dans les épigraphes ? Quels types de données collecte-t-il les concernant et quelles informations tente-t-il de déduire à partir de ces documents ? Comment en fait-il les relevés ? Ces aspects nous ont permis de mieux situer F. Ximenez au sein des antiquaires de son époque ; pour cela, il a d’ailleurs été nécessaire d’étudier la réception par quelques-uns de ces antiquaires. Quelle était l’opinion de ces savants le concernant ? Comment se sont-ils servis des informations que F. Ximenez a recueillies ?
This thesis deals with the epigraphical activity of F. Ximenez, the administrator of the Trinitarians hospital at Tunis who, between 1720 and 1735, undertook several excursions in the interior of the Regency. Most of his work remains unpublished, and even and even after being dissected for the publication of the Corpus Inscriptionum Latinarum (CIL), a re-reading have been proved to be necessary. Indeed, a certain amount of the information on the inscriptions was yet to be discerned and a significant part extracted from it hasn’t been correctly interpreted. They concern the features of the epigraphical monuments as well as their localisations and the conditions of their discovery. The major blunders committed interpreting the manuscripts of F. Ximenez have created duplications of inscriptions and have let researchers think that some inscriptions came from what it tourned out to be the wrong places. In order to draw up the itineraries of F. Ximenez and to determine the sites of origin of the inscriptions it has been essential to consult the ancient and recent archeological maps, along with a field visit in the country in order to follow his steps, shedding light on the case of his more unclear journeys. This new reading of the manuscripts of F. Ximenez and the comparison with the works of the contemporary travellers have also allowed to recreate the stemmata of the manuscript tradition of inscriptions. The aim has been to analyse the transmission of information between the antiquarians of that time and give back to all of the parties involved what was due to each one of them. These comparisons have led us to analyse the reasons and the interests of F. Ximenez with regard to the ancient inscriptions. What's his main interest concerning the epigraphs? What kind of data does he gather from them and what kind of information does he try to deduce from them? How does he take the tracings? These approaches have allowed to place F. Ximenez within the antiquarians of his time, but in order to do this it has been essential to study the reception which some of them have made of the manuscripts of F. Ximenez. What was the opinion of those scholars on F. Ximenez? How did they use the data he has gathered? We have attempted to answer these as well as other questions in this thesis

The first protective activities of historical and archaeological heritage in the province of Girona (Catalonia, Spain), although some earlier precedents, were produced from the third decade of the nineteenth century. These arose as a reaction to this terrible destruction suffered as a result of the introduction of the liberal state and the disappearance of several regular orders. Preservationists actions were carried out by some pseudo-public entities, which acted at the request of local authorities. These entities include the the Diputación Arqueológica, the Sociedad de Amigos del País and the Comisión de Monumentos. These corporations, with significant human and economic constraints, began activities as important as the beginning of the excavations of the site of Ampurias, the formation of a provincial museum in Girona and the restoration of the monastery of Ripoll.
Les primeres actuacions protectores del patrimoni històric i arqueològic a l’actual província de Girona, tot i haver-hi alguns precedents anteriors, es produïren a partir de la tercera dècada del segle XIX. Aquestes sorgiren com a reacció a les terribles destruccions que patí aquest com a conseqüència de la instauració de l’Estat liberal i la desaparició dels ordres regulars. Les actuacions proteccionistes es vehicularen, majoritàriament, a través d’un seguit d’ens pseudo-públics, que actuaren a instancia de les administracions locals (Diputació i Govern Civil). Entre aquestes entitats cal destacar la Diputació Arqueològica, la Societat d’Amics del País i la Comissió de Monuments, per esmentar només unes quantes. Entitats que amb els seus escassos mitjans humans i materials endegaren activitats tan importants com: l’inici de les excavacions del jaciment d’Empúries, la formació d’un museu provincial a Girona i la restauració del monestir de Ripoll.
Las primeras actividades protectoras del patrimonio histórico y arqueológico en la actual provincia de Gerona, aunque hay algunos precedentes anteriores, se produjeron a partir de la tercera década del siglo XIX. Estas surgieron como reacción a las terribles destrucciones que sufrió este como resultado de la instauración del Estado liberal y la desaparición de los diversos órdenes regulares. Las actuaciones proteccionistas se vehicularon, mayoritariamente, a través de una serie de entidades pseudos-públicas, que actuaron a instancia de las administraciones locales (Diputación y Gobierno Civil). Entre estas entidades cabe destacar la Diputación Arqueológica, la Sociedad de Amigos del País y la Comisión de Monumentos, por citar solo unas cuantas. Entidades que con sus escasos medios humanos y materiales iniciaron actividades tan importantes como: el inicio de las excavaciones del yacimiento de Ampurias, la formación de un museo provincial en Gerona y la restauración del monasterio de Ripoll.

An important masterpiece by the Paduan sculptor Andrea Riccio, the Della Torre tomb monument broke with contemporary funerary monuments in both its form and content. Understanding what enabled this break with tradition is the central issue in the study of this monument—one that has not been sufficiently addressed in previous scholarship. Despite the lack of overt references to the Christian faith on the Della Torre monument, the narrative programme is concerned with two very important Christian concerns—the necessity of a life of virtue and the health and afterlife of the soul. I argue that the narrative on the tomb, influenced by contemporary funerary oratory and poetry, presents a model of virtue for the viewer. Moreover, I argue that Riccio has illustrated the presence of this exemplar by the very structure of the monument itself. This dissertation focuses on the artistic and intellectual community surrounding the creation of this monument and, in particular, on the reconciliation of this strictly all’antica monument with Christian thought in this period. Upon a thorough contextual examination, this unprecedented monument becomes less of an anomaly. It reflects the ideas of an important circle of humanists from both Padua and Verona, thus illustrating the breadth of their interests and their involvement in contemporary debates over religion, the nature and potential immortality of the soul, and the necessity of virtue. Analysing this monument within the context of humanist ideas prevalent among the individuals within the Della Torre circle, those who had, or likely had, a great influence on the significance of the monument’s narrative, gives this monument what has been long denied to it—a proper understanding of its Christian programme and didactic function. The fulfillment of this task, which promises to shed additional light on the adaptation of pagan elements to Christian purposes, is the overall aim of this work.

The fortuitous discovery of early Christian images adorning the catacombs on Via Salaria in 1578 enabled scholars to address urgent, contemporary problems concerning the Catholic tradition of image veneration, which had been attacked by Protestant iconoclasts. Although the catacombs had been important devotional sites for the cult of martyrs and relics throughout the Middle Ages, the 1578 catacomb discovery was the first time that Romans connected the catacombs with the early Christian cult of images. Only after 1578 did scholars and antiquarians begin to collect and study early Christian frescoes and antiquities found in Rome’s numerous catacomb sites. Their research culminated in the publication of Antonio Bosio’s Roma sotterranea (1635), the first treatise on the Roman catacombs. After the Council of Trent (1545–1563), Catholic scholarship on the catacombs defended the early Christian origins of the cult of martyrs, relics, and images. I argue that the Tridentine Church’s claim of continuity motivated the study of early Christian art in the catacombs in the late sixteenth and early seventeenth centuries. By critically evaluating images and archeological sources to support an interpretation of the Church as semper eadem (ever the same), Bosio and his sixteenth-century predecessors contributed to the development of modern historical and archeological methods. This dissertation explores the juxtaposition of imaginative and analytical interpretations of the Roman catacombs in the late sixteenth and early seventeenth centuries. Early modern descriptions of the catacombs characterize these burial sites as emotive worship spaces for the early Church that evoked Christian suffering, martyrdom, and devotion to the cult of saints. I argue that the gruesome martyrdom imagery commissioned to decorate S. Stefano Rotondo and SS. Nereo e Achilleo in the last two decades of the sixteenth century imaginatively recreated what contemporaries thought early Christian worship would have been like in the catacombs. As the first in-depth study to consider the relationship between the exploration of the catacombs and the first large-scale martyrdom cycles in the late sixteenth century, this dissertation demonstrates how vivid pictorial imagination of the Christian past inspired the early Christian revival movement in post-Tridentine Rome.
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Der vorliegende Beitrag gibt einen Überblick über die Geschichte der Entwicklung von Forschungszielen, Fragestellungen und Interpretationsansätzen der Prähistorischen Archäologie in Deutschland. Vom frühen 19. Jahrhundert ins Heute fortschreitend werden gleichzeitig die institutionellen und personellen Aspekte der Fachgeschichte und insbesondere die geistesgeschichtlichen Grundlagen der Urgeschichtsforschung skizziert – von der „vaterländischen Altertumskunde“ über anthropologisch-archäologische Forschungen bis zur Prähistorischen Archäologie. Hierbei wird insbesondere die Frage nach der Relevanz der Prähistorischen Archäologie für die Konstruktion kollektiver Identitäten verfolgt.
This paper presents a historical overview of research aims, questions and models of interpretation in prehistoric archaeology in Germany. Moving from the early 19th century into our days the epistemological foundations of prehistoric research are sketched – from “patriotic antiquarianism” via anthropologicalarchaeological research to recent prehistoric archaeology – but also its institutional and personal developments. Emphasis lies on the relevance this discipline had and still has for the construction of collective identities.

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Recent radiocarbon dating of a skeleton from Balevullin, Tiree, excavated in the early twentieth century, demonstrates that it dates to the Neolithic period, rather than the Iron Age as originally expected. Osteological examination suggests that the individual was a young adult woman, exhibiting osteological deformities consistent with vitamin D deficiency, most likely deriving from childhood rickets; an exceptionally early identification of the disease in the UK with potentially significant social implications. Isotopic analysis supports the osteological evidence for physiological stress in childhood and further suggests that the woman was most probably local to the islands. Analysis of the surviving written archive reveals that the surviving skeleton was one of several originally recovered from the site, making Balevullin an exceptionally rare example of a British Neolithic inhumation cemetery.