Dissertations / Theses on the topic 'Epitaphs'

<p> This thesis looks at over 3,000 inscriptions of unmarried daughters, under the age of 20, during the Roman Empire. It discusses the formulaic ways in which daughters were described on their tombstones based on their age and the Roman virtues valued at the time. It primarily focuses on descriptors, superlatives used, the dedicators who commissioned the work, girls who died before their wedding, and ages of girls which have excesses in the months or days she lived as inscribed on her epitaph.</p>

Les stèles funéraires d’Antioche et de ses environs datant de l’Antiquité sont en si grand nombre qu’elles méritent une étude approfondie. Aucune des recherches menées tout au long du XXe siècle n’offre en effet un corpus complet ni illustré. De plus, le matériel découvert non seulement à l’époque ottomane impériale, mais aussi lors du mandat français notamment lors des fouilles de l’Université de Princeton a été dispersé entre la Turquie, la France, les États-Unis, la Syrie et le Liban. Consciente des enjeux multiples qu’une telle étude d’ensemble serait susceptible de nous livrer sur les éléments manquant dans notre connaissance des divers aspects de la vie sociale, culturelle et religieuse à Antioche et dans ses environs dans l’Antiquité, nous nous sommes efforcée de rassembler le plus grand nombre possible de stèles et de les illustrer, de les analyser minutieusement avant d’élaborer une synthèse sur le sujet. Dans cet objectif, nous avons mené des recherches au Musée archéologique d’Antakya et aux Archives du département d’Art et archéologie de l’Université de Princeton, deux principaux endroits où sont conservés les fruits des fouilles, pour pouvoir comparer les enregistrements d’inventaire, en établir une concordance et obtenir des données complémentaires. Quoique leurs collections soient relativement restreintes, nous avons également étudié les stèles du Musée archéologique d’Istanbul, et celles du Musée du Louvre et du Musée d’art de Worcester. Pour maîtriser nos résultats, nous avons utilisé le programme de File Maker Pro Advanced 11.0v2, qui permet de construire une base de données sans laquelle les documents recueillis seraient impossibles à gérer.Même si la langue grecque est régulièrement choisie pour graver les épitaphes des stèles, on peut constater de nombreuses variations qui peuvent être dialectales mais semblent surtout résulter d’une maîtrise médiocre de la langue. En dépit de la convention de l’épigraphie latine saisissable à travers l’onomastique romaine quoique transcrite en grec, les règles sont appliquées avec peu de rigueur dans les textes de notre corpus. Des noms théophores sont formés à partir des divinités aussi bien grecques, romaines qu’orientales. À partir de ces constatations, nous avons pu reconstituer des pans d’une société qui a réussi à concilier tant bien que mal les Hellènes, les Romains, les Orientaux hellénisés et romanisés sinon d’origine du moins de nom<br>The funerary steles of Antioch and its surrounding areas dating from Antiquity are so numerous that they deserve a thorough study. None of the researches performed throughout 20th century offered either a comprehensive or an illustrated corpus. Furthermore, the materials discovered in the Ottoman imperial period as well as throughout the French mandatory rule —particularly during the excavations conducted by Princeton University— were dispersed among Turkey, France, United States of America, Syria and Lebanon.Observing such deficiencies in the preliminary studies we became conscious of the necessity to cover the missing elements and gaps regarding the various aspects of social, cultural and religious life in Antioch and its surrounding areas in Antiquity through a comprehensive study. We endeavoured to collect largest possible number of steles, to illustrate them, and consequently to elaborate our synthesis based on minute analyses.For this purpose, we conducted researches in Antakya Archaeological Museum and in the Archives of the Department of Art and Archaeology at Princeton University (two main places where the outcome of the aforesaid excavations are preserved) in order to compare the inventory records, to establish a correspondence and to obtain complementary data. Although their collections are relatively small, we also studied the steles of the Archaeological Museum of Istanbul, the Louvre Museum and the Worcester Art Museum. We used the software program File Maker Pro Advanced 11.0v2 for designing an extensive database which rendered the collected material manageable. Although Greek is regularly chosen in engraving epitaphs, we may observe many variations that are dialectal, most likely due to poor command of the language. Notwithstanding that the Latin epigraphic conventions are perceptible through Roman onomastics even though transcribed in Greek, these rules are applied with little rigor in the texts of our corpus. Theophoric names are formed after the names of Greek, Roman as well as the Oriental gods. Based on these observations, we were able to reconstruct parts of a society that somehow managed to reconcile the Hellens, the Romans, the Hellenized and the Romanized Orientals on the level of name, if not on the level of ethnic origins

Проблем аутобиографије и аутобиографског текста у српској књижевности средњег века комплексан је и у науци недовољно истражен. Иако интересовање за аутобиографске текстове старе српске књижевности није ново, досадашња бављења овом темом имала су за циљ само да прикупе и делимично опишу те текстове, без покушаја њиховог систематског сагледавања и тумачења у контексту српске и византијске књижевне традиције, а готово увек без одговарајуће теоријске аргументације.Дефинишући аутобиографију, савремене теорије у први план стављају појмове идентитета, индивидуалности и субјективитета. Ови појмови, међутим, захтевају темељно преиспитивање када је реч о средњем веку, који није познавао индивидуалност у данашњем смислу речи. Штавише, средњи век суочава нас са индивидуумом који се плаши своје оригиналности, који се боји да буде ,,он сам&ldquo;.Отуда је, према средњовековном погледу на свет, писац само ,,инструмент&ldquo;, продужена рука Бога; он је стваралац који ће све добро, тачно и истинито приписати дејству Духа, а своје ауторство признати једино у одступањима и погрешкама. Топос скромности којим средњовековни писци себе одређују као &ldquo;грешне&ldquo;, &ldquo;недовољне&ldquo;, &ldquo;недостојне&ldquo;, &ldquo;последње од свих&ldquo;, којим признају своје незнање и неспособност да пишу о одређеној теми, конституисао се најпре као израз монашке смерности, да би се у ХIV и XV веку ово опште место задржало као обична &ldquo;декорација књижевног карактера&ldquo;.Ипак, иако је за човека средњег века оригиналност била грех таштине, то не значи да средњовековни уметници нису били способни да створе оригинална дела, нити да су књижевна дела настала у епохи средњег века лишена особености и креативног приступа. Упркос томе што средњовековни аутори нису тежили сопственом изразу, већ су следили традицију раније формирану у одговарајућем жанру, ипак можемо говорити о њиховом индивидуалном стилу. Индивидуалност уметника огледала се, углавном, у инвентивности с којом је писац приступао наслеђеним навикама и у оплемењивању традиционалних поступака.Једна од основних претпоставки нашег истраживања била је да у епохи средњег века социјални идентитет готово у потпуности потискује лични идентитет, те да је средњовековни човек био сведен на функцију коју је имао у друштву, односно, да се право на писање аутобиографије у средњем веку заснива на темељу социјално признате важности. Прихватили смо, при том, мишљење већине изучавалаца да је за средњовековље најприкладнији појам ,,културне фигуре&ldquo;, којим су означени тзв. идеални типови људске егзистенције, а који се, између осталог, исказују у језику књижевности и писмености оног времена.Имајући у виду чињеницу да поетиком средњовековне књижевности доминира начело жанра, а не начело ауторства, те да је управо жанр најзначајнији фактор који одређује шта ће писац рећи о себи и о свом животу, трагали смо за аутобиографским фрагментима у повељама, посланицама, записима и натписима, и житијима из XIV века.Будући да је основна карактеристика средњовековне аутобиографске књижевности фрагментарност (подаци које аутор оставља о себи расути су у текстовима различитих жанрова) један од основних циљева нашег истраживања био је да се утврди каква је веза аутобиографског фрагмента с главним текстом. Такође, као својеврстан аутобиографски поступак, а у складу с поетичким начелима средњовековне књижевности, анализирали смо сваку иновативну и оригиналну употребу општих места и библијских цитата, указујући на широке могућности увођења оригиналног садржаја у задате обрасце.У научној литератури посвећеној делима српске средњовековне књижевности појединим текстовима 14. века приписан је атрибут ,,аутобиографског дела&ldquo;, док су неки чак означени као ,,праве аутобиографије&ldquo; (нпр. Улијарска повеља приписана краљу Милутину и Реч Душанова уз Законик). У неким случајевима, међутим, такво атрибуирање је потпуно неоправдано, па смо у раду покушали ревалоризовати уврежена мишљења.Коначно, један од циљева нашег истраживања био је да установимо шта је основна функција аутобиографских фрагмената у делима српске средњовековне књижевности: чување од заборава, оживљавање прошлости, или, пак, пишчево представљање сопственог религиозног и духовног развоја? У сваком случају, на примеру српских списа XIV века показује се да се аутобиографски принцип не мора схватити искључиво као принцип самоисказивања, већ и као одраз духа епохе у објективном сведочанству појединца.<br>Problem autobiografije i autobiografskog teksta u srpskoj književnosti srednjeg veka kompleksan je i u nauci nedovoljno istražen. Iako interesovanje za autobiografske tekstove stare srpske književnosti nije novo, dosadašnja bavljenja ovom temom imala su za cilj samo da prikupe i delimično opišu te tekstove, bez pokušaja njihovog sistematskog sagledavanja i tumačenja u kontekstu srpske i vizantijske književne tradicije, a gotovo uvek bez odgovarajuće teorijske argumentacije.Definišući autobiografiju, savremene teorije u prvi plan stavljaju pojmove identiteta, individualnosti i subjektiviteta. Ovi pojmovi, međutim, zahtevaju temeljno preispitivanje kada je reč o srednjem veku, koji nije poznavao individualnost u današnjem smislu reči. Štaviše, srednji vek suočava nas sa individuumom koji se plaši svoje originalnosti, koji se boji da bude ,,on sam&ldquo;.Otuda je, prema srednjovekovnom pogledu na svet, pisac samo ,,instrument&ldquo;, produžena ruka Boga; on je stvaralac koji će sve dobro, tačno i istinito pripisati dejstvu Duha, a svoje autorstvo priznati jedino u odstupanjima i pogreškama. Topos skromnosti kojim srednjovekovni pisci sebe određuju kao &ldquo;grešne&ldquo;, &ldquo;nedovoljne&ldquo;, &ldquo;nedostojne&ldquo;, &ldquo;poslednje od svih&ldquo;, kojim priznaju svoje neznanje i nesposobnost da pišu o određenoj temi, konstituisao se najpre kao izraz monaške smernosti, da bi se u HIV i XV veku ovo opšte mesto zadržalo kao obična &ldquo;dekoracija književnog karaktera&ldquo;.Ipak, iako je za čoveka srednjeg veka originalnost bila greh taštine, to ne znači da srednjovekovni umetnici nisu bili sposobni da stvore originalna dela, niti da su književna dela nastala u epohi srednjeg veka lišena osobenosti i kreativnog pristupa. Uprkos tome što srednjovekovni autori nisu težili sopstvenom izrazu, već su sledili tradiciju ranije formiranu u odgovarajućem žanru, ipak možemo govoriti o njihovom individualnom stilu. Individualnost umetnika ogledala se, uglavnom, u inventivnosti s kojom je pisac pristupao nasleđenim navikama i u oplemenjivanju tradicionalnih postupaka.Jedna od osnovnih pretpostavki našeg istraživanja bila je da u epohi srednjeg veka socijalni identitet gotovo u potpunosti potiskuje lični identitet, te da je srednjovekovni čovek bio sveden na funkciju koju je imao u društvu, odnosno, da se pravo na pisanje autobiografije u srednjem veku zasniva na temelju socijalno priznate važnosti. Prihvatili smo, pri tom, mišljenje većine izučavalaca da je za srednjovekovlje najprikladniji pojam ,,kulturne figure&ldquo;, kojim su označeni tzv. idealni tipovi ljudske egzistencije, a koji se, između ostalog, iskazuju u jeziku književnosti i pismenosti onog vremena.Imajući u vidu činjenicu da poetikom srednjovekovne književnosti dominira načelo žanra, a ne načelo autorstva, te da je upravo žanr najznačajniji faktor koji određuje šta će pisac reći o sebi i o svom životu, tragali smo za autobiografskim fragmentima u poveljama, poslanicama, zapisima i natpisima, i žitijima iz XIV veka.Budući da je osnovna karakteristika srednjovekovne autobiografske književnosti fragmentarnost (podaci koje autor ostavlja o sebi rasuti su u tekstovima različitih žanrova) jedan od osnovnih ciljeva našeg istraživanja bio je da se utvrdi kakva je veza autobiografskog fragmenta s glavnim tekstom. Takođe, kao svojevrstan autobiografski postupak, a u skladu s poetičkim načelima srednjovekovne književnosti, analizirali smo svaku inovativnu i originalnu upotrebu opštih mesta i biblijskih citata, ukazujući na široke mogućnosti uvođenja originalnog sadržaja u zadate obrasce.U naučnoj literaturi posvećenoj delima srpske srednjovekovne književnosti pojedinim tekstovima 14. veka pripisan je atribut ,,autobiografskog dela&ldquo;, dok su neki čak označeni kao ,,prave autobiografije&ldquo; (npr. Ulijarska povelja pripisana kralju Milutinu i Reč Dušanova uz Zakonik). U nekim slučajevima, međutim, takvo atribuiranje je potpuno neopravdano, pa smo u radu pokušali revalorizovati uvrežena mišljenja.Konačno, jedan od ciljeva našeg istraživanja bio je da ustanovimo šta je osnovna funkcija autobiografskih fragmenata u delima srpske srednjovekovne književnosti: čuvanje od zaborava, oživljavanje prošlosti, ili, pak, piščevo predstavljanje sopstvenog religioznog i duhovnog razvoja? U svakom slučaju, na primeru srpskih spisa XIV veka pokazuje se da se autobiografski princip ne mora shvatiti isključivo kao princip samoiskazivanja, već i kao odraz duha epohe u objektivnom svedočanstvu pojedinca.<br>The problem of autobiographies and autobiographical texts in the medieval Serbian literature is complex and has not been researched enough scientifically. Although the interest in autobiographical texts in the old Serbian literature is not new, prior dealings with this topic only aimed at collecting and partly describing those texts, without attempting to systematically consider and interpret them in the context of Serbian and Byzantine literary tradition. What&rsquo;s more, they almost always lack appropriate theoretical argumentation.In their definition of autobiography, contemporary theories emphasize the notions of identity, individuality and subjectivity. However, these notions require a thorough reconsideration in relation to the Middle Ages, when individuality was not recognized in today&#39;s sense of the word. Moreover, the Middle Ages present us with the individual afraid of their originality, afraid of being &ldquo;themselves&rdquo;.Thus, according to the medieval view of the world, the writer is just an &ldquo;instrument&rdquo; &ndash; God&rsquo;s extended arm; he is the creator who will ascribe everything good, correct and true to the act of the Holy Spirit. On the other hand, he will be recognized as the author only in alterations and mistakes. Medieval writers use the topos of modesty to define themselves as &ldquo;sinful&rdquo;, &ldquo;inadequate&rdquo;, &ldquo;unworthy&rdquo;, &ldquo;last of all&rdquo;, and to admit their ignorance and incompetence to write about a specific topic. At first, the topos was constituted as an expression of monastic meekness, but in the 14th and 15th century this commonplace remained as an ordinary &ldquo;decoration of literary nature&rdquo;.However, even with individuality being the sin of vanity for the medieval person, it means neither that medieval artists were incapable of creating original works nor that the literary works from the Middle Ages lack any distinctiveness and creative approach. Although medieval authors did not aspire to their own expression but followed earlier established traditions in corresponding genres, their individual style can still be a matter of discussion. The individuality of an artist was reflected mainly in his inventiveness which he used to approach inherited habits and in the refinement of traditional devices.One of the basic assumptions of this research was that the social identity almost completely suppresses the personal identity in the Middle Ages, and that the medieval person was reduced to the function they had in the society, that is, that the right to write an autobiography in the Middle Ages was based on socially recognized importance. In addition, the proposition of most researchers that &ldquo;cultural figures&rdquo; is the most appropriate term for the medieval period is acknowledged in the research. This term signifies ideal types of human existence, which are, among other aspects, expressed in the language of literature and literacy of this era.Bearing in mind the fact that the poetics of medieval literature is dominated by the principle of genre rather than the principle of authorship and that the genre is the crucial factor when determining what the writer is going to say about himself and his life, the research focused on autobiographical fragments in charters, epistles, inscriptions and epitaphs, and hagiographies from the 14th century.Since fragmentariness is the central feature of medieval autobiographical literature (the facts which author leaves about himself are scattered in texts belonging to different genres), one of the primary aims of this research is to establish the quality of the connection between autobiographical fragments and the main text. In addition, every innovative and original use of topoi and biblical quotations has been analyzed as a particular autobiographical device in accordance with the poetical principles of medieval literature, highlighting a range of possibilities for the introduction of original contents into the given patterns.In the scholarly researches dedicated to the works of medieval Serbian literature, certain texts from the 14th century have been described as &ldquo;autobiographical works&rdquo; while some have even been designated as &ldquo;real autobiographies&rdquo; (e.g., Ulijarska Charter ascribed to King Milutin and Dusan&rsquo;s Reč uz Zakonik). However, in some cases, such attribution is completely unjustified so this research has tried to revalue prevailing opinions.Finally, one of the aims of this research is to establish the basic function of autobiographical fragments in medieval Serbian literature and see if they were used to preserve memory, resurrect the past or allow the writer to present his own religious and spiritual development? In every case, taking the Serbian writings from 14th century as examples, it is shown that the autobiographical principle does not have to be understood only as the principle of self-expression, but as the reflection of the spirit of an era in an individual&rsquo;s objective testimony.

Cette thèse de doctorat offre deux aspects de la recherche en épigraphie médiévale, à savoir la réalisation d'un corpus des inscriptions médiévales conservées et/ou concernant les diocèses d'Arras, de Cambrai, de Liège, de Thérouanne et de Tournai, et l'étude de ces inscriptions dans une perspective historique. Pour cela, les épigraphes ont été classées en quatre groupes: les inscriptions sur les objets archéologiques mérovingiens, les inscriptions funéraires (épitaphes, endotaphes et authentiques de reliques), les inscriptions relatives à l'histoire des bâtiments religieux et les inscriptions sur les objets liturgiques. Pour chaque catégorie, les formulaires des textes ont été analysés pour eux-mêmes, puis les uns par rapport aux autres. Ils ont ensuite été étudiés en tenant compte du contexte d'insertion (emplacement dans les édifices de culte, rapport avec d'autres textes ou avec des images, etc.). Le but de cette démarche est de déterminer la fonction des inscriptions médiévales et d'enrichir notre connaissance de l'histoire de la mort et de la liturgie au Moyen Age.<br>Doctorat en Histoire, art et archéologie<br>info:eu-repo/semantics/nonPublished

Made available in DSpace on 2015-05-14T12:39:46Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2194564 bytes, checksum: a4f1dd1be4d99183df9c7c2411264c8e (MD5) Previous issue date: 2013-03-04<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>The various discourses that circulate in society, to be materialized on the textual form, and are subject trace of truth wills that follow a regime of repeatability. With this, we find different discursive materiality, refracting the events and presenting statements already said. In this paper we produce gestures interpretation of the inscriptions around posthumous. It's about gender epitaph we turn our eyes, based on a reading of discursive practice that enables us to understand the meanings through the production conditions of utterances. Our study takes a look toward production of discourse epitáfico, official and fabulous, from the procedures used in his speeches, how they are organized and redistributed. Therefore, we, the light of the theoretical assumptions of Discourse Analysis of French line, the general objective, analyze the genre both in the epitaph "official" as in fabulous shape, as evidenced by observing the redefinition of gender through memory and discursive power relations that are involved in their sayings. The "new" epitaphs, to break the discursive order established in the original epitaphs, fall into a place unofficial, and utopian comic grotesque, inscribing new meanings through a subversive and weaving complaints glimpse wires in the text a socio-historical characteristic of postmodern thought.<br>Os vários discursos que circulam na sociedade, ao serem materializados, sobre a forma textual, constituem sujeitos e traçam vontades de verdade que obedecem a um regime de repetibilidade. Com isso, encontramos diferentes materialidades discursivas, refratando os acontecimentos e apresentando enunciados já ditos. No presente trabalho produzimos gestos de interpretação em torno das inscrições póstumas. É sobre o gênero epitáfio que voltamos nossos olhares, tendo por base uma prática de leitura discursiva que nos possibilita compreender os sentidos através das condições de produção dos enunciados. Nosso estudo tem um olhar direcionado à produção do discurso epitáfico, oficial e fabuloso, a partir dos procedimentos utilizados em seus discursos, na forma como são organizados e redistribuídos. Para tanto, temos, a luz dos pressupostos teóricos da Análise de Discurso de linha francesa, como objetivo geral, analisar o gênero epitáfio tanto em sua forma oficial , quanto em sua forma fabulosa, observando como se evidencia a ressignificação desse gênero através da memória discursiva e das relações de poder em que estão envolvidos seus dizeres. Os novos epitáfios, ao quebrar a ordem discursiva estabelecida nos epitáfios originais, inserem-se em um lugar não-oficial, cômico grotesco e utópico, inscrevendo novos sentidos por meio de um caráter subversivo e tecendo denúncias que deixam entrever, nos fios do texto, um contexto sócio-histórico próprio do pensamento pós-moderno.

La Cilicie Trachée demeure, malgré la multiplication des études récentes, une région méconnue. Les inscriptions funéraires nous permettent d’étudier les données relatives aux tombes, aux défunts, à leur croyance, à leur rapport à la mort, à la famille ou encore à la société. La documentation traitée comprend l’ensemble des épitaphes grecques et latines connues, soit plus de 1200, du IVe av. J.-C. au VIe ap. J.-C.. Si les épitaphes de l’époque hellénistique sont rares, nombreuses sont celles postérieures au IIe ap. J.-C. et plus encore au IVe ap. J.-C.. C’est d’ailleurs à cette période que leur contenu se modifie de façon significative : les inscriptions sont moins longues et les renseignements fournis sont bien souvent en relation avec le propriétaire de la tombe, son métier et ses croyances. Auparavant, les épitaphes mentionnent plus volontiers les rapports familiaux, les constructeurs, les dispositions juridiques et religieuses permettant de règlementer l’accès à la tombe… Cette étude s’intéresse donc à l’ensemble des informations contenues dans les épitaphes (à l’exception notable de l’aspect linguistique) en tenant compte des persistances, des évolutions et des changements d’un point de vue temporel, mais aussi géographique, local et régional. Les influences extérieures, grecques, latines ou encore chrétiennes dans les épitaphes ainsi que la conservation d’un substrat culturel local sont également prises en compte<br>Despite the growing number of recent studies, the Rough Cilicia remains an unknown area. Data related to graves, deceased and their beliefs, relation to death, family or society can be studied thanks to funerary inscriptions. The documentation that has been dealt with includes all the Greek and Latin epitaphs that are known until now, that means more than 1200 epitaphs, from the 4th century B. C. to the 6th century A. C.. Epitaphs from the Hellenistic era are rare, whereas there are plenty of epitaphs dated from after the 2nd century A. C. and even more from after the 4th century A. C.. Besides, their content has strongly changed during this era: inscriptions have become shorter and the given information has often been linked to the owner of the grave, its profession and its beliefs. Previously, the epitaphs were preferably talking about family relationships, the builder of the grave or the legal and religious measures controlling the access of the grave. This study thus deals with all the information that have been found in epitaphs (to the exception of the linguistic aspect) and takes into account the lasting, evolving or changing phenomena from a temporal, geographic, local and regional point of view. The external influences on epitaphs (Greek, Latin or Christian) as well as the preservation of local cultural background are also taken into consideration

Les fouilles archéologiques et les prospections conduites à Ghazni ont permis de collecter une grande quantité de documents épigraphiques. Parmi ceux-ci, un corpus inédit d’inscriptions funéraires en langue arabe, gravées sur des tombeaux en marbre, fait l’objet de cette étude qui se base sur un fonds photographique unique, gardé dans les archives de la Mission Archéologique italienne en Afghanistan (1957-1978). Ces tombeaux, datés entre le VIIIe/XVe et le XIIe/XVIIIe siècle, témoignent d’une nouvelle phase d’activité de la ville après la période d’abandon dans laquelle elle fut plongée au VIIe/XIIIe siècle, suite à l’invasion des hordes mongoles. À cette époque, Ghazni perd à jamais son rôle politique et culturel mais la ville continue à jouir d’une réputation de sacralité assurée par la présence de mausolées et de tombeaux vénérables des souverains ghaznévides et des personnages renommés de l’époque qui y furent enterrés. Leurs tombeaux devinrent bientôt des lieux de dévotion populaire et de pèlerinage inscrits dans un circuit dévotionnel d’importance locale. Le prestige historique et religieux de ces monuments est resté intact et s’est renouvelé au fil du temps, les cimetières de la ville ont grandi et se sont multipliés jusqu’à dessiner une nouvelle topographie urbaine. Ces tombeaux et leurs épitaphes permettent de retracer un profil tout-à-fait nouveau de la ville et de ses habitants entre la fin du moyen-âge et l’époque pré-moderne. Il s’agit de monuments authentiques en termes de forme et conception, résultat d’une production qui n’est pas associée à une dynastie ou à une époque particulière, mais qui est fortement enracinée dans la culture locale de la ville<br>Archaeological investigations and surveys in Ghazni - the ancient capital of the Ghaznavids (late 10th-12th c.) - delivered a large amount of epigraphic documents. Among these, an unpublished corpus of funerary inscriptions engraved on marble tombs is the object of this study, mostly based on the photographic archives of the Italian Archaeological Mission in Afghanistan (1957-1978).These lavishly decorated tombs, dating from the 15th century onwards, bear epitaphs carved in cursive script, which display a combined use of Arabic and Persian. They attest of a new phase of activity of the city and shed new light on Ghazni history, after the long period of dump and destruction it suffered in the aftermath of the Mongol invasion (early 13th century), when the city lost its ancient political and cultural hegemony. Nevertheless, Ghazni witnessed a new renaissance as a religious and pilgrimage centre as the high number of mausoleums, holy shrines and tombs prove. These monuments mostly belong to local prominent personalities and often preserved the echo of their prestige for centuries, attracting later burials and becoming part of a local holy itinerary. Extensive cemeteries and burial sites grew up all around the city, redefining the local sacred topography.The tombs and their epitaphs draw a new sketch of the city and its inhabitants between the late Middle Ages and pre-modern times. They maintained a refined level of craftsmanship along the centuries, showing an outstanding artistic longevity and originality which is the result of a production not associated to a particular dynasty or epoch but deeply rooted in Ghazni local culture

Made available in DSpace on 2016-04-28T20:38:56Z (GMT). No. of bitstreams: 1 Francisco de Assis Carvalho.pdf: 2228129 bytes, checksum: e146ff562cf7539ccecad160df0c5142 (MD5) Previous issue date: 2014-09-19<br>This work presupposes present the importance of the use of epitaphs in the cemeteries of São João Del Rei for the elaboration of mourning. Cemeteries where the epitaphs were collected reflect the romantic mentality of the eighteenth century and the imaginary in which they live. They were born from the confluence of a number of factors that cut across social, political and mental ordering, urbanization, the application of medical and hygienic discourses; consolidation of the bourgeoisie as the ruling class , the supremacy of individualism and the hegemony of the Catholic Church . Messages analyzed reveal key elements for understanding society and the relationships that develop between men facing death and mourning and memorial function have, to the extent that they convey memories and tributes to deceased. The interpretation of these messages reveals meanings and varied meanings and its method hermeneutics of Paul Ricoeur .The main focus of the research are the four cemeteries of Sao Joao del Rei<br>Este trabalho tem como pressuposto apresentar a importância da utilização dos epitáfios nos cemitérios de São João Del Rei para a elaboração do luto. Os cemitérios em que os epitáfios foram coletados refletem a mentalidade romântica do século XVIII e o imaginário no qual estão inseridos. Eles nasceram da confluência de uma série de fatores que perpassam a ordenação social, política e mental; a urbanização, a aplicação dos discursos médicos e higiênicos; a consolidação da burguesia como classe dirigente, a supremacia do individualismo e a hegemonia da Igreja Católica. As mensagens analisadas revelam elementos fundamentais para a compreensão da sociedade e das relações que se estabelecem entre os homens diante da morte e do luto e têm função memorial, na medida em que veiculam lembranças e homenagens aos falecidos. A interpretação destas mensagens revela significados e sentidos variados e tem como método a Hermenêutica de Paul Ricoeur. O foco principal da pesquisa são os quatro cemitérios de São João Del Rei

Cette thèse traite des données funéraires (fouilles archéologiques, monuments funéraires) recueillies sur le territoire des trois cités de l'axe mosellan, à savoir celles des Leuques, des Médiomatriques et des Trévires. Le premier chapitre est en large partie consacré à l'historiographie du sujet, ainsi qu'aux orientations actuelles de la recherche sur la mort durant l'Antiquité : il consiste notamment en une présentation critique des principales grilles de lecture habituellement employées pour interpréter les données funéraires. Il y est également question des principaux problèmes que posent ces données, en particulier celui de leur datation. Les trois chapitres suivants s'inscrivent dans une perspective diachronique ; ils traitent de l'évolution de la sépulture mosellane depuis la veille de la conquête césarienne de la Gaule au règne de Claude (chap. 2), depuis le milieu du Ier s. jusqu'au milieu du IIIe s. (chap. 3) et enfin durant l'Antiquité tardive (chap. 4). Les deux chapitres suivants constituent des études de cas, centrées sur la question de la « romanisation » : il s'agit essentiellement de s'interroger sur la validité de ce concept. Le cinquième chapitre a ainsi pour sujet les nécropoles des communautés du piémont du massif vosgien ; le sixième chapitre aborde quant à lui la question du traitement funéraire des enfants décédés en bas âge. Enfin, le dernier chapitre est consacré aux nombreux monumenta antiques inscrits et/ou sculptés exhumés dans les pays de Moselle<br>This thesis deals with the funerary data (archeological digs, funerary monuments) that were collected in the territory of the three cities of the Moselle valley, i.e. the city of the Leuci, that of the Mediomatrici and that of the Treveri. The first chapter is mostly concerned with the relevant historiography as well as the latest orientations of research on death in antiquity : it includes in particular a critical review of the main approaches that have been used to interpret funerary data. It also examines the main problem posed by such data, especially when it comes to matters of dating. The next three chapters look at things from a diachronic point of view : they deal with the evolution of burial places in the Moselle region, from the eve of Caesar's conquest of Gaul to Claudius's reign (chapter 2), from the middle of the 1st century to the middle of the 3rd century (chapter 3), and during the latter period of antiquity. The next two chapters are case-studies and concentrate on the problem of «romanisation » : the main point is to try and determine just how valid the concept is. Chapter 5 focuses on the metropoles of the communities that used to live in the foothills of the Vosges, while chapter 6 is concerned with the funeral treatment of children who died in infancy. The last chapter is about the numerous ancient monumenta bearing inscriptions or sculptures that were excavated in the Moselle region

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-08-23T12:17:08Z No. of bitstreams: 1 Raquel Vaccari de Lima.pdf: 4955435 bytes, checksum: 82147240fb6a98c85f7133b087f2ec1c (MD5)<br>Made available in DSpace on 2016-08-23T12:17:08Z (GMT). No. of bitstreams: 1 Raquel Vaccari de Lima.pdf: 4955435 bytes, checksum: 82147240fb6a98c85f7133b087f2ec1c (MD5) Previous issue date: 2016-03-21<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>The present thesis discusses the form in which the discourses of epitaphs, in a socio-historically constructed Christian context, deny the finitude of spiritual life and thus promote an idealized image of the deceased in order to eternalize him in the social memory and to extol, as a practice of a religious habitus, a posthumous life in “Eternity”. In the light of this, we have set as an overall goal to analyze the epitaph discourse genre and its socio-historical conditions of production. We have started off with the hypothesis that the Christian man, aware of his death, comforts himself with the certainty of eternal life and yearns to preserve his memory in his social group. The belief in death as a passage to another life perpetuates in the discourse of epitaphs, whose scenography assists the human being to enter “Eternity” and to list the biographical virtues of the deceased, thus legitimizing the perpetuation of his memory. We have adopted the theoretical-methodological framework of Discourse Analysis, especially the categories: discourse genre, scenography, interdiscourse and discursive ethos, proposed by Dominique Maingueneau. To deal with the considerations about death and epitaphs, we have fallen back upon aspects of approaches from Anthropology, Philosophy, Theology and Psychoanalysis. The analyses undertaken in the present research have pointed to, in the workings of the discourses in epitaphs, the crossing of the discursive fields of death, religiosity, literature and history. We have also discovered that the scenographies that engender the discourses of epitaphs range from the promotion of a posthumous life to biography, in which the exemplary behavior of the deceased is extolled. Finally, the research has pointed out to the fact that the discursive ethos of the enunciator corresponds to the positive image of the good Christian<br>Esta tese trata da forma como os discursos dos epitáfios, num contexto cristão sócio-historicamente constituído, negam a finitude da vida espiritual e promovem uma imagem exemplar do morto a fim de eternizá-lo na memória social e exaltar, como prática de um habitus religioso, uma vida póstuma na “Eternidade”. O objetivo geral é analisar os gêneros de discurso epitáfio e suas condições sócio-históricas de produção. Partimos da hipótese segundo a qual o homem cristão, consciente de sua morte, consola-se com a certeza da vida eterna e anseia por manter viva sua lembrança em seu grupo social. A crença na morte como passagem para outra vida perpetua-se no discurso dos epitáfios, cuja cenografia auxilia o ser humano a ingressar na “Eternidade” e a biografar as virtudes do falecido, legitimando a perpetuação de sua memória. Adotamos o aparato teórico-metodológico da Análise do Discurso, principalmente as categorias: gênero de discurso, cenografia, interdiscurso e ethos discursivo, propostas por Dominique Maingueneau. Para as considerações acerca da morte e dos epitáfios, recorremos a aspectos de abordagens da Antropologia, da Filosofia, da Teologia e da Psicanálise. As análises empreendidas nesta pesquisa apontaram, no funcionamento dos discursos dos epitáfios, o cruzamento de campos discursivos da morte, da religiosidade, do literário e o da história. Constatamos, ainda, que as cenografias que engendram os discursos dos epitáfios variam de forma ora de promoção de uma vida póstuma, ora biográfica, exaltando as condutas exemplares do morto. E, por fim, a pesquisa constatou que o ethos discursivo do enunciador é correlato à imagem positiva do bom cristão

Objet sculpté ou gravé, associant l’image et le texte, le monument funéraire se charge des aspirations spirituelles, sociales et artistiques de groupes sociaux divers. Dans un souci de préservation mémorielle, gisants, dalles à effigie, sarcophages ossuaires, bas-reliefs aux représentations diverses (funérailles, absoute, Christ de pitié, crucifixion, Vierge de la Chandeleur), tombeaux monumentaux ou épitaphes, mettent le défunt en scène au terme d’un cheminement de vie culminant à la quête du salut éternel de l’âme. Cette volonté de laisser une trace, de perpétuer son souvenir au-delà de la mort, pousse le commanditaire à mettre en ordre ses affaires, avant d’immortaliser ses derniers espoirs et ses dernières volontés dans la pierre. La grande variété typologique du territoire étudié, compris entre la Petite Camargue et la Catalogne du Nord du XIe au XVe siècle, met en évidence les traditions artistiques funéraires locales, et les apports septentrionaux et plus méridionaux (Espagne, Italie) qu’elles intègrent. Cette approche globale du patrimoine funéraire du littoral méditerranéen et de la société apporte une meilleure compréhension des mentalités religieuses, des pratiques juridiques (testaments) et économiques (dons, legs pieux, fondations de chapelles et d’anniversaires) et enfin esthétiques (somptuosité, ostentation), au seuil du trépas. Le croisement de différentes sources écrites et numériques (base Palissy) conduit à l’élaboration d’un corpus prenant en compte les monuments funéraires retrouvés, mais également disparus dont on garde traces dans les productions anciennes<br>Carved ou engraved objet, associating the image and the text, funeral monument embodies the spiritual and artistic aspirations of various social groups. In order to preserve memory, recumbent statues, tombstones with effigy, sarcophagus ossuaries, low-reliefs with various representations (funeral, absolution, Christ of pity, crucifixion, Virgin of the Candlemas), monumental tombs or epitaphs, present the deceased at the end of his journey through life, peaking at the quest of the eternal salvation of the soul. This will to leave a trace, to perpetuate one’s memory beyond death, pushes the one who ordered such tombstone into putting one’s affairs in order before immortalizing his last hopes and his last wills in the stone.The large typological variety of the studied territory, between little “Camargue’ and the north of “Catalogne”, of the 11th to the 15th centuries, highlights the local funerary artistic traditions and the northern contributions or the more southern ones in Europe (Spain, Italy) which they integrate. This comprehensive approach of the funeral heritage of the Mediterranean coastline and the society brings a better understanding of religious mentalities, legal practices (wills), and economic (gifts, pious legacy, foundations of chapels and death birthdays) and lastly esthetic ones(sumptuousness, ostentation) at the threshold of the death. The crossing of various written and digital sources (Palissy bases) has led to the development of a fascinating corpus taking into account the monuments that were found again, but also the ones that disappeared, whose traces are found in the old productions

Grave markers reflect a wealth of information and collectively epitomize society's historic, social, and economic patterns over time. Despite an abundance of cemetery research in other parts of the country, little research has been undertaken to evaluate grave marker attributes in Florida. The purpose of this research was to determine how grave marker attributes have changed over time in north-central, central, and southeast Florida. Data were collected from ten cemeteries in five counties in Florida, representing the grave markers of over 1,100 individuals. Data collection involved visiting each cemetery, photographing markers, and cataloging grave marker attributes. Attributes analyzed included marker type, marker material, epitaphs, iconographic images, memorial photographs, footstones, and kerbs. A number of important trends were noted. Marker material exhibited the clearest example of a temporal trend, shifting over time from 73% marble to 73% granite. Marker type varied greatly from upright and flat ground markers to a variety of customized markers and vaults. Cultural differences were also noted with in-ground vaults dominating traditionally black cemeteries. There were clear differences in marker style between affluent and less affluent cemeteries, with numerous hand-cast cement markers observed in less prosperous areas. Furthermore, beginning in the early 1980's there is an increase in customized laser engraved markers. Overall, Florida's cemeteries offer a rich history of the state's mortuary practices and further research should be conducted to preserve this history.<br>B.S.<br>Bachelors<br>Sciences<br>Anthropology

Le présent travail a pour objet l’étude des appels aux passants en Égypte ancienne depuis sa naissance durant la IVe dynastie jusqu’à la fin de la période pharaonique. Il s’agit ainsi de déterminer l’identité de cette formule sur trois millénaires, selon deux axes principaux : historique et phraséologique. Un premier point, « Interpeller les vivants », est consacré à la caractérisation des contextes dans lesquels les appels interviennent à travers le temps. On y dresse un panorama par périodes, en évoquant les catégories sociales qui recourent à cette inscription et les lieux de découvertes. La prise en compte des données issues de l’archéologie permet alors de présenter la mise en scène accompagnant le discours. Dans le cadre de la prise de parole du défunt, la rhétorique de l’appel s’étend à l’ensemble du support mémoriel et le decorum est au service de la capatio benevolentiae. La deuxième partie, « Commémorer sur trois millénaires », se propose d’extraire et d’évaluer la part d’historicité à l’œuvre dans la formule. La phraséologie mobilisée dans les appels est d’abord interrogée du point de vue du Sitz im Leben puis en termes d’actions rituelles attendues. Le déroulement des rites envers les défunts fait finalement l’objet d’une proposition de reconstitution se basant sur le contenu des appels. En dernier lieu, « L’appel, expression d’une société solidaire », met en avant la part idéologique de la formule. Par sa composition et les idées véhiculées, l’appel constitue un relais majeur de la Maât sociale, établissant un pont entre les générations, par-delà vie et mort. Les mécanismes humains et l’aspect dogmatique de la formule expliquent son succès et sa longévité<br>This Dissertation deals with the so-called “Appeal to the Living Ones” in Ancient Egypt since its beginning during the Fourth Dynasty until the end of the Pharaonic period. The identity of this formula will be sought over three millennia, in two main directions : History and Phrasæology.The first section “ Calling to the Living Ones ” will be devoted to the identification of contexts in which the appeals took place over time. It will provide an overview of the formula sorted by eras, referring to social groups who used it and its places of discovery.The archæological data will help us to survey the staging of the speech of the deceased. It seems indeed that the rhetoric of the appeals extends to the entire memorial. Furthermore, the decorum is involved in the capatio benevolentiae.In the second section, “ Commemorating over three millennia ”, we will extract and prospect the role of historicity at work in the formula. Phrasæology used in the appeals is first examined from the point of view of the Sitz im Leben. Then, we will analyse the ritual actions expected. Finally, we will try to rebuild the ritual sequences towards the dead, based on informations contained in the formula.The last section, “ The appeal, staging of a cohesive society ”, will highlight the ideological part of the formula. The appeal deals mainly with social Maat. It establishes a bridge between generations, beyond life and death. The success and the longevity of the formula seems to be connected to both mundane and ideologic preoccupations

L’épitaphe est porteuse de valeurs, au premier chef identitaires et mémorielles. L’espace étudié, l’Aquitaine Seconde et la Novempopulanie aux IVe-VIIIe s. se montre, en raison d’une romanité marquée, d’un christianisme naissant et des migrations wisigothiques et franques, un terrain de jeu idéal pour discuter les identités en termes de transformations, crises en encore constructions. Reste à savoir comment les inscriptions funéraires prennent part au débat, ce qu’elles révèlent, ou non, de ces bouleversements. Or nos documents n’amènent pas si simplement dans le champ de l’histoire évènementielle ni même dans celui d’une histoire de la christianisation. Les limites des sources (datation, dispersion, laconisme) conduisent au glissement des questionnements : ne pas s’arrêter à ce que l’épitaphe dit mais réfléchir à ses manipulations. Il s’agit, en évaluant les identités transmises, en estimant la portée mémorielle de l’épitaphe, de s’interroger sur les facteurs qui poussent une part de la société du Sud-Ouest gaulois à recourir à l’écrit lapidaire. Avant d’assumer une fonction, l’épitaphe relève d’une intention, déterminée en partie par un environnement, social et culturel, peut-Être par des habitudes. Ainsi pris, le tournant invite à une autre approche des documents, celle des pratiques, des gestes, des publics et in fine celle de la culture (des cultures) qui les produit. Ce travail, fondé sur un recueil des inscriptions des régions étudiées, défend une vision globale de l’objet épigraphique, vision qui repose sur des regards tant archéologique qu’historique qui convergent vers une question : le choix de l’épitaphe et ses usages entre Loire et Pyrénées, aux IVe-VIIIe s<br>The epitaph carries values of identity and memories. The regions under study, the Aquitaine Seconde and the Novempopulanie between the IVth and VIIIth c., are a perfect playground to discuss the transformation, crisis and construction of identities. Romanitas, the emergence to christianism as well Frankish and Wisigothic migrations also play important parts in this context. The underlying question is to determine to what extent funerary inscriptions can be relevant to this debate, if they reveal, or not, these changes. Our epigraphic documents do not necessarily refer to evental history nor do they evoke clearly the christianisation of territory. However the approximate dating of these sources, their scattering and their terseness, encourage us to go beyond the script itself and rather to consider its usage. In other words, the aim is to evaluate identities which are passed and their remembrance value to understand what are the factors that have fostered the choice of the epitaph by a part of the society of the south west Gallia. Prior to assuming informative and commemorative roles, the epitaph is firstly a cultural and social practice, probably motivated by habits. This perspective calls for a different approach of the epitaph, which focuses on the environment, culture and practices that produce it. This work, based on a corpus of the inscriptions of Aquitaine Seconde and Novempopulanie, defend a global vision of the epigraphic object, since its creation to its reception by different audiences. This perception being on both historical and archeological point of views, animated by a common theme: the choice and the uses of the epitaph between Loire and Pyrenees from the IVth and VIIIth c

Contemporary scholarship has seen increasing interest in the study of elegy. The present work attempts to elevate and expand discussions of death and survival beyond the ambit of elegy to a more genre-inclusive and ethically sensitive survey of Romantic posthumous life writings. Combining an ethic of remembrance founded on mutual fulfilment and reciprocal care with the Romantic tendency to hybridise different genres of mourning and commemoration, the study re- conceives 'posthumous life' as the 'inexhaustible' product of endless collaboration between the dead, the dying and the living. This thesis looks to the philosophical meditations of Francis Bacon, John Locke and Emmanuel Levinas for an ethical framework of human protection, fulfilment and preservation. In an effort to locate the origin of posthumous life writing, the first chapter examines the philosophical context in which different genres and media of commemoration emerged in the eighteenth century. Accordingly, it will commence with a survey of Enlightenment attitudes toward posthumous sympathy and the threat of death. The second part of the chapter turns to the tangled histories of epitaph, biography, portraiture, sepulchre and elegy in the writings of Samuel Johnson, Henry Kett, Vicesimus Knox, William Godwin and William Wordsworth. The Romantic culture of mourning and commemoration inherits the intellectual and generic legacies of the Enlightenment. Hence, Chapter Two will try to uncover the complex generic and formal crossovers between epitaph, extempore, effusion, elegy and biography in Wordsworth's 'Extempore Effusion upon the Death of James Hogg' (1835-7) and his 'Epitaph' (1835-7) for Charles Lamb. However, the chapter also recognises the ethical repercussions of Wordsworth's inadequate, even mortifying, treatment of a fellow woman writer in his otherwise successful expression of ethical remembrance. To address the problem of gender in Romantic memorialisation, Chapter Three will take a close look at Letitia Elizabeth Landon' s reply to Wordsworth's incompetent defence of Felicia Hemans. Mediating the ambitions and anxieties of her subject, as well as her public image and private pain, 'Felicia Hemans' (1838) is an audacious composite of autograph, epitaph, elegy, corrective biography and visual portraiture. The two closing chapters respond to Thomas Carlyle's outspoken confidence in 'Portraits and Letters' as indispensable aids to biographies. Chapter Four identifies a tentative connection between the aesthetic of visual portraiture and the ethic of life writing. To demonstrate the convergence of both artistic and humane principles, this cross-media analysis will first evaluate Sir Joshua Reynolds's memoirs of his deceased friends. Then, it will compare Wordsworth's and Hemans's verse reflections on the commemorative power and limitation of iconography. The last chapter assesses the role of private correspondence in the continuation of familiar relation and reciprocal support. Landon's dramatic enactment of a 'feminine Robinson Crusoe' in her letters from Africa urges the unbroken offering of service and remembrance to a fallen friend through posthumous correspondence. The concluding section will consider the ethical implications for the belated memorials and services furnished by friends and colleagues in the wake of her death.

The present thesis investigates the music and career of Jeffrey Lewis (born 1942). The thesis is broadly divided into three sections. First is an account of the composer’s life, told mainly through an overview of his works, but also through a sketch of his early years in South Wales, his studies in Cardiff, Darmstadt, Kraków and Paris, his academic career in Leeds and Bangor, and his subsequent early retirement from academia. There follows a more detailed study of six works from the period 1978 – 1985, during which certain features of Lewis’s musical language came to the fore, perhaps most notably a very individual and instantly recognisable use of modal language. After an Epilogue, the thesis concludes with an Appendix in the form of a Catalogue in which all Lewis’s known compositions are listed, together with details of performances, broadcasts and recordings. Lewis’s music often plays with our temporal expectations; the close interrelationship between texture, structure, harmony and melody, and its effect upon our perception of the passage of time, are explored in the main analyses. These are conducted partly by means of comparison with other works by Lewis or his contemporaries. Memoria is examined in relation to a similarly tranquil score, Naaotwá Lalá, by Giles Swayne. The following chapter discusses the extra-musical inspiration for Epitaph for Abelard and Heloise, whose relationship to Tableau is then explored in the next. The difficulties of creating a large-scale structure that unifies the work’s various harmonic elements are also investigated. The analysis of Carmen Paschale considers it in relation to Lewis’s other choral music, whilst the final analytical chapter compares and contrasts two three-movement works, the Piano Trio and the Fantasy for solo piano. Lewis’s melodic writing in the Piano Trio is discussed in relation to that of James MacMillan, and the origins of the first movement of Fantasy in Oliver Knussen’s Sonya’s Lullaby are explored. In the Epilogue, the possible reasons for Lewis’s current neglect are explored, various influences on Lewis’s musical thinking are laid out, and his achievements are assessed.

博士<br>國立臺中教育大學<br>語文教育學系碩博士班<br>102<br>Chinese calligraphy is the spirit of Chinese culture, and the art of Chinese calligraphy reaches the perfection as the development of regular script in Tang Dynasty. The carved epigraph on grave monument originally was served as funeral oration and thanksgiving offering. Nowadays, it not only provides an important paradigm to imitate, to learn and to study the Chinese calligraphy, but also is served as the archaeological materials for studying the beauty of carving and calligraphy. This study aimed to investigate the development of Chinese calligraphy in Tang Dynasty and its impact on carved epigraphs. The research material included the grave monuments discovered in Xi'an (西安) and Luoyang (洛陽), which are the capitals of Tang Dynasty. Some of these grave monuments are famous, such as the funerary goods in Emperor Taizong of Tang’s mausoleum (昭陵), Yuan yang qi zhi zhai (鴛鴦七誌齋) from Mr. Yu’s collection and The 1,000 Tang Zhai (千唐誌齋) from Mr. Zhang’s collection. With the analysis of historical research, textual analysis and statistical methods among grave monuments, the results suggested five major conclusions. First, the grave monuments discovered in Xi'an and Luoyang have high quality and quantity. Second, the civilian in Tang Dynasty mostly participated their funeral epigraph writing and editing. Third, most of the carved epigraphs were presented in regular script; in contrast, the epigraphs carved with semi-cursive and cursive scripts were least. Forth, the newly-created words of the Wu's Zhou Dynasty and the wrongly written characters were summarized in the late Tang Dynasty. Finally, Zhang Xu (張旭) and Yan Zhenqing (顏真卿) are the great master of calligraphy with their works becoming excellent paradigm. At the end of the research, author hopes that more civilians could put their efforts on the popularization of carved epigraphs through this study. Author also introduced 10 selected carved epigraphs as paradigm for imitating and learning the Chinese calligraphy

This thesis investigates the circulation of epitaphs in early modern English manuscripts, and examines their distinctive nature compared to epitaphs on tombs or in print. Epitaphs are a common feature of early modern manuscripts, containing a wealth of information about how the living related to the dead during a period in which the specifics of the afterlife were hotly debated. However, these texts have received comparatively little critical attention. The basis of my study is a survey of 500 epitaphs across 20 early modern manuscripts, held in a range of archives and libraries. As there is currently no published index of early modern manuscript epitaphs, I have transcribed these poems and collated them into a database. This extensive primary material has shaped my findings and, I argue, provides a foundation towards a new understanding of the circulation of epitaphs amongst early modern verse compilers. Four chapters articulate new perspectives on cultures of the dead. The first focuses on the distinctive nature of manuscript epitaphs when separated from a graveside context, requiring a different set of generic definitions to fully appreciate the scope of innovation in manuscript. Secondly, this thesis argues that manuscript epitaphs are fundamentally dialogic in nature, giving voice to both the living and the dead in expressing grief and loss. In the final two sections, I identify two types of discourse that have only limited expression outside of manuscript – humour and libel, and consider the implications of each of these distinctive styles of epitaph in turn. I demonstrate that epitaphs in manuscripts represent a generic departure from epitaphs in other contexts. In these generic differences, a picture of early modern grief emerges that is highly personalised and paradoxically life-like, using humour, dialogic speech, and libel to establish the place of the dead among the community of the living.

碩士<br>國立中山大學<br>中國文學系研究所<br>98<br>Life and death, alternating in the way that Nature orients itself towards, are incarnated in the natures of humans. Though death is given a positive image to highlight efficient exertion of precious life span, it is still a pity as a mark of the end. That’s why the epitaph is invented to reminisce about a person. Epitaph has developed into multi functions rather than the sole final judgment about a person. It gives a prompt reflection of the contemporary culture which the author of it was in. In this paper the focus is placed on the epitaphs of Tang Dynasty to delve into Taoism—how it evolved in Tang Dynasty and how the contemporary Taoists viewed their lives. This paper is divided into three chapters from the contents of the epitaphs—The Origin of Life, The Proceeding of Life and Facing Death. According to Taoism, life begins as the “Ci”in Nothingness. The merge of “Ci” creates life, and the dispersion of “Ci” brings death. The multiplication of “Ci” would incarnate itself into human forms and thus human life is the representation of “Tao” of the universe. And human bodies become the vessels of Nature. Living as a hermit thus becomes the best way to center oneself in Nature without obsessions with mundane life. Those who grasp the true understanding of Nature live a life of “Endeavoring without expectations and being in the state of not worrying.” And staying in tranquility is the attitude for them when they are faced with the uncontrollable fate. Though this is the prevailing idea among people in Tang Dynasty and they are receptive to the destined death, they still hope for the new cycle of life in the next generation. This is represented in their belief in Feng-shui, which is an art that changes the destiny of the descendants by placing the ashes or bones of the ancestors in good locations. Even if they know that it is impossible to transcend one’s karma, they believe that the spirits of the deceased ancestors will bring bliss to their descendants as long as they remain connections through “Ci” as practiced in Feng-shui.

碩士<br>國立清華大學<br>歷史研究所<br>106<br>Because of the lack of the self-description of women, "epitaphs" have often been used as one kind of the materials for studying women in the Song Dynasty. The Song people’s preferences of the behaviors and appearances of women were usually shown in the stories recorded in epitaph, and these stories were linked to the ideas of the elite’s self-cultivation and achievement of a harmonious family. In the Song Dynasty, since the epitaph authors faced the situation of "women have nothing outside the family", they sometimes need to write more deeds of women to achieve the expected effects of the epitaphs. Therefore, some of the epitaph authors considered to write about the women’s “chanted Scriptures”. However, when the Song women’s life was linked to the elite’s self-cultivation and achievement of a harmonious family in the epitaphs, what kind of role the “chanted scriptures” plays, in order to form a triangle-link between the women’s chanted scriptures, the role of women, and the elite’s achievement of a harmonious family? The key to answer the question is to clarify the way of understanding women’s chanted scriptures of the epitaph authors and the bereaved family. Through collecting such epitaphs, this study will conduct in the following ways: First, I will propose the question “what are the characteristics or tendencies of these women’s chanted scriptures”, and, discuss what the epitaph authors think about women’s chanted scriptures. Second, I will observe in what kind of context the women’s chanted scriptures appeared in those epitaphs. Third, I will discuss how epitaph authors interpreted it, and made the connection between these three. Forth, I will analyze from epitaph the functions of women’s chanted scriptures which the Song epitaph authors considered, and conclude why the elites would adopt it, viz. women’s chanted scriptures, into the epitaphs. In the end, I will discuss the meaning of this connection, and what new insights it can provide for us into the understanding of the Song women.

The epitaphs carved in marble and set up around the city of Rome by Damasus I (366- 384) have long been understood as important in the political and ecclesiastic history of the city and as crucial in the development of its Christian martyr-cult. I have applied principles of collective memory and material culture theories in order to discuss the role of the epitaphs as physical vehicles of cultural value and self-conception for the post- Constantinian Christian community at Rome.<br>Graduate

What would life have been like for a child growing up in Rome or in any part of Italy during the first three centuries AD? The answer to such a question is not straightforward. How does one determine that someone was a 'child'? Was this child male or female? To what social class did this child belong? 'What position did his or her parents hold in the community? Were his or her parents alive? A series of equally complex questions must therefore be addressed before the first, seemingly simple question can be approached. The reconstruction of Roman childhood can be an arduous task because, although it is known that children were very visible in both public and private life, the remaining material that records the existence of children during this time was often not created with children in mind. Nor was it produced for the purpose of describing the characteristics of Roman childhood. There IS no material In existence created by children themselves such as diaries , poems, stories, letters or paintings that · give any indications of how children themselves perceived their world. Children appear in literary texts, papyri, art, funerary inscriptions and the law code. This type of evidence was created by adults, not for ch~ldren , but for themselves and hence also reflects adult preoccupations and concerns.

碩士<br>國立臺灣大學<br>歷史學研究所<br>102<br>Menyin system is an electoral system of the Tang dynasty, the purpose of this study is to construct the career mode of the officials who used Menyin system to enter the officialdom. In addition, there are two main reasons that triggers to this study, the first reason is that the epitaphs has been updated; the second reason is that previous studies seldom analyze the career of the officials who used Menyin system to enter the officialdom. Therefore, I hold an opinion that construct career mode of Menyin officials will bring new discoveries and breakthroughs. Chapter one introduces the motivation and historical data of the thesis. The second chapter introduces the Menyin system and the Tang Dynasty’s electoral system, furthermore, this chapter also discusses Weiguan, Zhailang, Wanlang, and Liangguan Sheng which are the object of the thesis. Chapter three constructs and analyzes career mode of Sanwei and Qianniuwei. Additionally, the fourth chapter constructs and investigates the career mode of Zhailang, Wanlang, and Liangguan Sheng. In conclusion, Menyin system is not a unitary electoral system, it is an electoral system which has diverse approaches to select the person who used Menyin system to enter the officialdom, in addition, the mode Menyin officials enter the officialdom leads to different career paths.

This masters degree work named Painted renaissance epitaphs in Bohemia (1560- 1620) elaborates and develops the preceding bachelors work. The opening chapters present reflections and view of the perception of the death in Bohemia before the battle of Bílá hora. Yet these general aspects are focusing on the person or persons directly connected with the named painted epitaphs. Attention is paid for instance to the czech example of the Ars Moriendi, the Book about death, written by Mikuláš Krupěhorský for Petr Kokořovec from Kokořov. In the chapter dedicated to the testaments, the work handles the original last wills of Jarosav Smiřický from Smiřice and Václav Hlava from Kyršfeld, whose epitaphs form part of the catalogue. The painted renaissance epitaphs are firstly generally characterized with use of the presentation of the early works of this kind (epitaphs of the Master I.W. and the wall painting in the convent of the Fourteen Holy Helpers), then the attention is paid to the questionable issues related to the confessional (non)distinctiveness of the painted renaissance epitaphs. The question of definition and specifics of the catholic and non-catholic epitaph monuments is being solved here on the base of the rightful characteristics. Main chapter which crowns the work is formed by the catalogue of...

Keywords: ars moriendi, castrum doloris, early modern period, epitaphs, funeral essentials, funeral procession, funeral sermons, Prague, sepulcher essentials, tomb stones The thesis introduces a specific part of the cultural history of the early modern period - the funeral culture. Considering the extensiveness of thematter, the scope has been limited to the area of Prague, to the cultural sphere of secular nobility and to the time period between the years 1500 and 1700. Naturally, the timeframe is not and cannot be absolute given the nature of this subject matter, which is culture. In the introductory chapter, the paper seeks to clarify eschatology and religious conditions in the early modern period, depicting death and its grip in the 16th and 17th centuries. Each chapter is devoted to a specific phenomenon of the funeral culture, in the same order in which the succession should logically follow shortly before and after the death of an important person. As such, the thesis specifically discusses the doctrine of "good death" - so called ars moriendi, exhibitions of the body, the funeral procession, construction of the Castrum Doloris, funeral sermons, and provision of funeral monuments. At the conclusion, the thesis ventures into the geographically and religiously distant Duchy of Finland, which...

碩士<br>國立臺灣大學<br>歷史學研究所<br>99<br>Epitaph is tomb inscriptions which craved name, identification and memorial writing for deceased. There were two meanings of epitaph in early China, one was the words craved on the tomb, and the other was the form of the tomb. This essay focused on the two meanings between the 1st century to 6th century. This essay tried to observe the origin and development of the epitaph in early China from a wider perspective. In the past, the scholars only used epitaph words as historical evidence; however, they neglected the substantial messages of epitaph itself. Therefore, this essay described the epitaph’s history and social background according to archaeological materials and historical document. This essay could be divided into three parts: First, it explored why people bury the epitaph, and how their motive related to social customs; second, how the development of the epitaph effected by national policy, geographical and ethnic factors; third, why and how non-Han (非漢民族) imitated Han (漢) in writing epitaph, and the social values behind the epitaph -writing. In the Chapter two, according to historical document, it argued that the customs of tomb-inscribing appeared before the epitaph, but not all tomb inscriptions could be considered as the epitaph. Reviewing all tomb inscriptions of Han, it revealed that “Han epitaph” (漢代墓誌) hasn’t yet been in fixed form, for instance, the inscriptions often carved on the corner of the tomb room (墓室) or attached beside the stone reliefs (畫像石). This phenomenon may relate to social customs and electoral of Han Dynasty. Chapter three interpreted the “Ban of Stele” (禁碑令) in medieval China, and argued that the form and context of the epitaph in medieval China succeeded the characters of Han Dynasty, and found out that it was also affected by geographical and artificial factors. In the Chapter four, it discussed the reconstruction of the stele-shaped culture (碑型墓誌文化) in the Northern China by exploring the regional features and the routes of spread of West-Jin Dynasty “stele-shaped epitaph” (碑型墓誌). Besides, it re-examined the process of the epitaph-fabricating, and considered the writings of the epitaph reflected the position of national policy. Through intervening in the epitaph-fabricating, the nation affected the writings of the epitaph.

碩士<br>國立臺北藝術大學<br>美術史研究所<br>98<br>Abstract In China, the epitaph is an extraordinary mortuary object. Its functions include history, archaeology and calligraphy display. However﹐research on epitaph and the calligraphy are limited. Consequently this paper is centered on Sogdians who are located in Chinese epitaph and discusses special epitaph and the calligraphy in the tomb. This research is constructed with five sections. The first chapter builds up basic knowledge, including history of Sogdians, epitaphs forms and to development and calligraphy history . The second chapter focuses on works; first﹐it proves the epitaphs owner was a Sogdian. Second, it can not be clearly detailed so only epitaphs content can be adopted to determine the owner .The research on epitaphs cover and the calligraphy is the subject of the third chapter . The fourth chapter is to discuss the epitaph and the calligraphy in the tombs and a conclusion is made in final chapter.

Gemäldeepitaphe sind eine zu Unrecht vernachlässigte Gattung der Kircheneinrichtung. Die vorliegende Arbeit umfasst 458 gemalte Epitaphe aus Franken, aus der Zeit von 1550 bis 1800. Der Schwerpunkt liegt auf der Darstellung der vielfältigen religiösen Themen der Gemälde. Die Arbeit versteht sich dabei als Beitrag zur Erforschung religiöser Malerei der Renaissance- und Barockzeit.

Looking primarily at the family photographs in Anne Carson’s epitaph in book form, this essay explores how Nox multiply exhibits translation as the approximation of an imperfect nearness. The replica of a testimonial object Carson created after her brother’s passing, Nox is a resolutely non- narrative work of poetry structured around a belabored translation of a Catullan elegy, prose poems, photographs, and other fragments of memorial matter. Examining Nox as an intimate archive made public through Carson’s act of curation, my project draws attention to how this work analogizes translation to the understanding of affective life. Inspired by Marianne Hirsch’s critical work on vernacular photography, I demonstrate that the exhibited family photographs in Nox not only thematize Carson’s focus on illumination and darkness, but also materially amplify the inaccessibility of the felt lives they encapsulate. I argue that Nox, like the photographs it houses, models a memorial practice insistent simultaneously on materiality and the incomplete proximity to what remains.<br>text

博士<br>國立清華大學<br>中國文學系<br>101<br>Stele inscription and entombed epitaph inscription are the important ritual text categories in Chinese traditional living; the writing activities for stele inscription and entombed epitaph inscription continued constantly from the Eastern Han to Late Qing Dynasties, leaving a significant quantity of texts. This thesis attempts to clarify the development of writings for stele inscription and entombed epitaph inscription from Eastern Han to Mid-Tang Dynasties through discourse structure analysis. Text is the combination of form and meaning, and literary genre（wen ti文體） is the abstract gathering of several texts. Through the analysis of excavated inscriptions, as well as the works from renowned maestros, the functions and writing patterns of this literary genre are first clarified, then its developmental changes during the period from Eastern Han, Wei Jin and the Six Dynasties to Mid-Tang Dynasty were organized, followed by the reconstruction of the literary genre history for stele inscription and entombed epitaph inscription in the end, which to a considerable degree has been empty for over the long period of time. Commemorative stones steles were set up on the ground, with the inscriptions introducing and praising the position and experience of the person with merits via combinations of prose and rhymes; whereas entombed stones were buried in the cemetery, with the inscriptions briefly documenting the identity and pedigree data of the deceased. After the Northern Wei has been relocated to Loyang in the early period of 6th century, the Northern entombed epitaph inscription was clearly developing towards the complexity of stele inscription. The main reason for this development was that people treated epitaph inscriptions as a special duplication of commemorative stele inscription, such that the entombed stones may still preserve the posthumous immortality of the deceased in the case when the stele was destroyed one day. This motivation allowed for no differences between stele inscription and entombed epitaph inscription, with the different publication implements being the only apparent difference between the two kinds of text. Therefore, they may be deemed as one under the circumstance of not differentiating them stringently. As compared to the traditional literature studies, this thesis is focused on the analysis of excavated stele inscription and entombed epitaph inscription, so as to clarify the typical discourse structures for the unknown texts by numerous authors. Secondly, observations on the characteristics of the works from three famous authors in the literature history via renowned anthologies are included. Epigraphic texts have been developed for a long time, amongst which the most representative ones included Cai Yong during Eastern Han Dynasty, as well as Yu Xin during the late Southern and Northern Dynasties. Both of them allowed the text rhetorical expression to tend towards exquisiteness based on the existing structure, thereby leaving graceful styles. As for Han Yu during the Mid-Tang Dynasty has altered the various partial structures of epigraphic text, offering people with new types of options under the background where the literary genres for stele inscription and entombed epitaph inscription were excessively matured during the Sui-Tang period. The discourse structure analysis approach applied in this thesis includes concepts and outcomes of certain classical Chinese linguistics studies, with the aim of finding out the composition model for textual meaning, hoping to clarify the literary genre for stele inscription and entombed epitaph inscription before Han Yu, as well as to provide an alternative perspective for observing the texts for literature studies which usually place emphasis on content discussion.

abstract: This thesis is a translation and analysis of the “Epitaph of the Wu Kingdom Transcendent Duke Ge of the Left Palace of the Grand Bourne” (Epitaph below). The author was Tao Hongjing (456 CE-536 CE). The subject of this Epitaph inscribed on a stele was Ge Xuan (trad. 164 CE-244 CE). Ge Xuan had two titles attributed to him by later Daoists. According to the Lingbao scriptures, Ge was appointed by the Perfected of Grand Bourne, a heavenly title. Later, in the Shangqing scriptures, Ge Xuan was said to be an earthly transcendent without any heavenly appointment. This debate occurred before Tao Hongjing began to write. This stele epitaph is essential, as it records sayings from both Lingbao and Shangqing scriptures. By reading this translated epitaph, scholars can know more about different versions of Ge Xuan's legend, as well as how Ge Xuan's legend was constantly rewritten by later Daoists.<br>Dissertation/Thesis<br>Masters Thesis Religious Studies 2020

博士<br>國立政治大學<br>歷史學系<br>107<br>Through a research into the epitaphs and mural paintings of the Han Chinese aristocratic families within the Liao Dynasty, unearthed in the northern part of China, this thesis examines the funerary culture of the Han immigrants under the Liao regime, in which Khitan nobles were the ruling class during the tenth to the mid-eleventh century. From the perspective of Han Chinese aristocratic families entering Liao territory, it studies the interactions between Han culture and the nomadic culture of Khitan, and proposes to deepen the "Sinicization" (漢化) and "Khitanization" (契丹化) paradigms with the "hybrid culture" paradigm when interpreting Chinese funerary culture of multi-ethnic groups under the Liao dynasty. The first chapter is the introduction, which elucidates the reasons, methodologies and procedures in studying the epitaph and mural culture of Han aristocratic families during the first half of the Liao dynasty. It does so from three perspectives: material culture, Chinese migration, and regional characteristics of Liao dynasty. The second chapter begins from the causes of the emergence of a "hybrid culture", and analyzes the context of Chinese immigration, especially the social mobility, social networks, and the characteristics of the burial places of Han aristocratic families. The third chapter discusses the features of Han aristocratic families’ epitaphs, and explains the changes after the epitaph of the Liao Dynasty. This chapter uses a considerable number of Chinese and Khitanese epitaphs to understand the evolution of tomb culture and epitaph culture under the "hybrid culture" of these families. It discusses the hierarchy, content, function, and decorations of the epitaphs of Chinese immigrants, and explains the cultural interactions between Han immigrants and Khitan nomads. The fourth chapter analyzes the regional development and ritual characteristics of the murals in the Han aristocratic families’ tombs. This chapter analyzes the structure and differences of mural tombs in Nanjing Circuit (南京道), Xijing Circuit (西京道), Zhongjing Circuit (中京道) and Shangjing Circuit (上京道) areas of the Liao Dynasty, and reveals the role of immigrant culture within the development of the Liao territory and the regional characteristics of "hybrid culture". Finally, the fifth chapter summarizes the interactions between Chinese immigrants’ culture and nomadic culture, and concludes with a discussion of the narratives and meaning of "hybrid culture" as seen in the epitaph and murals. In summary, the epitaphs and murals became one of the visual, material, and cultural symbols that represent the "hybrid culture" of the Liao dynasty.