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Dissertations / Theses on the topic 'Funerary monument'
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Senior, Rebecca. "The death of allegory? : problems of the funerary monument, 1762-1840." Thesis, University of York, 2017. http://etheses.whiterose.ac.uk/18289/.
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This thesis traces the transformative potential of allegory as an adaptable sculptural art form in Britain between 1762 and 1840, and provides a detailed analysis of monuments that demonstrate how allegory was manipulated perform and manage changing attitudes towards capitalism, race, gender and empire. By focusing on a variety of monumental sculptures – funerary monuments, political monuments, and war memorials - in a variety of settings – public cathedrals, private churches and colonised spaces – this thesis demonstrates how allegory operated across a variety of sculptural media in the British empire, and reveals a commonality between sculptors who have been separated by period, geography and counter-productive art historical ‘–isms’. In so doing, it presents allegory as a new lens through which to view an alternative history of monumental sculpture in Britain, which acknowledges underlying motivations of greed, misogyny and xenophobia as central to the formation of what we understand today as the British school.
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Sandover, Cherry E. "The triumph of fame over death : the commemorative funerary monument of the artist in 19th century Britain as signifier of identity." Thesis, University of Essex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402822.
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Harris, Amy Louise. "The funerary monuments of Ireland 1560-1660 A.D." Thesis, University of Sussex, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.429734.
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EMMERSON, ALLISON L. C. "A RECONSIDERATION OF THE FUNERARY MONUMENTS OF ROMAN DACIA." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1187034755.
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Labno, J. J. "The monumental body and the Renaissance child : funeral monuments in Poland and their European context (1500-1650)." Thesis, University of Sussex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419825.
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Negretto, Francesco <1974>. "Monumenti funerari romani ad edicola in Italia settentrionale." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2009. http://amsdottorato.unibo.it/1369/.
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La ricerca ha analizzato i monumenti funerari ad edicola in Italia settentrionale, una categoria funeraria monumentale diffusa ed importante; sono stati presi in considerazione sia quelli in ottimo stato di conservazione sia quelli attestati da poche membrature superstiti, per un totale di circa quaranta esemplari. La schedatura del materiale è servita per comprendere diversi aspetti inerenti alla diffusione di questa importante forma architettonica nel territorio preso in esame: le numerose varianti architettoniche adottate, specificatamente quella a edicola quadrangolare e quella a tholos circolare; la diffusione geografica in senso assoluto e rapportata alle diverse varianti, approfondita anche per alcune caratteristiche decorative singolari; la diffusione cronologica; la committenza che si è rivolta a questo genere di monumenti funerari; l’influenza esercitata e subita rispetto ad altre forme coeve e successive di sepolture.
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Bruss, Jon Steffen. "Hidden Presences : monuments, gravesites, and corpses in Greek funerary epigram /." ON-CAMPUS Access For University of Minnesota, Twin Cities Click on "Connect to Digital Dissertations", 2000. http://www.lib.umn.edu/articles/proquest.phtml.
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Bruss, Jon Steffen. "Hidden presences : monuments, gravesites and corpses in greek funerary epigram /." Leuven : Peeters, 2005. http://catalogue.bnf.fr/ark:/12148/cb401409526.
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Colombo, Stefano. "The rhetoric of celebration in seventeenth-century Venetian funerary monuments." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/94209/.
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This thesis investigates seventeenth-century Venetian funerary monuments as representing the Republic’s celebrative imagery. Going beyond the traditional interpretation of these monuments as a display of funerary memory, a series of case studies provided in six chapters examines them as rhetorical devices which celebrated Venice and instilled subtle forms of its republican propaganda. Chapter One focuses on early seventeenth-century ducal monuments and the republican ethos, scrutinising their function as ideological instruments which asserted the grandeur of Venice through their celebration of the doges. Chapter Two analyses the architectural and visual sources of the monument to Doge Giovanni Pesaro, a crucial model for later funerary monuments, focusing on the interaction between sculpture, architecture and the viewer. The comparative reading of contemporary panegyric poems of the Pesaro monument demonstrates how it was perceived as a living presence which was capable of eliciting the involvement of the viewer and gaining his or her persuasion. Monuments to the Venetian captains Caterino Cornaro and Antonio Barbaro are investigated in Chapter Three as significant examples which embody the notion of sacrifice as an act of both civic and religious piety. This forms the basis of the fabrication of the Venetian identity of the newly ennobled families and merchants through the memorials on the façades of San Moisè and Santa Maria dei Derelitti which are analysed in Chapter Four. Chapters Five and Six explore Antonio Gaspari’s project proposals for Doge Francesco Morosini and the Valier family, which remained unexecuted. Inspired by Roman Baroque architecture, Gaspari enhanced the aggrandisement of the ducal families to a quasi-imperialist state. Nevertheless, the actual Valier monument devised by Andrea Tirali remained an indirect celebration of Venice through the celebration of the doge’s achievements. The six chapters thus demonstrate how funerary monuments create a public imagery which complements the so-called “myth of Venice”.
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Craske, Matthew Julian. "The London trade in monumental sculpture and the development of imagery of the family in funerary monuments of the period 1720-1760." Thesis, Queen Mary, University of London, 1992. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1894.
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The thesis is concerned with the use of family imagery in monumental sculpture commissioned from the major London workshops in the mid-eighteenth century. It explores the interaction of the many factors which dictated the way in which the family might be represented in monumental sculpture. The interests of the competing London workshops in producing images which established their fame and increased their profits are studied in conjunction with the interests of the patronage in furthering personal and family reputations. The thesis evaluates the contribution that work upon the social history of the eighteenth century family can make to our understanding of the development of monumental imagery. I investigate the many levels of problems associated with using an art form as a source of "data" in the formulation of social history and the potential of the analysis of artistic images to question, or confirm, the validity of theories of family history. The central objective is to enquire into the reasons why the London market in monumental sculpture thrived and expanded in the first half of the eighteenth century. Much of the analysis is directed at revealing the fundamental reasons which caused patrons to order monuments. Changes in furierary culture are measured in terms of the proportion of monuments commissioned to mark, for instance, the elevation of a family to the peerage, or a bereaved husband's grief for his wife. I conclude that the great majority of monumental sculpture commissioned from London workshops throughout the period was concerned with matters of inheritance and property; marking the end of dynasties, the gratitude of those inheriting land, and the establishment of new families upon country estates. The demand for images marking the transfer of property and the passage of titles and honours is shown to have dominated the sculpture market in the first two decades of the period and, despite a strong cultural reaction against formal dynastic sculpture in the 1740s and 50s, continued to have a commanding role in the success of the London workshops.
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Sandrock, Johanna Kay. "Mythological funerary reliefs from the Roman provinces of Noricum and Pannonia /." free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p3099629.
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Hayward, Kevin Michael John. "The early development of the Roman freestone industry in South-central England : a geological characterisation study of Roman funerary monuments and monumental architecture." Thesis, University of Reading, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.501316.
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This research investigates the geological character and source of the very earliest examples of fine carving and inscription work in Roman Britain. First to early second century tombstones and architectural fragments at key centres from south-east England have, for the first time, been sampled, analysed and compared with examples of freestone obtained from the Middle Jurassic ridge of England and northern France. The approach employed has been the application of integrated petrology, both to archaeological specimens, and possible outcrop sources. The petrological information/data gathered during the study, supplemented by a range of geochemical information/data, has shown that much of the material traditionally considered "Bath stone" derives from other sources.
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DELL'ACQUA, ANTONIO. "ARCHITETTURA PUBBLICA E PRIVATA DI BRIXIA: ANALISI DELLA DECORAZIONE ARCHITETTONICA." Doctoral thesis, Università Cattolica del Sacro Cuore, 2018. http://hdl.handle.net/10280/39113.
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Il presente lavoro prende in considerazione i reperti architettonici rinvenuti a Brescia e non ancora oggetto di un’analisi complessiva, al fine di restituire una storia della città mediante la sua architettura pubblica e privata dall’età tardorepubblicana fino al IV sec. d.C.
I settori della ricerca riguardano: i monumenti pubblici, l'architettura delle domus e i monumenti funerari.The project aims to take into consideration the architectural materials found in Brescia, which have been not yet analysed extensively. The main goal is to offer a history of local architecture from Romanization to late Antiquity. The survey is extended to public architecture (temples, forum, Basilica), and private buildings (domus and funeral monuments).
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LaFountain, Jason David. "Reflections on the funerary monuments and burying grounds of early New England." College Park, MD : University of Maryland, 2004. http://hdl.handle.net/1903/2147.
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Thesis (M.A.) -- University of Maryland, College Park, 2004.Thesis research directed by: Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Mander, Jason. "Mors immatura : portraits of children on Roman funerary monuments in the west." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:0b094a7a-5d36-410e-b3a0-3fe3227e4cb7.
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This thesis examines funerary iconography for evidence of Roman attitudes towards children, childhood and the family. Based on 690 portrait monuments drawn from select areas of the Western Empire, its central hypothesis is that the commemorations are best read as highly artificial constructs which reveal more about the social preoccupations of the commissioners than the lives of the children whom they represent. The first of the seven chapters defines the parameters of the accompanying catalogue and discusses the benefits of studying a diverse range of monuments (rather than isolated "show-pieces"). The methodological section which follows assesses the cultural limitations and identification problems inherent to funerary material and considers how the terms "child" and "portrait" are best defined in this medium. The four subsequent chapters analyse the following key areas: the ages, genders and attributes of children; the presentation and composition of the family; the iconography of surrogate and extended relationships; and the archaeological context of funerary display. In each case any emotional interpretations which surround the material are discussed and then countered with alternative, and better supported, social readings. It is argued that previous research has been based on samples which are too limited in terms of size, genre and geographical scope and influenced too heavily by a desire to prove parental benevolence and the existence of "love" and "affection" within the Roman household. By exposing demographic biases and iconographic problems, it is shown that commissioners were actually using the image of the child for overtly social purposes, with some of the results being subject to substantial, and hitherto unacknowledged, regional variation. The conclusion then reassesses a well-known example to show that while Roman parents did attach importance to their children, funerary evidence can only prove it to be of a social, rather than an emotional, nature.
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Davis, Michael Andrew Carey Anthony Gene. "In remembrance Confederate funerary monuments in Alabama and resistance to reconciliation, 1884-1923 /." Auburn, Ala, 2008. http://repo.lib.auburn.edu/EtdRoot/2008/SPRING/History/Thesis/Davis_Michael_44.pdf.
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EMMERSON, ALLISON L. C. "Memoria et Monumenta: Local Identities and the Tombs of Roman Campania." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1384333698.
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Young, Alexis Mary. "The iconography of vending scenes on Gallo-Roman funerary reliefs." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0001/NQ42776.pdf.
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Belli, Melia. "Royal umbrellas of stone memory, political propaganda, and public identity in Rajput funerary architecture /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1905690701&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Baptista, Joaquim António Ramos. "O túmulo Medieval, uma memória na morte-algumas situações da iconografia funerária portuguesa, séc. XII - XVI." Master's thesis, Instituições portuguesas -- -Universidade Lusíada, 1997. http://dited.bn.pt:80/30036.
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Dias, Paulo Jorge Monteiro Henriques da Silva. "Real Panteão dos Braganças-arte e memória." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Letras, 2002. http://dited.bn.pt:80/30122.
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Mantas, Helena Alexandra Jorge Soares. "O panteão nacional - memória e afirmação de um ideário em decadência-a intervenção da Direcção Geral dos edifícios e monumentos nacionais na igreja de Santa Engrácia (1956-1966)." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Letras, 2002. http://dited.bn.pt:80/30161.
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Vieira, Carlos Jorge Canto. "Capitéis de ara do Municipium Olisiponense." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de História da Arte, 1998. http://dited.bn.pt:80/30318.
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Portela, Maria Helena Teixeira Ribeiro. "Necrópoles romanas do concelho de Amarante." Master's thesis, Instituições portuguesas -- UP-Universidade do Porto -- -Faculdade de Letras, 1998. http://dited.bn.pt:80/30365.
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Ramalho, Maria M. B. Magalhães. "O Convento de S. Francisco de Santarém." Master's thesis, Instituições portuguesas -- UP-Universidade do Porto -- -Faculdade de Letras, 1998. http://dited.bn.pt:80/30372.
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Cockerham, Paul David. "'Continuity and change' : memorialisation and the Cornish funeral monument industry 1497-1660." Thesis, University of Exeter, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.398967.
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Pérez, Ismael. "Estructuras megalíticas funerarias en el complejo Huari." Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/113484.
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Megalithic Funerary Structures in Huari ComplexBetween 1995 and 1997 the Universidad Nacional San Cristóbal de Huamanga studied several prehistoric monuments in the Ayacucho Valley region, especially the ruins of Huari, that included an examination of the condition of architectural remains as well as the recovery of artifacts. As a result of this work new information about megalithic funerary architecture has been collected, consisting of multi-level subterranean buildings, one resembling the outline of a camelid, that surely served as tombs for individuals of great social status. These structures belong to the moment of maximum urban development and political expansion of Huari, that dominated the Central Andes during the 7th through 10th centuries. These funerary structures demonstrate advanced knowledge of stone construction by specialists of the Ayacucho area, who were influenced not only by Tiahuanaco, but also by contemporary cultures of the north-central Peruvian highlands.Entre 1995 y 1997, la Universidad Nacional de San Cristóbal de Huamanga desarrolló labores de recuperación y puesta en valor de diversos monumentos prehispánicos, como en el complejo Huari, donde se excavaron y definieron nuevas evidencias de arquitectura megalítica de carácter funerario, con edificaciones subterráneas de varios niveles, algunas con plantas que evocan figuras de camélidos y cámaras funerarias para personajes de alto rango social. Estas son atribuidas a la época de máximo desarrollo urbano y expansión territorial del imperio Huari, el que dominó los Andes centrales entre los siglos VII y X d.C. Las estructuras en mención expresan un elevado conocimiento de la tecnología constructiva en piedra y probablemente fueron hechas por especialistas ayacuchanos que debieron recibir influencia no sólo de Tiahuanaco, sino también de otras culturas coetáneas de la sierra nor-central peruana.
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Sherlock, Peter David. "Funeral monuments : piety, honour and memory in Early Modern England." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342738.
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Knoell, Stefanie A. "Commemoration and academic 'self-fashioning' : funerary monuments to professors at Oxford, Tübingen, and Leiden, 1580-1700." Thesis, University of Sussex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394252.
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Faunch, Christine Jennie Margaret. "Church monuments and commemoration in Devon c.1530-c.1640." Thesis, University of Exeter, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244420.
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Rosas, Lúcia Maria Cardoso. "Monumentos pátrios-a arquitectura religiosa medieval - património e restauro (1835-1928)." Phd thesis, Instituições portuguesas -- UP-Universidade do Porto -- -Faculdade de Letras, 1995. http://dited.bn.pt:80/29821.
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Malone, Hannah Olivia. "Nineteenth-century Italian cemeteries : the social and political basis of funerary architecture." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648217.
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Chauvain-Marc, Sylvie. "In Requiem Aeternam : monuments funéraires du littoral méditerranéen de la petite Camargue à la Catalogne du nord, XIe - XVe siècles." Thesis, Montpellier 3, 2013. http://www.theses.fr/2013MON30075.
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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 anciennesCarved 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
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Ortiz, García José A. "Art, devoció i ritual funeraris a la Catalunya moderna." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/353619.
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Parlar de mort és parlar de les pors inherents a l'esser humà. Diferents son les disciplines que ens permeten aproximar-nos al final de la vida a partir d'una perspectiva cultural. Qüestions històriques, artístiques, religioses, antropològiques i sociològiques, entre d'altres, s'imbriquen entre elles per aportar-nos una mirada sobre el concepte de la mort. Radica en aquesta relació interdisciplinària la tesi doctoral titulada Art, devoció i ritual funeraris a la Catalunya moderna.
El títol de la recerca planteja en ell mateix els conceptes que la vertebren. La mort és l'element d'estudi a través de l'art, les devocions i els rituals que la poden definir. Aquesta aproximació cultural havia d'incloure disciplines associades que aporten les vies interpretatives complementàries en el moment d'abordar aquest paradigma de mort, art, devoció i ritual. El marc cronològic té com a punt de partida les tesis tridentines que ens situen vers la meitat del segle XVI. L’any 1775, l’obertura del cementiri de Poblenou, és la data vers la qual es tanca la recerca. A nivell geogràfic, el focus principal és Barcelona, ampliant la investigació vers altres zones de l’àrea catalana. Mostres internacionals i hispàniques s’han tingut en compte per presentar una millor lectura del corpus d’obres que conformen la tesi.
L’estructura de la tesi en tres apartats, «La mort escrita», «La mort ritualitzada», i la «La mort imaginada», ofereix una panoràmica àmplia sobre aspectes literaris, rituals i artístics, que aborden el conjunt d’obres analitzades.
El primer apartat, «La mort escrita», versa sobre la presència literària de la mort. L’anàlisi de les fonts escrites ens permet una aproximació cultural que fa esment de les principals mostres conservades dels literats i dels gèneres associats a la mort. Noms propis com serien els de Francesc Vicent Garcia, Francesc Fontanella o Agustí Eura, ens donen accés a les composicions poètiques de caràcter escatològic que es posen en relació amb altres fórmules com les ars moriendi i els llibres de viatge a l’Infern i al Purgatori. Així mateix, es fa atenció a les relacions de successos i als sermons per obtenir noves vies d’estudi del fet funerari a través de les lletres escrites, sense oblidar el patrimoni documental dels arxius que completen aquesta part de la recerca doctoral.
El segon apartat, «La mort ritualitzada», ens apropa al cerimonial funerari. Analitzem el ritual de la mort fent ús de fonts variades que ens ofereixen la sistematització del final de la vida segons les doctrines eclesiàstiques. Aquest punt de partida teològic i litúrgic ens permet fer una derivació vers les iconografies associades que amb les creacions artístiques presenten les devocions, ja siguin tradicionals o noves, junt les formes de dol que vertebren la relació entre art i ritual.
El tercer, i darrer apartat, «La mort imaginada», condensa en els seus cinc capítols la recerca sobre l’art davant del fet de morir. En ell s’estudia un corpus d’obres ampli que ens permet trobar les relacions entre art, devoció i ritual que planteja la tesi doctoral. Analitzant pintura, escultura, gravat, arts de l’objecte, literatura, i altres creacions de la mà de l’home, s’estableix un recorregut per les imatges de la mort a Catalunya, atenent a la representació dels cossos morts i a l’imaginari del Purgatori; pel concepte de vanitas o per les mostres de l’arquitectura efímera, amb les exèquies i cerimònies funeràries, i de les sepultures com a espais d’enterrament. El darrer capítol ens porta a la reflexió sobre altres presències de la mort amb la veneració de cossos sants i de relíquies d’efecte taumatúrgic.This work is focused on the study of death representation in Barcelona and the Catalan territories along modern ages, XVIth and XVIIIth centuries. Death concept is such a complicated topic when we try to afford it from cultural studies. This thesis, Funeral art, ritual and devotion in Catalonia during the modern period, is presented not only as an study of historical and artistic meaning, but provides both anthropological and theological interpretations around some different kind of works of art, including paintings, sculptures, etchings, textiles, literature and ephemeral celebrations. The research is an iconographic approach according to the different representations of death in art: the macabre, the vanities, the royal power link to the burial places, the purgatory, among others subjects. The structure of this research is made following three main parts, «The written Death», «The ritualized Death» and «The imaged Death», a cultural view paying attention to literary, religious and artistic ideas around the death concept. Finally this work unveils new information coming from archives, museums and historical libraries and gets enriched of some artistic pieces related to their use and their specific funerary iconographies. To sum up, this research tries to open new fields of study about this topic that belongs to the humankind.
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Orsini, Celia. "Héritage monumental, paysage funéraire et identités : approches archéologiques de la région Tyne-Forth (Vè-VIIIè siècle)." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H033/document.
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Cette étude porte sur les choix d'implantation des espaces funéraires dans les paysages naturels, construits et anciens, par les populations du haut Moyen Age, entre le Ve et le début du VIIIe siècle, dans le Nord de l'Angleterre et l'Est de l'Écosse. Selon les contextes culturels, différentes communautés et leurs élites ont utilisé des caractéristiques naturelles et culturelles dans des mises en scène symboliques de paysages. Entre le Ve et le VIIIe siècle, la région Tyne-Forth devient un carrefour de royaumes bretons et anglo-saxons à partir duquel émerge un des royaumes les plus importants de Grande-Bretagne, la Northumbrie. Cette zone offre la possibilité de comparer l'affichage identitaire de sociétés anciennes de différents royaumes qui se croisent et s'influencent Les pratiques funéraires subissent deux mutations importantes sous l'effet de la christianisation et de la formation de royaume de plus en plus large. Elles sont étudiées afin d'établir si leurs dynamiques temporelles peuvent être interprétées comme les indices d'une évolution des identités culturelles, sociales ou religieuses. On s'interroge sur l'éventuel rôle de traditions relatives à la disposition des morts, dans la création d'identités locales ou régionales. L'analyse du paysage sert aussi à mettre en évidence l'utilisation du paysage naturel et construit pour approcher ces identités. Elle sert également à identifier les réoccupations funéraires de monuments anciens et de le comparer avec celles du reste de la Grande-Bretagne et l'Europe du Nord-Ouest. L'intérêt de cette étude est de mettre en avant les éventuelles pratiques, sociales et symboliques, dissimulées derrière ces réoccupationsThe present thesis focuses on the use of the landscape in early medieval North East England and South East Scotland in the 5th to the 8th centuries -a region recognised as an emerging component of the Northumbrian Kingdom. By the 7th century, Northumbria had become a major political and ecclesiastical power. The chronological frame of this research allows for consideration of the deep political and religious changes that began in the 4th/5th centuries with the departure of the Roman army. The emergence of large kingdoms followed along with the conversion to Christianity and the acceptance and unification of the Christian Faith in the 8th century AD. We here explore the experience of the people who dwelled within this region in the early medieval period from the 5th-8th centuries. li does so by focussing on their funerary rites and practices and how they used their surroundings within funerary ritual to emphasise and signal their collection to place and their identities. Early medieval communities had at their disposal a complex landscape within which they constructed and signalled affiliations by means of interaction with natural and human altered features. Such processes have been argued by many researchers as evidence of the use of the natural landscape and world in the processes of identity creation, with funerary ritual signalling the social and political transformations underway in the organisation of early medieval societies
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Bievre-Perrin, Fabien. "Les monuments funéraires de Grande Grèce : recherches sur les marqueurs de tombes du Vème au III ème siècle avant J-C." Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20117.
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Depuis que son statut scientifique a été établi à la fin du XVIIIème siècle, l'archéologie funéraire se trouve au centre des recherches sur les sociétés italiotes de Grande Grèce. Suscitant comme les vases l’admiration des élites culturelles, les marqueurs de tombe des nécropoles d’Italie du Sud se sont très tôt retrouvés dans les collections européennes et ont d'abord été étudiés par les historiens de l’art. En prenant en compte les questions de terminologie (bien qu'il soit moderne, le mot marqueur est pertinent) et sur la base d'un corpus d'environ 800 marqueurs patiemment réunis, cette recherche démontre qu'une étude minutieuse et méthodique des marqueurs enrichit la connaissance historique et ouvre de nouvelles perspectives. Ces édifices et objets avaient pour fonctions de signaler les tombes, définir le nouveau statut du mort et lui rendre hommage ainsi que de célébrer sa famille aux yeux des vivants. Ils donnent donc à voir des pans entiers et mal connus des sociétés italiotes et de leur genèse. Du Vème siècle avant J.-C., quand territoires grecs et indigènes commencent à échanger au sein d’une koinè italiote, au IIIème siècle avant J.-C., quand les Romains prennent pied dans la région, ils apportent des informations précieuses sur l’évolution des sociétés locales. Une étude confrontant l’ensemble des sources disponibles permet d’aborder des aspects importants des sociétés : mutations sociales, hiérarchisation des communautés et affirmation de pouvoir, relations entre Grecs et autochtones, phénomènes d’acculturation, rites funéraires et croyances eschatologiques. La thèse se présente en deux volumes destinés à être simultanément et complémentairement lus et consultés. L’un contient les fiches extraites de la base de données conçue pour l’étude du corpus : près de 800 marqueurs ou fragments de marqueurs. L’autre développe les analyses archéologiques et historiques. Après un état de la question historiographique, étymologique et méthodologique, l’étude examine le matériel du corpus dans une perspective principalement archéologique, en mettant l’accent sur les questions de contexte et en opérant éventuellement des confrontations avec les sources iconographiques et textuelles. Après avoir élaboré une typologie aussi méthodique et nuancée que possible des marqueurs, elle en exploite les acquis en deux synthèses. L’une est consacrée au concept même de marqueur de tombe (pourquoi et selon quels critères les Grecs marquent-ils leurs tombes ?), l’autre étudie les influences de la koinè méditerranéenne et du creuset italiote sur les marqueurs de Grande Grèce, afin de mieux comprendre les processus d’acculturation et de diffusionSince the scientific value of funerary archaeology has been acknowledged at the end of the XVIIIth century, it has been at the heart of research on Magna Graecia italiot societies. Because they aroused the cultural elite’s admiration, as much as the vases, grave markers from Southern Italia have been at a very early stage brought in European collections and first studied by art historians.Taking into account terminology issues (however modern, the term “marker” remains relevant) and based on a corpus of around 800 markers patiently put together, this study seeks to demonstrate that a methodical and meticulous analysis of the markers helps us to expand our historical knowledge and open new perspectives. These monuments and objects were there to indicate tombs, define the deceased’s new status and pay tribute to him, as well as praise his family in the eyes of the livings. They allow us to see, then, entire parts, which are little known, of the italiot societies and their origins. From the Vth century, when the interactions between Greek and indigenous territories start within the italiot koine, to the IIIrd century B.-C., when the Romans started to settle down in the region, these monuments give useful information about the evolution of local societies. Bringing together the whole range of the available evidence allows us to study important features of the societies: social mutations, communities hierarchy, power claims, relationships between Greek and native people, acculturation process, funerary rites and eschatological beliefs.This dissertation is divided into two volumes, which are to be read in a simultaneous and complementary way. One volume consists of the forms from the database designed for the corpus analysis: nearly 800 entire or fragmentary markers. The other one holds the archaeological and historical analyses. After stating the current status in historiography, etymology and methodology, this study looks into the corpus material, mainly from an archaeological point of view, focusing on contextualization, and sometimes comparing it with iconographic and textual evidence. In two overviews, the analysis then draws conclusions from a typology of the markers, made as methodical and critical as possible. The first one questions the concept of grave marker (why and according to which criteria do the Greeks mark their tombs?), the second one studies how the Mediterranean koinè and italiot melting-pot influenced the Magna Graecia markers, in order to have a better understanding of the acculturation and circulation processes
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Smith, M. J. "'Picking up the pieces' : an investigation of Cotswold-Severn funerary practices via re-analysis of skeletal material from selected monuments." Thesis, University of Birmingham, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.516165.
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Gailliard, Ariane. "Les fondements du droit des sépultures." Thesis, Lyon 3, 2015. http://www.theses.fr/2015LYO30067.
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La sépulture est souvent appréhendée à titre d’exception ou par une superposition de notions : copropriété familiale, bien familial, chose hors commerce, indivision perpétuelle, droit réel spécial... Cette approche disparate dissimule l’existence d’un droit des sépultures qui peine, en conséquence, à constituer un droit unifié. Le droit des sépultures se trouve fractionné en plusieurs branches : droit civil, droit pénal et droit public. A travers elles, apparaissent de nombreuses problématiques, liées à la nature et au régime proposés. Pour ces raisons, il est nécessaire d’aborder le droit des sépultures par la recherche de ses fondements, inchangés depuis le droit romain et le droit médiéval. Le premier fondement est le sacré ; le second la communauté. Tous deux prennent leur source dans l’histoire du droit et continuent d’exister dans le droit positif. Ils font apparaître une unité du droit des sépultures, autour d’une double fonction : assurer la séparation du mort et du vivant et perpétuer le culte des morts. Du point de vue anthropologique, le sacré, premier fondement, se distingue du religieux, et se manifeste selon deux opérations : la délimitation d’une frontière entre sacré et profane par la séparation, puis la protection de ce nouvel espace délimité par la répression de toute atteinte. Pour les sépultures, ces deux opérations sont effectuées respectivement par l’extracommercialité et par la protection pénale. Le premier mécanisme est issu du droit romain et montre une protection originale de la sépulture ; toute activité juridique qui n’est pas incompatible avec le respect des morts est autorisée. L’autre mécanisme concerne l’incrimination de violation de sépulture, qui perpétue sa dimension sacrée. Le second fondement est communautaire : il est apparu pour les sépultures de famille avec les communautés médiévales, à une époque où les biens et les personnes étaient soudés en un groupe familial unique. Désormais adapté par l’affectation familiale, un tel fondement se maintient dans notre droit avec un régime de propriété collective, à travers la transmission successorale restreinte au groupe familial et un principe égalitaire, ce qui fait de la sépulture une véritable propriété communautaire. Bien sacré, propriété communautaire, les fondements des sépultures mettent en exergue des dimensions originales de la propriétéBurials are often considered in terms of acceptions or superimpositions of notions: family co-ownership, family property, off-trade affairs, joint possession, specific real right… This multi-entry approach conceals the existence of a right of burial which, as a consequence, is difficult to define as a unified right. The right of burial is divided up into various branches— civil law, criminal law, public law—which rise various questions linked to the very nature if the different systems. For this reason, it is necessary to tackle the right of burial from the point of view of its foundations, which have not changed since the establishment of Roman law and Medieval law.The first founding principle concerns the sacred; the second is about the community. Both originate in legal history and are still valid in the field of positive law. They show a unity in the right of burial as regards two main functions: ensure the separation between the living and the dead and keep up the traditional practice of ancestor worship. From the anthropological viewpoint, the sacred—the first principle—distinguishes from the religious, and is expressed in two main missions: the definition of a frontier between the sacred and the profane by the separation, then the protection of this new space delineated by the suppression of any violation. For the burials, these two missions are respectively accomplished by a position out of commerce and by the criminal procedure. The first mechanism comes from Roman law and shows an original protection of the burial process; every legal activity which is not incompatible with the respect of the dead is allowed. The other mechanism concerns the incrimination of the violation of the burial process and its sacred nature. The second founding principle is about the community: it was created for family burials by medieval communities, at a time when properties and people were seen as a unique family unit. Nowadays adapted by the family affectation, such a principle is maintained in our legal system because of a collective ownership regime, through the transmission of the succession restricted to the family and an egalitarian principle, which turn burials into a property of the community. Sacred property, property of the community, the founding principles of burials bring to light specific dimensions of the concept of property
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Knöll, Stefanie A. "Creating academic communities : funeral monuments to professors at Oxford, Leiden and Tübingen 1580 - 1700 /." [Oss] : Equilibris Publ, 2003. http://digitool.hbz-nrw.de:1801/webclient/DeliveryManager?pid=1739760&custom_att_2=simple_viewer.
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Riedemann, Lorca Valeria. "Greek myths abroad : a comparative regional study of their funerary uses in fourth-century BC Apulia and Etruria." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:2bc2051b-16ec-42cd-8460-69e78ddbeff9.
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This dissertation presents a regional comparative study of the uses of Greek heroic stories as illustrated on funerary monuments of Apulia and Etruria in the fourth century BC. Founded on the grounds of contextual archaeology and reception theory, it approaches a group of Apulian red-figure vases, Etruscan sarcophagi and tomb-paintings from both regions as a means of investigating the cultural significance of the myths presented in the grave by different peoples in Italy. Moreover, this study emphasises the possible ways in which viewers engaged with the images depicted on these monuments by defining a cultural frame ('horizon of expectations') for their interpretation of the images. Further contributions include the development of a model for the interpretation of the myths depicted on Apulian red-figure vases and the prominence of the corpus of Etruscan mythological sarcophagi, a type of monument often neglected in Etruscan studies. At the end of the dissertation, it will become clear - it is expected - that there were regional preferences for particular myths and differences in both the media and the ways in which Greek myths were used and displayed during the funeral.
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Gouézin, Philippe. "Structures funéraires et pierres dressées : analyses architectorales et spaciales : mégalithes du département du Morbihan." Thesis, Rennes 1, 2017. http://www.theses.fr/2017REN1S112/document.
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Le mégalithisme est l'expression architecturale monumentale d'un ensemble de sociétés qui ont édifiées des structures funéraires et des pierres dressées. La genèse du mégalithisme, phénomène humain de la fin de la préhistoire, puise ses origines dans de multiples conjugaisons des différents courants de la néolithisation aux traditions variées, aux influences géographiques parfois lointaines, aux époques différentes. La combinaison de nombreux éléments sociaux de ces sociétés agro-pastorales a généré des générations d’architectes bâtisseurs et contribué à mettre en œuvre une diversité architecturale La volonté de mise œuvre des maisons des morts au même niveau que les maisons des vivants semble répondre à des critères sociaux et culturels. Une perception visuelle actualisée des mégalithismes, adaptée aux récentes thématiques développées amène un fil conducteur original d’étude de plusieurs mondes qui se sont combinés. L’état des connaissances depuis le milieu du XXème siècle a permis une appréhension différente des mégalithismes : - dans les années 1980, une connaissance plus complète des masses tumulaires et leurs liens étroits avec les chambres sépulcrales (Joussaume, 1997, 1999, 2003 ; Joussaume et al. 2006). - dans les années 2000 une prise en compte de l’histoire des monuments (Joussaume et al. 2006 ; Laporte, 2010 ; Laporte et al. 2004, 2011). - de nos jours, une appréhension différente des articulations entre les pierres dressées, les tumulus et les chambres sépulcrales (Laporte, 2015 ; Laporte et al. 2011). Le processus de cette monumentalisation architecturale a souvent fait l’objet d’études distinctes, les espaces sépulcraux et les pierres dressées servant de bases à deux axes de recherches séparées. Seule l’étude des stèles en remploi avait fait l’objet d’une attention particulière (L’Helgouac’h, 1983 ; Cassen, 2009b) et d’un rapprochement des deux dispositifs. Ce n’est que récemment que la complémentarité entre les espaces sépulcraux et les pierres dressées a réellement été proposée (Laporte, 2015b). Disposant d’un important corpus actualisé des mégalithes du département du Morbihan, il a donc été proposé de développer dans cette thèse cette notion de complémentarité entre les différents dispositifs qui constituent les mégalithismes. Les hypothèses formulées sont de démontrer que les processus de monumentalisation sont issus d’un croisement architectural entre les pierres dressées, les espaces sépulcraux et les masses tumulaires. Nous tenterons également de montrer les liens étroits qui semblent se dessiner entre trois mondes très différents mais intimement liés (le monde des vivants, le monde des morts et le monde naturel)Megalithism is the monumental architectural expression of a group of societies that have built funerary structures and erected stones. The genesis of megalithism, the human phenomenon of the end of prehistory, draws its origins from multiple conjugations of the different currents of neolithization with varied traditions, geographical influences sometimes distant, at different times. The combination of many social elements of these agro-pastoral societies has generated generations of architects and contributed to the implementation of architectural diversity The desire to put the houses of the dead to the same level as the houses of the living seems to meet social and cultural criteria. An updated visual perception of megalithisms, adapted to the recent themes developed, brings an original thread of study of several worlds that have combined. The state of knowledge since the middle of the 20th century allowed a different apprehension of megalithisms: - in the 1980s, a more complete knowledge of the tumular masses and their close links with the sepulchral chambers (Joussaume, 1997, 1999, 2003, Joussaume et al., 2006). - in the 2000s, taking into account the history of monuments (Joussaume et al., 2006, Laporte, 2010, Laporte et al., 2004, 2011). - today, a different apprehension of the articulations between the erected stones, the tumuli and the sepulchral chambers (Laporte, 2015, Laporte et al., 2011). The process of this architectural monumentalization has often been the subject of separate studies, sepulchral spaces and erected stones serving as bases for two separate lines of research. Only the study of stelae in reuse had been the object of particular attention (L'Helgouac'h, 1983, Cassen, 2009b) and a comparison of the two devices. It is only recently that the complementarity between sepulchral spaces and erected stones has actually been proposed (Laporte, 2015b). It has therefore been proposed to develop in this thesis the notion of complementarity between the different mechanisms that constitute megalithisms. The hypotheses formulated are to demonstrate that the processes of monumentalisation are the result of an architectural crossing between the erected stones, the sepulchral spaces and the tumular masses. We will also try to show the close ties that seem to be taking shape between three very different but intimately linked worlds (the world of the living, the world of the dead and the natural world)
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David, Dionísio M. M. "Escultura funerária portuguesa do século XV." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de História da Arte, 1990. http://dited.bn.pt:80/29760.
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Ramos, Francisco Nuno. "Os túmulos de D. Inês de Castro e D. Pedro I." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Letras, 1993. http://dited.bn.pt:80/29796.
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Edis, Jonathan David. "The Totternhoe School of Masons, c.1567-c.1618 : a Midland stone-carving workshop producing funerary monuments in the Dutch style." Thesis, De Montfort University, 2000. http://hdl.handle.net/2086/5848.
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Ribolet, Mathieu. "La décoration architectonique des monuments édens, lignons et sénons, du règne d'Antonin à celui des Sévères." Thesis, Bourgogne Franche-Comté, 2017. http://www.theses.fr/2017UBFCH032.
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La monumentalisation de l’architecture figure parmi les marqueurs les plus éloquents de la pénétration de la culture romaine en Gaule, après la conquête. Peu de temps après l’instauration du Principat, de nouveaux édifices couverts de sculpture ornementale viennent en effet bouleverser le paysage architectural désormais gallo-romain. Sans précédent dans les constructions laténiennes, les décors architectoniques connaissent dès lors une importante diffusion et évoluent au gré d’influences diverses dont les premières sont dictées par des jalons métropolitains comme le temple de Mars Ultor.Plusieurs auteurs ont déjà proposé des synthèses retraçant l’évolution des décors architecturaux de Rome à l’époque impériale, pour le Ier siècle notamment. Elles sont en revanche beaucoup plus rares dès lors que l’on s’intéresse aux provinces de l’Empire et en particulier au nord des Gaules et aux Germanies, alors même que le matériel y est abondant. Ce constat est d’autant plus vrai à mesure que l’on avance vers la dynastie des Antonins puis vers les Sévères, à tel point que la seconde moitié du IIe et le IIIe siècles sont des époques quasiment désertées par les chercheurs.Situé dans la lignée de travaux récents concernant le décor architectonique « tardif » en Gaule et dans les Germanies (Genainville, Champlieu, Neumagen, Bordeaux, Pont-sainte-Maxence), ce travail propose une nouvelle synthèse centrée sur les deux derniers tiers du IIe et le IIIe siècle de notre ère. À partir d’un corpus réuni au sein des territoires éduen, lingon et sénon, il tente d’une part de caractériser les décors employés sur les bases, colonnes, chapiteaux, architraves, frises et corniches. En mettant en lumière une évolution pour chacun de ces éléments, il est alors possible de dégager des éléments chrono-typologiques. La question du répertoire ornemental est également abordée, ce qui permet de s’interroger sur les mécanismes évolutifs, la circulation des modèles et les différentes contraintes qui président aux changements observés. Enfin, l’étude des blocs permet de proposer plusieurs restitutions et d’ainsi avoir une idée de l’activité architecturale qui caractérise les différents sites observésThe development of monumental stone architecture was part of the most telling clues about roman culture entering in Gaul, after Cesar’s conquest. Short while after the Principate started, new buildings covered with ornamental sculpture created a new architectural landscape in the territories that thus formed the roman Gauls. Even though architectonic ornaments had no precedent in the Iron Age, their spread quickly became very important. Ornaments thus started to evolve, taking monuments from Rome itself as first models ; for example the temple of Mars Ultor.Several authors have already written papers about the evolution of architectonic ornaments in the Imperial Rome, in particular for the Ist century AD. However, publications about the Provinces of the Empire are scarcer, especially regarding north of Gauls and Germanies. This observation is even more obvious for later periods such as the second half of the IInd and the IIIrd century A.D.My thesis belongs to a serie of recent works about « late » architectonic ornaments in roman Gauls and Germanies (about collections such as those of Genainville, Champlieu, Neumagen, Bordeaux, Pont-sainte-Maxence). It focus on a period from the years 130 to the years 230 AD (approximately from the reign of Antoninus to this of Alexander Severus). From a corpus gathered over three civitates (Aedui, Lingones, Senones), my work tries to define which ornaments were employed on the components of architectural orders (basis, columns, capitals, architrave, friezes, cornices), to understand how they were allocated, and to highlight how they evolved over decades. Ornamental repertory is also an important point : it allows to question about evolution mechanisms, patterns diffusion and other reasons that made handcrafters change their carving techniques. To finish, studying architectonic pieces provide possibilities of reconstructing monuments, so as to have a idea of what was building activity like in the three studied civitates
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Michailidis, Melanie. "Landmarks of the Persian Renaissance : monumental funerary architecture in Iran and Central Asia in the tenth and eleventh centuries." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/41720.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2007.Includes bibliographical references (p. 375-414).
This dissertation investigates the sudden proliferation of mausolea in Iran and Central Asia in the tenth and eleventh centuries and how their patrons, who were secular rulers of Iranian descent, drew on the pre-Islamic past in new ways specific to each region. Mausolea constructed in the tenth and eleventh centuries have a wide geographical spread across modem Iran and the ex-Soviet Central Asian republics. However, the monuments take two different forms: the tomb tower and the domed square. There are formal and functional differences and a different geographical distribution, with the earliest tomb towers concentrated in the inaccessible Alborz Mountains in northern Iran. This remote region had a very different historical trajectory from that of Central Asia, where the earliest extant domed square mausolea are located. Historians of architecture have often noted that certain features seen in these mausolea have some vague connection with the pre-Islamic past, but this connection has never been precisely defined or explained; I argue that the cultural dynamics which resulted in particular architectural forms were very different in these two regions, so that pre-Islamic Iranian traditions were selectively continued in the Caspian region of northern Iran, whereas other elements of the Iranian past were consciously revived in Central Asia. Two of the mausolea that I analyze, the Samanid mausoleum and the Gunbad-i Qabus, are well-known monuments which appear in virtually every survey of Islamic art, whereas most of the others are almost completely unknown.
This dissertation situates these buildings in their historical context for the first time and examines them in a new way as an expression of the Persian Renaissance, a term borrowed from literary historians which describes the florescence of Iranian high culture which occurred at this time. Since this group of mausolea was influential not only in the development of funerary architecture, but also in the development of Islamic architecture as a whole, understanding their origins and formation is important for the history of Islamic architecture.
by Melanie Dawn Michailidis.
Ph.D.
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Walker, Pamela Anne. "Fashioning death : the choice and representation of female clothing on English medieval funeral monuments 1250-1450." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/fashioning-death-the-choice-and-representation-of-female-clothing-on-english-medieval-funeral-monuments-12501450(9deb9025-e9fe-4814-bdb7-1ecd9f131800).html.
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This interdisciplinary thesis reassesses the use of funeral monuments for the study of medieval clothing. By using an object-centred quantitative approach, a chronological database of changes depicted on English funeral monuments of the thirteenth, fourteenth and fifteenth centuries has been developed. The analysis of the clothing represented on the monuments has then been used to inform qualitative analysis which looks at the monument in context. For example, the disjunction between depictions of ‘immoral’ clothing on effigies and brasses and the criticism of this type of clothing has been analysed by using literary sources to show both sides of the contemporary debate on fashionable clothing and its relation to identity .A further study was done on the depiction of jewellery on monuments which found that perceived notions of jewellery being popular with medieval women did not concur with the evidence from the funeral monuments. Analysis of literary, documentary and archaeological sources showed that visual sources must not be taken at face value to illustrate discussions because they need to be seen in context as a funeral monument with its own function, which is the key argument of the thesis.
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Toland, Lisa M. "RESURRECTING THE DEAD: THE LANGUAGE OF GRIEF IN A SEVENTEENTH CENTURY ENGLISH FAMILY." Miami University / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=miami1058455953.
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Bugnon, Sophie. "Apport de l’iconographie et des sources écrites à la connaissance des rites et des monuments funéraires grecs des époques classique et hellénistique." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100187/document.
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Ce travail aborde les rites et les monuments funéraires grecs au travers de toutes les sources iconographiques et écrites les plus pertinentes pour ce faire (vases, stèles, peintures, lois, épigrammes, littérature, etc.), datées avant tout des périodes classique et hellénistique. L’intérêt est de respecter le fonctionnement distinct de ces sources, pour ne pas que l’une constitue le faire-valoir ou la simple illustration de l’autre, et de dégager tous leurs apports. S’il s’agit avant tout d’un travail d’Histoire de l’art, fondé sur les sources qui servent notre propos, des exemples archéologiques supplémentaires émaillent également cette étude, de sorte à renforcer celle-ci, mais également à donner une meilleure vision au lecteur. Basée sur un système comparatif également, cette étude prend en compte la zone du monde grec antique répartie entre la Grèce propre, Macédoine comprise, l’Asie Mineure et, dans une moindre mesure, l’Italie du Sud. La thèse se divise en trois parties. La première se concentre avant tout sur les rites, du point de vue des vivants qui les pratiquent. La deuxième est orientée davantage sur la figure du défunt lui-même, ainsi que sur le monument qui marque sa sépulture. Enfin, la dernière partie consiste en une analyse des sources utilisées, de sorte à dégager leurs catégories d’apports et à voir si une certaine vision de la mort les sous-tendThe present work deals with the Greek funerary rites and monuments via the most relevant iconographic and written sources (vases, stelai, paintings, laws, epigrams, literature, etc.) dating back to the Classical and Hellenistic times. The interest here is to abide by the specific mode of functioning of each source so that one source should not be perceived merely as the sparring-partner of another, and so as to be able to fully appreciate whatever they are bound to convey. Even though we are first and foremost dealing with Art History, relying on the sources that are most likely to serve our purpose, the present essay is also strewn with additional archaeological examples purporting to reinforce its central thesis; it is intent also on presenting the reader with as accurate a vision as possible. Based on a comparative system, the present essay takes into account the area of the Greek world comprising Greece proper, including Macedonia, Asia Minor, and, to a lesser extent, Southern Italy. It divides into three main parts. The first part focuses above all on rites from the standpoint of the living people who perform them. The second part deals more specifically with the figure of the deceased as such, as well as with the monument marking his/her burial-place. The third part consists of an analysis of the sources so as to point out their categories of contributions while examining whether they might or might not be subsumed by a specific vision of death
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Fumanal, i. Pagès Miquel Àngel. "La pedra de Girona. L'esclat de l’escultura arquitectònica i cultual, 1300-1350." Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/669955.
Full textAbstract:
Vers 1300 Girona es veu influïda per un context sòcio-polític i artístic concret i molt favorable a “l’expansió” en termes econòmics, demogràfics i creatius. A banda del bon estat i creixement del poder econòmic i comercial de la Corona, la proliferació d’ordes religioses i la renovació de les seus episcopals i grans parròquies, especialment concentrada en la meitat nord del principal i tota la zona meridional del regne de França, propicien l’èxit de Girona i les seves pedreres. A partir del 1300, i amb seguretat fins a la pesta de 1348, el col·lectiu de pedrers és el grup professional més nombrós de la ciutat i, proporcionalment, a partir de les dades conegudes, un dels més importants de l’antiga Corona d’Aragó, superant els 180 noms diferenciats de pedrers actius en la primera meitat de segle. La immigració, i dins aquesta, la immigració de pedrers, és un dels eixos fonamentals per entendre l’evolució demogràfica de la Girona del segle XIV. L’acció del bisbe Arnau de Mont-rodon (†1348) propicià la construcció a la catedral d’una capella dedicada als quatre sants màrtirs Germà, Just, Sici i Paulí, els patrons dels picapedrers. Durant la primera meitat del segle XIV la realització de peces escultòriques amb pedra nummulítica i la seva exportació fora de Girona viu un moment d’esclat
sense precedents, comparable a una explosió de creativitat, productivitat i exportació. Això és degut a la coincidència de com a mínim quatre factors determinants: en primer lloc, la forta tradició de la ciutat en el treball de la pedra calcària local i el creixement urbanístic experimentat després de la guerra de 1285. En segon lloc, l’assumpció del material petri per part de la reialesa (i a través d’aquesta, de la noblesa i la burgesia) en la seva utilització en grans projectes funeraris i arquitectònics. Tercer, l’existència de mestres pedrers experimentats i capaços tècnicament de generar materials prefabricats per als projectes reials. I finalment en quart lloc, la disponibilitat d’una pedra amb molts matisos, colors i dureses, capaç de proveir conjunts harmònics, durables i policroms per a tot tipus de necessitats. La producció i l’exportació es donen en paral·lel en dos camps significatius: l’escultura funerària i l’escultura arquitectònica. Pel que fa a l’estandardització d’uns models concrets en escultura arquitectònica, aquesta també suposa la tria i repetició de dos motius fitomòrfics, els capitells de fulla de palma i de flor de lliri, que com a símbols, es troben íntimament lligats al tarannà de la cort de Jaume II, basada en la fe i la justícia. La predilecció pels textos atribuïts a Salomó (entre d’altres) per part del rei, i la influència d’alguns dels més alts consellers (per exemple Arnau de Vilanova i Ramon Llull) podrien ser un dels principals motius de l’aparició i propagació dels dits models. Les peces produïdes, tant les exportades com les de la mateixa Girona, segueixen un codi de mesures i proporcions que es mantindrà amb poques alteracions en el transcurs dels segles següents, amb diferències subtils. Al seu torn, i a diferència del que han dit alguns estudiosos, l’anàlisi dels conjunts conservats permet asseverar que existien unes normes “tàcites” entre els pedrers a l’hora d’aplicar els materials esculpits d’una o altra manera, i en aquest sentit es repeteix la diferenciació entre finestres i galeries o claustres. L’èxit en l’exportació massiva d’elements prefabricats fou possible mercès a la bona connexió viària terrestre de Girona vers els principals nuclis circumdants, així com les populoses ciutats de Barcelona i Perpinyà, pràcticament equidistants. El regnat de Jaume II coincideix amb l’impuls dels principals camins reials i la millora de llurs infraestructures, sobretot els ponts. Seguidament, la construcció d’una carretera de Girona al seu port natural, Sant Feliu de Guíxols, obre la capacitat exportadora per mar, i per tant, l’augment de la distància fins on els materials poden ser transportats amb certa rapidesa. Girona igualment pogué exportar des dels ports de Palamós, Castelló d’Empúries i Roses.Around 1300 Girona is influenced by a specific socio-political and artistic context, very favorable to "expansion" in economic, demographic and creative terms. However, the good state and growth of the Crown's economic and commercial power, the proliferation of religious orders and the renewal of its episcopal and grand parishes, especially concentrated in the northern half of the principal and throughout the southern part of the kingdom of France, are conducive to the success of Girona and its quarries. From 1300, and surely until the plague of 1348, the stonemasons group is the largest professional group in the city and, proportionally, from known data, one of the most important in the ancient Crown of Aragon, surpassing the 180 differentiated names of active stonemasons in the first half of the century. At that time, the production of sculpture pieces with nummulitic stone and their export outside of Girona saw an unprecedented moment of explosion, comparable to a rising of creativity, productivity and export. This is due to the coincidence of at least four determining factors: first, the strong tradition of the city in the work of local limestone and the urban development experienced after the war of 1285. Second, the the assumption of those stone materials by the royalty (and through it, the nobility and the bourgeoisie) in its use in large funerary and architectural projects. Third, the existence of experienced quarry masters and technically capable of producing precast materials for royal projects. And finally, the availability of a stone with many nuances, colors and hardness, capable of providing harmonic, durable and polychrome ensembles for all kinds of needs. Production and export are paralleled in two significant fields: funerary sculpture and architectural sculpture.