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Dissertations / Theses on the topic 'Roman Art'
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1
Coates, Jason McKrindey. "Times New Roman." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1192.
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It is difficult to say that anything will be proven in this thesis of mine. I think of it more as an account of some things that happened in my artwork over the course of graduate school and my earlier development as an artist. Some influences are listed, but certainly not all of them. Likewise, the work that is mentioned in this paper represents a sampling rather than an in-depth survey. I don't have any tables or charts.
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Versluys, Miguel John. "Aegyptiaca romana : Nilotic scenes and the Roman views of Egypt /." Leiden : Brill, 2002. http://catalogue.bnf.fr/ark:/12148/cb389468502.
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Ferris, Iain M. "Studies in Roman archaeology, art and religion." Thesis, University of Birmingham, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573912.
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Ako-Adounvo, Gifty. "Studies in the iconography of Blacks in Roman art." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ50980.pdf.
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Da, Tos Loussia. "Orner le forum : décor des centres civiques d'Aquitaine, de Narbonnaise et de Tarraconaise sous le Haut-Empire." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20127/document.
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Les recherches portant sur les fora provinciaux effectuées au cours des dernières décennies ont permis de redéfinir un certain nombre de leurs caractéristiques. L’étude du décor de ces centres civiques dans sa globalité constitue alors une approche susceptible d’apporter une meilleure compréhension de ces espaces. Cette première approche du sujet a pour objectif d’aborder la question du dialogue entre les images présentes sur le forum et leurs contextes. Le décor figuratif permet de définir les principales thématiques, qui sont souvent complétées par des décors non figuratifs, et qui participent à la diffusion de l’idéologie impériale. Ce décor doit ensuite être contextualisé, afin d’en comprendre la conception, et d’aborder la question de sa réception par le spectateurOver the last few decades, studies on provincial fora defined some of their characteristics. A global approach of their decor can bring about a better understanding of these spaces. The link between the images and their contexts will be examined. The study of the images will be associated with the study of non iconographical elements of the decor in order to define the main themes represented on the fora. The definition of several contexts will help to understand how the decor was conceived and seen at the time
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Buchannan, Sophie Christina Rose. "The art of violence in Roman visual culture." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608069.
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Reeder, Jane Clark. "Agyieus and baluster, aniconic monuments in Roman art /." Providence (R.I.) : Louvain-la-Neuve : Center for old world archaeology and art, Brown university ; Institut supérieur d'archéologie et d'histoire de l'art, Collège Erasme, 1995. http://catalogue.bnf.fr/ark:/12148/cb39142317n.
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Petersen, Lauren Hackworth. "Questioning Roman "freedman art" : ancient and modern constructions /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
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Stumpf, Joseph A. "Tourism in Roman Greece /." free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p3115593.
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Elsner, John Richard. "Art and the Roman viewer : the transformation of art from Augustus to Justinian." Thesis, University of Cambridge, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359557.
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Auanger, Lisa. "A catalog of images of women in the official arts of ancient Rome /." free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9841130.
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Calik, Ayse. "Roman Imperial sculpture from Cilicia." Thesis, King's College London (University of London), 1997. https://kclpure.kcl.ac.uk/portal/en/theses/roman-imperial-sculpture-from-cilicia(52fdf4d0-393f-42f3-8373-470393fac704).html.
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Gilliver, Catherine M. "The Roman art of war : theory and practice : a study of the Roman military writers." Thesis, University College London (University of London), 1993. http://discovery.ucl.ac.uk/1317953/.
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This thesis is a comparative study of the theory and practices of Roman warfare. The content of the various treatises, both extant and lost, is described, along with a discussion of the ancient traditions of textbook composition, their role in education and their possible practical use. The following chapters consider various aspects of Roman warfare for which sufficient historical and archaeological evidence exists and which are dealt with fully in the treatises. The size and internal organization of the different units of the Roman army are discussed with particular reference to the de munitionibus castrorum and Vegetius; a discussion of marching camps follows which considers the origins of these camps and an estimation at the density of soldiers per acre through the application of the rules of the de munitionibus castrorum to examples in Britain. The practices of the Roman army in the field are dealt with in the next three chapters., the order of march, pitched battles, and siege warfare. The first of these includes a discussion of Arrian's order of march and the relationship between the order of march and the line of battle whilst that on pitched battles considers the role of auxiliaries in the battles of the early Empire and the suggested reintroduction of the Greek style phalanx in the second century AD. The development of siege techniques, both offensive and defensive, is discussed, and this is followed by an analysis of the 'rules of war'. Although it is difficult to argue how much influence the treatises may have had on actual practices, the thesis illustrates the very close correlation between the treatises and actual field practices of the Roman army and shows that some of the treatises were of practical value.
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Morelli, Angela R. "Representation of gender and sexuality in Roman art, with particular reference to that of Roman Britain." Thesis, University of South Wales, 2005. https://pure.southwales.ac.uk/en/studentthesis/representation-of-gender-and-sexuality-in-roman-art-with-particular-reference-to-that-of-roman-britain(fb4e7985-7ef0-4c8c-b8ce-5da20d010d2c).html.
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The subject matter for this research is the representation of femininities and masculinities in Roman art with particular reference to that of Roman Britain. The study focuses on the visual presentation of gender for specific deities, personifications and figural images in funerary art; this includes concepts of sexuality that in some cases become entwined with the study of gender. I have endeavoured to demonstrate how socially constructed values add to the understandings of gender and Roman art. The first chapter concentrates on Roman concepts relating to masculinities and femininities, detailing how these are portrayed in visual culture. This entails the identification of gender markers in various forms including clothing (for example the toga and stola), jewellery (such as the bulla) and distinct objects (for instance, military paraphernalia, weaving combs and spinning equipment). Following this broad introduction to gender in Roman art, the study then centres on specific deities, commencing with Venus and Mars, then Diana and Apollo, and Minerva and Hercules - each one has a particular gender ascription. I examine these in terms of visual representation and how their specific femininities and masculinities were presented. Personifications and figural funerary art, respectively, are the following and final chapters of the research. The former deals with the use of personifications in Roman art and the latter with patronage and presentation of figural tombstones and inscriptions. Both chapters observe these issues with preference towards the demonstration of gender allocation and any undertones implicated.
15
Mackintosh, Marjorie. "The divine horseman in the art of the western Roman Empire." n.p, 1991. http://ethos.bl.uk/.
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Da, Tos Loussia. "Orner le forum : décor des centres civiques d'Aquitaine, de Narbonnaise et de Tarraconaise sous le Haut-Empire." Electronic Thesis or Diss., Toulouse 2, 2017. http://dante.univ-tlse2.fr/id/eprint/9210.
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Les recherches portant sur les fora provinciaux effectuées au cours des dernières décennies ont permis de redéfinir un certain nombre de leurs caractéristiques. L’étude du décor de ces centres civiques dans sa globalité constitue alors une approche susceptible d’apporter une meilleure compréhension de ces espaces. Cette première approche du sujet a pour objectif d’aborder la question du dialogue entre les images présentes sur le forum et leurs contextes. Le décor figuratif permet de définir les principales thématiques, qui sont souvent complétées par des décors non figuratifs, et qui participent à la diffusion de l’idéologie impériale. Ce décor doit ensuite être contextualisé, afin d’en comprendre la conception, et d’aborder la question de sa réception par le spectateurOver the last few decades, studies on provincial fora defined some of their characteristics. A global approach of their decor can bring about a better understanding of these spaces. The link between the images and their contexts will be examined. The study of the images will be associated with the study of non iconographical elements of the decor in order to define the main themes represented on the fora. The definition of several contexts will help to understand how the decor was conceived and seen at the time
17
Prat, Michel. "Le roman de la vocation littéraire." Paris 3, 1994. http://www.theses.fr/1994PA030148.
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Cette these vise a premier lieu a prouver l'existence, au sein du kunstlerroman, d'un sous-ensemble centre sur le theme de la vocation litteraire. Elle etudie un corpus de neuf romans, francais, anglais et americains, ecrits entre 1832 et 1960. La premiere partie, apres avoir retrace la genese du theme de la vocation, s'attache a mettre en evidence, par une confrontation systematique des testes, les trois invariants constitutifs de ce sous-ensemble - la dynamique de la vocation; les instants privilegies; la naissance d'une esthetique - en etablissant toujours une distinction entre ce qui procede de l'experience personnelle ou du reseau des influences. La seconde partie, dans une optique plus diachronique, decrit la transformation en mythe du theme considere, debouchant sur une mise en question de la notion actuelle de litterature. Elle s'interesse aussi aux incidences de ce mythe sur le genre romanesque, tire tantot vers l'autobiographie, tantot vers la fiction. Au xxe siecle, les exigences du mythe conduisent chez proust et durrell a la deconstruction parallele de la notion meme de realite et des formes romanesques. Chez sollers, l'evolution du contexte socio-historique provoque la contestation ironique du mythe par lui-memeThe purpose of this dissertation is first of all to prove that, inside the kunstlerroman, there is a sub-section focusing on the literary vocation. It studies a corpus of nine french, englis and american novels written betwenn 1832 and 1960. The first part deals with the genesis of the literary vocation theme; and, distinguishing personal experience from the network of influences, it aims at shedding light, by a systematical comparison of the texts, on three invariants : the dynamics of the vocation; the "epiphanies" ; the acquirement of aesthetics. The second part, in a more diaachronic perspective, shows that the theme is transformed into a myth which calls in question the idea of literature inherited from the end of the xviiie century. It also studies the effect of this myth on the novel, now attracted by the autobiography, now by the fiction. In the xxe century, in proust's a la recherche du temps perdu and durrell's alexandria quartet, the exigencies of the myth lead parallel to "deconstruct" the very notion of reality and the traditional novelistic patterns
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Rivest, Mélanie. "Nouveau théatre et nouveau roman : la quête d'un art perdu." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79975.
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The histories of the Theater and of the Novel have rarely been linked to one another. Nevertheless, studying the evolution of the two arts as of the seventeenth century, allows us to pinpoint and define the sources of contamination. It is more precisely in the nineteenth century that the history of both the Theater and the Novel became envenomed, going from fresh influences to disloyal relations during which time the Theater faded by admitting romanesque realism to take the stage. By denying its capacity to reveal the "real", the Theater failed its possibilities and let its art be disinterested from the theatricality showing all that should have been evoked. Men of theater participated at recapturing the theatrical art so to regain confidence on stage and near 1950, an avant-garde movement flourished to favor a renewal of vitality for the theater with a new language which utilizes all of what the scene could provoke. This "New Theater" is soon followed by a similar romanesque enterprise, the "New Novel", a group of novelists also wishing to acknowledge the right to explore a new style of writing.
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Platt, Verity J. "Epiphany and representation in Graeco-Roman culture : art, literature, religion." Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.422525.
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Jullian, Martine. "Formalisme et réalisme dans la sculpture romane en France : les occupations des mois." Paris 10, 1995. http://www.theses.fr/1995PA100196.
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Le corpus des calendriers sculptes romans en France qui fait l'objet de la thèse est constituée de 33 cycles, répartis dans 32 monuments. Chaque calendrier fait l'objet d'une notice ou sont exposes les principaux problèmes propres à chacun, et où chaque scène est décrite minutieusement et identifiée (volume II). L'étude de ce corpus (volume I) s'articule en quatre points et a conduit aux conclusions suivantes. La situation tant dans l'espace que dans le temps des calendriers est très groupée : la majeure partie est implantée dans un croissant allant des landes au bourgogne et a été sculptée entre 1140-1160. Dans le monument, la situation privilégiée des calendriers (façade ouest, porte principale, voussure extérieure), qui a permis de dégager une "formule type architecturale", n'est pas sans incidence sur le rôle du thème dans l'église comme facteur d'ordre à la fois spatial et temporel. Sur le plan iconographique, le double phénomène de fixité et de variation a également permis de mettre en évidence une "formule type iconographique", et de faire la part entre les thèmes obliges et les variantes régionales ou individuelles. Enfin, est abordée la question de la valeur documentaire des calendriers sculptes, des œuvres d'art qui n'ont pas été conçues pour rendre témoignage d'une réalité disparue, et dont la dimension esthétique doit absolument être prise en compte par l'historien. L'analyse des formes et des thèmes renvoie à une observation de la réalité à la fois très fine et très sélective. Cette finesse et cette sélectivité du sculpteur confèrent à l'image non seulement une valeur documentaire indéniable sur la civilisation matérielle du XIIe siècle, mais aussi une dimension spirituelle. Détail réaliste et stylisation parfois extrême, combines, servent de révélateur a l'expression d'un idéal : idéal fondamentalement optimiste du bien-être, d'un ordre social et religieux reposant sur un ordre économique et politiqueThe corpus of sculpted Romanesque calendar in France which forms the object of the thesis constitutes 33 cycles, spread over 32 monuments. Each calendar receives an individual notice in which are exposed the principal problems of each, and where every scene is meticulously described and identified (volume II). The study of this corpus revolts around four points (volume I). The situation of the calendar in terms of space as much as time is grouped: the majority is implanted in a crescent spreading from lands region to burgundy and was carved between 1140-1160. In the building, the privileged position of the calendars (west facade, door way, exterior archcurves), which has helped to define a "modal architectural formula" has not been without impact on the role of theme in the church as a factor of order both spatial and in time. From the iconographical point of view, the double phenomenon of steadiness and variation has also helped to reveal a "modal iconographical formula", and mark a difference between obligatory themes and regional or individual variants. Last of all, the question is aborded as to the documentary value of sculpted calendars, works of art which were not conceived in order to capture a reality hitherto disappeared and whose aesthetic aspect must certainly be taken into consideration by the historian. The analysis of forms and themes leads to an observation of reality at the same time very fine and selective. This delicacy and selectivity within the sculptor art gives not only an undeniable documentary value to the image of material twelfth century civilization, but also a spiritual dimension. Realistic detail and at times extreme stylization, when combined at as a revealer to the expression of an ideal: fundamentally optimistic ideal of well-being
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Stewart, Peter. "Statues in Roman society : representation and response /." Oxford : Oxford University Press, 2003. http://catalogue.bnf.fr/ark:/12148/cb390520035.
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Mango, Marlia Mundell. "Artistic patronage in the Roman diocese of Oriens, 313-641 AD." Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670405.
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Mosthaf, Franziska. "Metaphorische Intermedialität : Formen und Funktionen der Verarbeitung von Malerei im Roman /." Trier : WVT, Wissenschaftlicher Verl. Trier, 2000. http://catalogue.bnf.fr/ark:/12148/cb39913347k.
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Hansen, Inge Lyse. "Roman women portrayed in divine guises : reality and construct in female imaging." Thesis, University of Edinburgh, 2001. http://hdl.handle.net/1842/17577.
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The thesis concerns representations of Roman women of the imperial period depicted in the guise of a divinity. Portraits of women of all social levels have been included as have representations in any media excluding numismatic evidence. The latter, with its specific contextual characteristics, is only included and discussed as comparanda for the main body of material. The juxtaposition of a recognisable reality and a heightened reality in these representations raises a variety of interpretative questions: whether it is possible to establish a correlation between the mythological interpretation of a goddess and the socio-personal interpretation of an image of a mortal woman; the nature of the message being communicated through the choice of a particular deity; and whether the choice of deity for association in some way may be seen to conform to established ideals or topoi for women. The work examines Roman portraiture as a vehicle for self-expression and the transmission of ideals. Various aspects of the 'mechanics' for achieving this (idealisation, imitation, etc.) are investigated. Though, of particular importance to the argument is the relationship between image and spectator: the perception of portraits and the various factors contributing to forming an interpretation. Thus portraiture is established as a medium which within its contextual framework also includes the spectator - and the spectator's cultural reference points. The main body of the thesis centres on a dual examination of the range of deities with which Roman women were associated and the women presented in the divine guises, respectively proposing avenues of interpretations for the divine allusions and offering suggestions for methods of interpreting their use. The examination of the various deities in whose guises Roman women appear is also juxtaposed with the distinctions and attributes used to characterise women in literary and epigraphic sources. The correlation between these helps to elucidate the values represented in the images of women under discussion, and how they fit within a framework of ideals and virtues, and with the social personae of Roman women. Similarly, affinities between social status and mythological depiction are juxtaposed with a discussion of the role of the mythological representations themselves - exploring especially the relationship between mythological narrative and the tradition of exempla in Roman literature. It is further argued that interpretation is influenced also by viewer response - encouraged through empathetic identification and social emulation - and that the images of women in divine guises therefore may be perceived both as revealing intrinsic personal characteristics and as a costume symbolically articulating aspirational values. The inherent duality in these representations does in other words not so much concern degrees of reality as interacting realities: the individual"as a social participant, the public persona evidencing personal virtues. The images of Roman women presented therefore contain equally a reconfiguring response to the world and a socialising affirmation of identity.
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Downey, Erin Elizabeth. "The Bentvueghels: Networking and Agency in the Seicento Roman Art Market." Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/335436.
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Art HistoryPh.D.
This dissertation evaluates the position of Netherlandish migrant artists in the dynamic cultural environment of seventeenth-century Rome through an examination of the role of the Bentvueghels (“birds of a feather”) as a social and economic nexus for the city’s foreign community. One of the most distinctive societies in the history of art, this high-spirited ex-pat “brotherhood” attracted hundreds of traveling artists and was notorious throughout Europe for its raucous initiations and for the raw depictions of Rome by Pieter van Laer and his followers, the Bamboccianti. While earlier scholarship has established important aspects of the group, such as its history and the artistic significance of individual members, the society has been characterized largely as antagonistic and antithetical to organizations and institutions specific to Rome. I offer instead a fresh outlook on the Bentvueghels that examines their day-to-day economics and response to (and even driving of) market forces in Rome, in order to determine how the society of foreigners as a whole operated functionally within a shifting creative environment in one of the most vital artistic centers in Europe. To address these issues, each chapter is arranged thematically and chronologically, focusing on the period between 1620, when the group first organized, through the close of the seventeenth century, when the last known images of Bentvueghel initiations were created. Using a methodology that integrates art historical primary source investigation with migration theory and network analysis, I analyze the various stages of the journey to Rome for these artists, from initial arrival, to the establishment of a workshop, to the achievement of success in local and international markets. The Introduction (Chapter One) sets up the methodological and historiographical framework for the dissertation. In the second chapter, “Arriving in Rome: The Bentvueghels as a Social and Economic Nexus,” the social activities of the Bentvueghels and their networks are discussed. Archival sources including parish censuses, criminal court records, and notarial documents demonstrate how the group enabled migrant artists to adapt to a different—and often hostile—market by fostering surrogate kinship networks. The Bentvueghels offered migrant artists, who were typically young (around 22-25 years of age), male, and single, a place to live, a ready-made network of friends, and critical financial assistance. Chapter Three, “Working in Rome: Bentvueghel Workshops and Working Practices,” establishes the working practices of Dutch and Flemish artists, a relatively uncharted area of research, and locates economic and social network formation within the space of the workshop. Centers of artistic production in the city are scrutinized, from the highly trafficked studios of Netherlandish artists such as Paul Bril to the private drawing academies hosted by prestigious patrons, including the celebrated Genoese aristocrat, Vincenzo Giustiniani. Paintings, drawings, and prints produced by Dutch and Flemish Italianate artists are compared to identify patterns in workshop practices, determine market impact, and measure the degree to which they were influenced by their new surroundings and by their association with the Bentvueghels. In the fourth and final chapter, “Staying in Rome: Cornelis Bloemaert II as a Case Study for Long-term Strategies of Networking,” I explore strategies of integration among members who remained in Rome for extended periods, focusing on the engraver Cornelis Bloemaert II as a case study. Collaborative enterprises such as large-scale book productions, which comprised a significant proportion of Bloemaert’s artistic output in Rome, provided ways for artists to enhance their artistic education and experiment with new techniques and motifs, while also encouraging further expansion and development of an artist’s social and economic networks. This study thus evaluates the full scope of a foreign artist’s experience in Rome, highlighting with greater accuracy the ways in which affiliation with the Bentvueghels influenced acclimation and eventual integration within the social and cultural fabric of the city. It offers, moreover, a much needed contextualization of the artistic relations between northern European and Italian artists in seventeenth-century Rome, and the important position of the Bentvueghels within this cosmopolitan environment.
Temple University--Theses
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Mackintosh, Majorie Carol. "The divine horseman in the art of the western Roman Empire." Thesis, Open University, 1991. http://oro.open.ac.uk/57334/.
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This thesis examines the image of the mounted god in the western provinces of the Roman Empire. Artists in the provinces often turned to Roman, actually Graeco-Roman, models when developing an iconographical form for local deities. The thesis investigates the transformation of Graeco-Roman imagery and looks at the way artists adapted the Roman forms which would have become familiar to them with the advance of the Roman army and Roman settlement in the provinces of the western part of the empire. The mounted gods discussed are the Celtic Mars and Jupiter, whose Roman names conceal their Celtic identity, Epona, the Dioscuri in the western Empire, the Thracian Rider and the Danubian Rider cult.
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Braun, Suzanne. "Le Massif occidental de l'Abbatiale de Marmoutier dans le cadre régional et dans l'Empire." Université Marc Bloch (Strasbourg) (1971-2008), 2001. http://www.theses.fr/2001STR20015.
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L'étude porte sur le massif occidental à trois tours de l'ancienne église abbatiale de Marmoutier (Bas-Rhin) dans le cadre régional et dans l'Empire. .The study deals with the tree towered western facade of the former abbey church of Marmoutier in the context of the region and Empire. .
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Eilert, Heide. "Das Kunstzitat in der erzählenden Dichtung : Studien zur Literatur um 1900 /." Stuttgart : F. Steiner, 1991. http://catalogue.bnf.fr/ark:/12148/cb35534454j.
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Ruellan, Patrice. "Philippe Caubère, le roman d'un auteur." Aix-Marseille 1, 2007. http://www.theses.fr/2007AIX10065.
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Le théâtre de Philippe Caubère est à la frontière des genres : autobiographique, il se réclame du roman ; joué seul sur scène, il semble s'approcher du "one man show". Et surtout, il est répétitif : la même histoire, ou presque, est sans cesse réécrite et l'oeuvre tient des palimpsestes successifs. La présente recherche établit un état des lieux du rapport entre le théâtre et le récit autobiographique : elle analyse le mode complexe de production du texte, initialement improvisé par l'acteur, puis réécrit par l'auteur ; elle définit la présentation scénique comme un théâtre masqué où le corps et l'imaginaire s'imbriquent ; elle montre que l'oeuvre dépasse cette matière spectaculaire pour devenir littérature. Le théâtre de Caubère est un "vrai" théâtre. Il peut alors devenir livre, s'adresser à des lecteurs qui ne connaissent pas l'acteur, dépasser le compte rendu de l'éphémère pour qui voudrait se l'appropprier. Un théâtre à lire, à voir, à jouer par d'autres, aussi.
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Friesen, Alysha Brayer. "Etiquette and the Early Roman Christian Basilica: Questions of Authority, Patronage, and Reception." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/197991.
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Art HistoryM.A.
The genesis of the early Roman Christian basilica occurred at a moment of historical transition as the emperor and the empire began the process of converting to the Christian religion. Typically, this era has received scholarly treatment either as the end of a time in which the emperor held supremacy or the beginning of one dominated by bishops. The exact moment of `redefinition,' however, has rarely attracted attention because of the assertive oligarchies that bookended this transitional period, the Roman emperor and the Christian pontificate. Richard Krautheimer, who focused much of his attention on the historical figure of Constantine, promoted the idea that the basilica was Constantine's way of imbuing the Christian church with imperial authority and connotations; effectively, Constantine forever changed the shape of Christian churches. This explanation of the pivotal moment of genesis has been generally accepted and the moment of transition has not received much attention from scholars since. In my thesis I will focus primarily on this moment of transition. I will explore the political climate of the government, the authoritative hierarchy of the church, and the precedents of the very first early Roman Christian basilica, at the Lateran. The method that I will employ is the theory of etiquette, operating under the assumption that in every historical period, there is a general understanding of what is `fitting' and `appropriate.' Because of the paucity of material evidence and the unreliability of surviving primary sources, it is generally impossible to make incontestable statements about who was responsible for the early Roman Christian basilica, what they intended to convey to the Roman population, and how appropriate it would have been given the social decorum of the time. Thus, conclusions of this nature are not the primary focus of this thesis. Instead I will concentrate on reconstructing who the most appropriate agent of authority is, and how suitable the early Roman Christian basilica might have seemed.
Temple University--Theses
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Ingle, Gabriela Elzbieta. "The significance of dining in Late Roman and Early Christian funerary rites and tomb decoration." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25949.
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The presented thesis examines dining practices associated with ancient funerary rites, and representations of meals that decorated Roman tombs. Evidence for dining, and its significance in mortuary rites, comes from various sources: from pagan, Christian and Jewish literary examples that describe funerary and commemorative events, and archaeological material of food remains and dining installations at the cemeteries, to pictures of meals depicted on different media: cinerary urns and altars, gravestones, frescoes, mosaics and sarcophagi. The aim of this thesis is to investigate available sources, focusing mainly on pictorial representations of late Roman and early Christian dining in order to assess the purpose of decorating the tombs with convivial images. The thesis begins with a discussion of how the Roman catacombs were used by early Christians, and how they were perceived by the post-sixteenth-century explorers and researchers. As our understanding of the development of the subterranean cemeteries has changed over the past centuries, so has our view of the late ancient societies and their funerary practices. Chapter 1 investigates both written and archaeological evidence for Roman funerary meals (silicernium and novemdiale) and commemorative rites during several festivals for the dead (e.g. parentalia0or0rosalia) performed by families and members of collegia. This Chapter also presents the development of the funerary Eucharist, and discusses evidence for early Christian funerary prayer. Chapter 2 focuses on memorials decorated with diners reclining on klinai, which were intended to represent the status of the deceased. Chapter 3 discusses painted collective meal scenes represented on stibadia, which are differentiated according to their interpretation: Elysian picnic scenes, images representing status of the deceased, or refrigeria (commemorative events) held by family and collegia. This section also includes an investigation into early Christian convivial images, which portray biblical stories and refrigeria. Chapter 4 presents convivial images from the catacomb of SS. Pietro e Marcellino, which provide evidence of a group of foreigners who migrated to Rome. Chapter 5, the final chapter, presents collective meal scenes on sarcophagi, which depict mythological events and picnic scenes reflecting elite villa life style. However, a small group of early Christian examples were also designed to portray honorary meals. In conclusion, the thesis provides evidence for shared funerary practices amongst different religious communities in the Roman world. Additionally, in the majority of cases the dining scenes focus on the representations of the deceased (their status or profession) rather than any particular religious affiliation; while both pagan and Christian images of refrigeria were designed to strengthen, or substituted for, actual commemorative rites.
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Rawson, P. B. "The myth of Marsyas in the Roman visual arts." Thesis, University of Manchester, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377677.
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Bathe, Uwe. "Der romanische Kapitelsaal in Brauweiler : Eine kritische Bestandsaufnahme seiner Architektur, Bauskulptur und Malerei /." Köln : SH-Verlag, 2004. http://catalogue.bnf.fr/ark:/12148/cb399532114.
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Tremblay, Francine. "«Lame noire», roman policier, suivi de l'ambiguïté axiologique du personnage dans le roman policier." Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/28953/28953.pdf.
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Lorente, Christine. "Littérature et peinture dans "Henri Matisse", roman d'Aragon." Aix-Marseille 1, 1997. http://www.theses.fr/1997AIX10050.
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Aragon regroupe des textes qu'il a ecrits sur matisse a partir du moment ou il le rencontre, entre les annees quarante et cinquante, et il leur ajoute des textes conjonctifs, des notes, des illustrations, pour en faire un livre intitule henri matisse, roman, publie seulement en 1971. La peinture de matisse donne d'abord un elan a l'ecriture romanesque d'aragon, par le biais de la personne du peintre, mais aussi grace a la source d'inspiration que represente sa peinture. Cependant, la longue genese, la forme discontinue et la question de l'unite de l'ouvrage semblent aussi liees a la difficulte a dire ce qui n'est pas de l'ordre des signes verbaux. Ainsi, le discours sur la peinture se confronte a plusieurs problemes. C'est d'abord l'ekphrasis : aragon ne decrit pas les tableaux, mais evoque la figure et le dynamisme du trait. C'est aussi la couleur : elle est irreductible au discours et en meme temps le discours y cherche sa legitimite. C'est ensuite le modele, qui se rattache d'ailleurs a la question du realisme pour aragon : matisse part toujours d'un modele et va au-dela, ce qui pose la question de savoir comment rejoindre par le biais de l'art une realite qui n'est pas la, mais aussi la question de la limite. Bien sur, a chaque fois, c'est le rapport du pictural au verbal qui est ici envisage. Enfin, si l'image resiste face au dire, il nous faut essayer de comprendre pourquoi aragon utilise le detour de la peinture de matisse. Le concept lacanien d'ecran (qui suppose une image) va nous permettre de saisir le va-et-vient de l'image au texte. La difficulte a dire la peinture rejoint la difficulte a dire l'autre et soi-meme. Chez aragon, c'est le feminin, c'est-a-dire la femme (apparemment exhibee dans la peinture matissienne) mais aussi ce qui est archaique en nous, qui est masque et qui manifeste en meme temps paradoxalement le retour du textuel. L'ecrivain reussit ainsi a creer un espace, celui du livre qu'est henri matisse, roman, et y exerce un art romanesque qui, se developpant des les premiers textes, aboutit dans ses derniers romans.
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Smith, Kate. "Domesticated dogs in the art and archaeology of Iron Age and Roman Britain." Thesis, University of South Wales, 2005. https://pure.southwales.ac.uk/en/studentthesis/domesticated-dogs-in-the-art-and-archaeology-of-iron-age-and-roman-britain(c12023cd-f2e1-4711-8899-d66512e6c5fd).html.
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This study investigates the symbolic role of the domestic dog in Iron Age and Roman Britain through contextual analysis of their faunal remains and interpretation of their representations in iconography. Previous studies have highlighted linkages between the species and ideas about death, healing and regeneration (Jenkins 1957, Ross 1967, Toynbee 1973, Henig 1984, Green 1992). Although these connections clearly did exist in the cosmologies of Britain and the Western provinces of Rome, this detailed examination of the evidence seeks to identify reasons why this might have been so. The enquiry was also designed to highlight any previously unnoticed patterns in the dataset that might add a further dimension to our understanding of how the domestic dog was perceived at a symbolic level. It has been established for some time that dogs appear in statistically significant numbers, compared to other species, in the special animal deposits that are a feature of certain Iron Age pits (Grant 1984, Wait 1985, Hill 1995). Dramatic evidence for ritual practice involving animals found at a Romano-British temple complex in Springhead, Kent, and comparable finds from both sacred and secular sites, suggest that domestic dogs were also a favoured sacrifice during this period. As well as analysing such archaeological evidence, this study draws on anthropological, psychological and historical writings about human relationships with the domestic dog in an attempt to forward our understanding of religious expression during antiquity.
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Roy, Roxanne. "L' art de s'emporter colère et vengeance dans les nouvelles françaises (1661 - 1690)." Tübingen Narr, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2820954&prov=M&dok_var=1&dok_ext=htm.
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Jones, Lewis Molly Ayn. "A Dangerous Art: Greek Physicians and Medical Risk in Imperial Rome." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1242865685.
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Pollard, Alison. "Carmen heroum : Greek epic in Roman friezes." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:1bd394a8-200e-48c7-b7b4-e1e7cabd39e0.
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Roman wallpainting has been the subject of innumerable studies from the eighteenth century to the present day, but the epic-themed friezes of Late Republican and Early Imperial Italy have been comparatively neglected throughout this history of scholarship. This thesis therefore seeks to examine the three painted and stucco Iliad friezes from Pompeii, all found on the Via dell'Abbondanza, and the Odyssey frescoes from a house on the Esquiline in Rome, as four examples of a type which had a long history in the Graeco-Roman world, even if their survival in the archaeological record is scant. The primary aim of the study is to understand each frieze in the knowledge of how they might have been regarded in antiquity, as elucidated in Pausanias' commentaries on Polygnotus' Iliupersis and Nekyia frescoes in Delphi, and to understand their extra-textual insertions and spelling discrepancies not as artistic errors but as reflections of the geographical and chronological contexts in which the friezes were displayed. Through detailed study of their iconography and epigraphy, alongside contemporary writers' discussion of the epic genre and its specific concerns for a Roman audience, this study aims to show that the most fruitful course of enquiry pertaining to the friezes lies not in an argument about whether they are entirely faithful to the Homeric epics or depart from them in puzzling ways, but in the observation that reliance on the text and free play on it go hand in hand as part of the epic reception-culture within which these paintings belong.
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Fournès, Ghislaine. "Du roman au gothique : étude d'une mutation sociale et culturelle (Palencia - XIIIème siècle)." Paris 13, 1994. http://www.theses.fr/1994PA131010.
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L'analyse des conditions du passage de l'art roman a l'art gothique dans la region de palencia sous alphonse x, s'inscrit comme une contribution a l'interpretation d'une aire culturelle. Ce travail entend mettre en evidence l'existence de liens etroits entre la production artistique au moyen age et les facteurs socio-economiques et politiques. La demonstration proposee se deroule en trois etapes. La premiere etape est consacree a realiser un etat des lieux de la region de palencia dans la deuxieme moitie du xiiieme siecle. L'etude des courants artistiques - roman, mudejar, cistercien et gothique - rencontres dans la region de palencia permet d'apprehender l'evolution des formes, des techniques et de mesurer les changements affectant la portee de l'oeuvre d'art. Une deuxieme etape s'ouvre sur l'exploitation des donnees du corpus comprenant l'ensemble des realisations romanes et gothiques dans la region de palencia. Les resultats debouchent sur l'analyse des pouvoirs a l'origine de la production monumentale. La connaissance des rapports socio-politiques entre l'eveque de la ville, la royaute et les seigneurs, laiques et ecclesiastiques, conduit a confirmer la relation existant entre le changement dans le domaine de l'esthetique et la crise socio-economique qui touche la region tout comme l'ensemble du royaume castillan. Une derniere etape prend en compte l'expression litteraire d'un phenomene quiThis thesis analyzes the conditions of the transition from romanesque to gothic art around palencia under alfonso x, and thus contributes to the interpretation of that cultural area. The work attempts to show the direct linkages between artistic production and socio-economic and political factors during the middle ages. .
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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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Linder, Inge E. "Pilgrimage to the millennium : sacred art and architecture in late twentieth-century France." Thesis, Courtauld Institute of Art (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342183.
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Ricciardi, Ryan A. "Where Did All the Women Go: The Archaeology of the Soldier Empresses." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1211507157.
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Thesis (Ph.D.)--University of Cincinnati, 2007.Advisor: C. Brian Rose. Title from electronic thesis title page (viewed Sep.8, 2008). Keywords: Roman women; Imperial art; Roman Empire. Includes abstract. Includes bibliographical references.
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Fischer, Julia Claire. "Private Propaganda: The Iconography of Large Imperial Cameos of the Early Roman Empire." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1414586866.
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Louison, Lydie. "De Jean Renart à Jean Maillart : les romans de style gothique /." Paris : H. Champion, 2004. http://catalogue.bnf.fr/ark:/12148/cb39145471f.
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Antognozzi, Tiziano. "Fine but liberal: the Roman revolution and the art scene of Rome (1846-1849)." Thesis, IMT Alti Studi Lucca, 2016. http://e-theses.imtlucca.it/283/1/Antognozzi_phdthesis.pdf.
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This work intends to offer a contribution to the history of the artistic scene of Rome in the 19th
century alongside the decline and fall of the Catholic theocratic regime in the Papal States by
focusing on a specific moment of the city’s history known as the “Roman Revolution”, namely the
years that went from the election of Pius IX (June 16, 1846) to the end of the Roman Republic (July
3, 1849). Indeed, the new Pope brought an unprecedented opening to active citizenship which is
legit to identify as a cohesive mobilization of society due to the fall of access barriers to active
citizenship and the flourishing of new opportunities for participation.
By simultaneously studying how the mobilization impacted the artists and how the artists interacted
with the same, this work confides to provide an entirely fresh perspective regarding the social
identity of the Roman artistic scene. The most original contribution to this history is here
represented by the fortunate retrieval of the Pontifical Civic Guard archive, a urban militia enacted
by Pius IX formed by middle-to-upper classes that, initially enacted for safe-keeping, eventually
turned into radical agency and strongly determined the political agenda in its escalation towards
national war. The Civic Guard registers which are analyzed in this study offered not only wide
informations in regards to a “static” picture of the Roman bourgeoisie as it was by Summer 1847,
but also to an “active” one, given that every specific involvement of individuals in the corp was also
recorded. Assuming that at the intersection between these two order of informations lies the very
core of what the Roman artists have been doing with the first, real chance to be active citizens
within a participative political environment, such collective data forms a consistent framework
within which explicit cultural statements in the forms of text, images and memberships may be
addressed in well grounded terms.
Divided in three parts, each one respectively analyzing the 1846-1849 period in terms of political
history, sociological analysis of the cultural scene and social history of arts, this dissertation shows
that the mobilization and its cultural objects had a deep and permanent repercussion on the Roman
scene. A transversal reading of the artworks here analyzed alongside the collective findings emerged
from the Civic registers and other associative mechanisms, highlights the evidence for which the
Roman Revolution brought to surface substantial differences inside the scene in the form of active
process of discriminations mostly engendered by religion and nationalism. Such findings, according
to the author, suggests to look at the 1848 watershed in the history of Italian arts under a different
light: not only the “close-fit” assumption between political and artistic decadence of the Roman
scene emerges as a poorly detailed explanation for the emergence of new pictorial styles, careers
management and public’s reception of artworks; more than looking at these same developments as
byproducts of market logics or of the emergence of further teleological narrative of “forms
exclusive” progressive discourses (for an instance, the so-called “pittori soldato” and their
production), more urgent questions are awaiting investigations in regards to the actual collective
and individual interests in the Risorgimento endeavor by professionals in the arts, as also in social
struggles. Whereas appearing as an “Italian patriot” became rapidly a fashionable strategy in
promoting one artists’ production and identity after the 1848-1849, this dissertation presents instead
several cases in which images and actions engendered some divergent and possible even opposing
scenarios.
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Louison, Lydie. "Le roman gothique : analyse des romans en vers des XIIIe et XIVe siècles dits "réalistes"." Lyon 3, 2001. http://www.theses.fr/2001LYO31016.
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L'analyse des romans qualifiés jusqu'à présent de " réalistes" permet de mettre en évidence l'existence d'un courant esthétique naissant à la fin du XIIe siècle et s'épanouissant au cours du XIIIe siècle jusqu'au début du XIVe. A cette période en effet, la réalité concrète bénéficie d'un statut nouveau et exerce un attrait inhabituel. Nommée "tournant de 1200" par les historiens, une conjoncture historique et économique favorable, sous-tendue par un contexte philosophique très particulier, marqué par la redécouverte des textes d'Aristote et le recul du néoplatonisme chrétien, a ainsi pu donner naissance à ce mouvement littéraire, qui s'apparente sur bien des points à l'art gothique. Un premier chapitre s'attache donc à identifier et démêler l'enchevêtrement des racines du prétendu réalisme médiéval, avant de définir l'art gothique littéraire tel qu'il s'actualise dans tous les genres. Les notions de réalisme, d'ouverture et d'anthropocentrisme s'imposent pour caractériser ce regard nouveau posé sur un monde immanent désormais perçu uniquement pour lui-même. Le représentations de l'espace et du temps (chapitre deux) confirment ce boulversement des mentalités. Elles trahissent une perception différente, moins théocentrique, de l'univers et de la temporalité terrestres. Privilégiant la réalité concrète, son déterminisme et l'individu, les choix énonciatifs, narratifs, descriptifs et dialogiques, tous les modes d'écriture romanesques (chapitre trois) portent le sceau de cette mutation ontologique sous-jacente. Désireux d'accueillir la rélité dans toute sa diversité, les romanciers réalisent de véritables sommes littéraires. L'esthétique de ces récits (chapitre quatre) propose en effet une ouverture ultime, sensible dans un mélange des genres qui ne laisse pas indemne ses modèles et n'hésite pas à remettre en cause la nature trop artificielles des stéréotypes chevaleresques et courtois légués par la tradition.
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Hobbold, Susanne. "Das Bild des Mars Untersuchung zum römischen Kriegsgott /." Bonn : Rheinischen-Friedrich-Wilhelms Universität, 1995. http://catalog.hathitrust.org/api/volumes/oclc/36578518.html.
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Morisson, Julie. "Le Roman de l'art chez Aragon : l'essai aux frontières de la fiction." Thesis, Poitiers, 2014. http://www.theses.fr/2014POIT5015.
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Ce travail de recherche vise l'exploration de la prose critique et romanesque des années soixante chez Aragon dans une optique qui prend en compte les correspondances et les déplacements en réorganisant le système générique. En mobilisant les notions d'anachronisme et de défiguration Aragon réinvestit la notion de transgénéricité en suivant une poétique de la collusion des paroles et des espaces qui transforme l'écriture en réseau organique. Le partage des genres s'opère au sein d'une dynamique de circulation de codes, de paroles et de motifs prégnants contrôlée par une langue qui tente de contenir les enjeux d'une pensée de l'art. Cette parole qui raccorde la critique d'art et le roman s'impose ainsi comme une langue de l'art à la fois invisible et fuyante. Notre travail consiste donc à en saisir les contours, les modalités, les accents et les formes afin d'examiner comment elle engendre la mutation du récit romanesque à mesure qu'elle s'introduit en son sein, édifiant un véritable roman de l'art. Les enjeux théoriques qui innervent le roman s'expriment par une pensée graphique qui puise dans la critique les moyens de son expression. Dans un mouvement inverse, la langue de l'art déclenche des modifications dans la critique qui s'impose dès lors comme un espace prépondérant de l'hybridité. Aragon tente d'exprimer une théorie de l'art tout en retenant la pensée esthétique qui laisse place à des images poétiques à forte imprégnation picturale. Le déplacement des genres s'exprime dès lors en partage des espaces artistiques. Les arts, la critique et le roman communiquent ainsi par une cinétique qui met en oeuvre une pensée théorique dans une prose lyrique et romanesque. La transversalité s'effectue donc par expansions successives qui sculptent les espaces de paroles suivant une poétique de la plasticité. Cette écriture de translations et de permutations dessine un réseau de ramifications qui nous permet d'envisager ensemble la critique et le roman comme les espaces divers d'une même parole à la fois esthétique, romanesque et poétique. L'art s'écrit désormais dans une connexion des voix et des territoires : il se raconte sous forme de romanThis work aims to explore the critical and the fictional prose from the sixties in the perspective of connections and transfers that reorganize the aragonian generic system. By mobilizing the notions of anachronism and transformation, Aragon reclaims the notion of "meeting of genres" according to a poetic conflict between words and places, which transforms the writing into an organic network. The division of genre happens in a dynamic flow of codes, words and significant patterns driven by a language that attempts to contain the stakes of an idea of art. This speech, which connects the criticism of art and novel, imposes itself to be the language of art, invisible and elusive. Our work then consists of catching its limits, its forms and its emphasis in order to study how it leads to change the fictional story to build a true novel of art. The theoretical stakes, that flood the novel, are being expressed through a graphical thought which draws inside the criticism the way to define how to express itself. At the opposite, the language of art causes modifications in the criticism which therefore imposes itself as an important space of hybridity. Aragon attempts to express a theory of art while keeping the aesthetics theory that gives poetic pictures playing through a pictorial impregnation. The transfer of genres expresses itself by a division of artistic spaces. Arts, criticisms and novels communicate through a kinetic that implements a theoretical thought in a lyric and fictional prose. The combination is being executed by successive outflows, shaping spaces of speech according to a flexible poetic. This kind of writing outlines a network of ramifications that enables to consider criticisms and novels as diverse areas of a same speech, at the same time aesthetics, fictional and poetic. From now, art is finally written into a connection of voices and territories: it relates itself as a novel
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McGowen, Stacey Lynne. "Sacred and civic stone monuments of the northwest Roman provinces." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670012.
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