Dissertations / Theses on the topic 'Zoomorphe'

Le robot est une figure que l’on trouve régulièrement dans la fiction, sur différents médiums. Très souvent il est associé au mythe de Frankenstein, la créature qui se rebelle contre son créateur et menace l’humanité. Cette peur s’est peu à peu ancrée dans l’inconscient collectif, même si elle parait irraisonnée quand nous observons les véritables robots et leurs applications. Car ces machines se sont bien développées en dehors de la fiction. Pas forcément sous la même forme ou dans les mêmes buts. Mais l’apparition de ces êtres artificiels génères aussi des craintes. C’est pourquoi une branche de recherche s’est développée sous l’appellation acceptation.L’acceptation des robots est un des enjeux majeurs dans le développement de cette technologie au sein de notre société. Le développement des différents robots de services, ou de robots au travail, s’accentue. Les interactions et le partage de l’espace social avec les robots ne cessent d’augmenter. C’est pourquoi il est important de trouver des pistes pour l’intégration de ces machines se passent au mieux car il y a derrières des enjeux sociaux, économiques, et scientifiques. Une des pistes qui s’est développée est celle de l’utilisation des techniques du cinéma d’animation. Nous prolongeons ici cette piste pour l’appliquer à l’acceptation de robots zoomorphiques. Une catégorie de robot peu étudiés jusqu’à présent. Notre étude s’est consacrée à un cas particulier, un robot hexapode nommé R.HEX développé au L.I.R.M.M.Pour développer notre recherche, nous avons mis en place une enquête en utilisant la réalité virtuelle. Un nouveau moyen d’expression nécessitant l’apprentissage de nouveau codes de mise en scène et de narration, afin de restituer au mieux une expérience crédible. Cette expérience nous permis de comparer des mouvements d’animation et des mouvements calculés par simulateur, afin de déterminer comment utiliser au mieux les outils d’animation
The robot is a figure that is regularly found in fiction, on different media. Very often it is associated with the myth of Frankenstein, the creature that rebels against its creator and threatens humanity. This fear has gradually taken root in the collective unconscious, even if it seems irrational when we observe real robots and their applications. Because these machines have also been developed outside fiction. Not necessarily in the same form or for the same purposes. But the appearance of these artificial beings also generates fears. This is why a branch of research has been developed under the name acceptance.The acceptance of robots is one of the major goals in the development of this technology within our society. The development of different service robots, or co-worker robots, is increasing. The interaction and sharing of social space with robots continues to increase. This is why it is important to find ways to integrate these machines as well as possible. Because there are social, economic, and scientific issues behind them. One of the pathes that has been developed is the use of animations techniques. We extend this track here to apply it to the acceptance of zoomorphic robots. A category of robot little studied so far. Our study was devoted to a particular case, a hexapod robot, named R.HEX, developed at the Laboratory of Computer Science, Robotics and Microelectronics of Montpellier.To develop our research, we set up a survey using virtual reality. A new way of expression that also required the learning of new staging and narrative codes, in order to best reproduce a credible experience. This experience allowed us to compare animation movements and movements calculated by simulator, in order to determine how to better use animation tools

Description et analyse du jeu bresilien de bumba-meu-boi dont le masque corporel zoomorphe est la matrice imaginaire et l'un des termes du modele paradigmatique. Ce dernier est construit a partir des dimensions ambivalentes, indissociables et simultanement actives de l'univers ludique: (espace, temps, matiere et energie). La direction donnee a leur interaction est saisie a travers le projet societal du groupe ludique: la mise en jeu de la gestation representee par le masque. Les conclusions de la recherche s'inserent dans le champ prospectif de la "vocation a etre" des groupes sociaux
Description and analysis of the brazilian bumba-meu-boi play of wich the corporal zoomorphal mask is the imaginary matrix and word among the paradigmatic pattern. This one is built through the ambivalent, undissociable and simultaneously activated dimensions of the ludic universe (space, time, matter and energy). Their interactive direction is understood through the societal project of the ludic group: the gestation gambling represented by the corporal mask. The conclusions of the search is inserted in the beeing vocation prospective field of social group

Les plantes zoomorphes et anthropomorphes qui peuplent l'univers mental et figuré de l'Occident médiéval sont encore méconnues et mal inventoriées, car elle évoluent dans un corpus vaste, au carrefour de plusieurs disciplines et dans des sphères géographiques temporelles et intellectuelles différentes. On les profane, en passant par les bestiaires, les herbiers, les encyclopédies, les récits historico-géographiques et les récits de voyages. Arbre aux bernacles, agneau végétal, mouton-plante ou Baromets, arbres du Soleil et de la Lune du Roman d'Alexandre, plantes anthropomorphes de l'iconographie religieuse, métamorphoses végétales ovidiennes forêt aux filles-fleurs du Roman d'Alexandre, et la plus célèbre des plantes anthropomorphes, la mandragore : les combinaisons sont multiples. Elles s'offrent avant tout dans les images, mais pas seulement. Derrière ces hybrides se cachent toujours un récit, une croyance, un système de pensée, sans lesquels nous ne pourrions les comprendre. De cet étonnant foisonnement se dégage un mode de représentation complexe associant le végétal à l'humain où à l'animal, au-delà de la simple variation décorative. Ces plantes nous éclairent ainsi de manière nouvelle sur la conception du merveilleux et de la nature, du point de vue artistique, philosophique, théologique et scientifique, et sur la notion de mélange des règnes au Moyen Âge et à la Renaissance
The zoomorphic and anthropomorphic plants that fill the mental and figurative world of the medieval age in the West are still largely unknown and poorly inventoried; they are part of a vast corpus spread across several disciplines and different intellectual, temporal and geographic spheres. Indeed, they are present in fields ranging from religious writings to profane literature, as well as in bestiaries, herbals, encyclopedia, historical-geographic reports and travel stories. There are multiple combinations : barnacle tree, vegetable lamb, sheep plant, Baromets, Sun and Moon trees from the Alexander Romance anthropomorphic plants, the mandrake. They figure most widely as images, but not exclusively. Behind these hybrids is always a story, a belief or a system of thought, without which we could not understand them. The astonishing profusion illustrates a complex mode of representation than links, plant to human or animals, in a way that is more than a simple decorative concept. These plants offer us a novel way of looking at the concept of nature and marvels, from an artistic, philosophical, theological and scientific point of view, as well as the prevailing medieval and Renaissance idea of combining kingdoms

Throughout the evolution of man, the ocean has played an integral part in his survival. As technology has advanced so has man's use of the ocean. In order to preserve the history of these advancements for future generations, museums have been erected. The Carolina Coastal Museum is dedicated to the nautical history of the Carolinas. The project is fueled by the theories and philosophies of zoomorphism and anthropomorphism. The building is based upon the skeletal structure of a fish, the main element being the spine. Other natural elements such as ligaments, cartilage, respiratory system, and circulatory system were also explored and utilized within the project.
Master of Architecture

Over the last decade, the surprising fact has emerged that machines can possess therapeutic power. Due to the many healing qualities of touch, one route to such power is in haptic emotional interaction, which in turn requires sophisticated touch sensing and interpretation. We explore the development of affective touch gesture recognition technologies in the context of a furry artificial lap-pet, with the ultimate goal of creating therapeutic interactions by sensing human emotion through touch. We design, construct, and evaluate a low-cost, low-tech furry lap creature prototype equipped with 2 types of touch-sensing hardware. The first of these hardware types is our own design for a new type of touch sensor built with conductive fur, invented and developed as part of this research. The second is an existing design for a piezoresistive fabric pressure sensor, adapted to three dimensions for our robot-body context. Combining features extracted from the time-series data output of these sensors, we perform machine learning analysis to recognize touch gestures. In a study of 16 participants and 9 key affective gestures, our model averages 94% gesture recognition accuracy when trained on individuals, and 86% accuracy when applied generally across the entire set of participants. The model can also recognize who out of the 16 participants is touching the prototype with an accuracy of 79%. These results promise a new generation of emotionally intelligent machines, enabled by affective touch gesture recognition.

This essay aims to show how anthropomorphism, and also to some extent zoomorphism, is created in Nicholas Evans’s novel The Horse Whisperer.  Through parallel events and the usage of the concepts horse whisperers and horse whispering, a special connection is created between Grace, the main human character, and Pilgrim, the main horse character. This essay argues that their connection grounds for the reader to see the horse anthropomorphically and the human to some extent zoomorphically. With the use of Daston and Mitman’s notions of anthropomorphism and zoomorphism, this essay analyses how the concepts manifest themselves in the novel. The definition of horse whisperers and horse whisperering within this essay derives from the work of Brannaman and Parelli, this due to their theoretical value and knowledge about horse whispering.

The aim of the research was to investigate the aspects of happiness and the way they are expressed through Lithuanian and English zoomorphic idioms. The research focused on the theoretical background of idiom peculiarities, establishment of the aspects of happiness, their investigation and comparison within the zoomorphic idioms of both languages. To carry out the research, 135 zoomorphic idioms were collected: 50 English idioms and 85 Lithuanian idioms. Qualitative, descriptive and quantitative methods of analysis were mainly employed in the research. The analysis revealed that 45 animal names were employed to express happiness in both languages. English idioms comprised 25 animal names, and 33 animal names were found in Lithuanian idioms. Despite the fact that 13 animal names (bull, calf, cat, cow, dog, horse, sheep, eagle, bird, dove, fish, bee, and duckling) coincided in both languages, the patterns of equivalence expressing the same aspect of happiness were not abundant. Ten semantic groups of happiness were distinguished:joy,wealth, good health, relationships,knowledge,longevity,easy life, optimism, acknowledgement, and positive traits. Although there were 3 total and 12 partial equivalents distinguished among 10 semantic groups of happiness, zero equivalence was prevailing. This confirms the fact that Lithuanian and English cultures are different. Despite this fact, both the Lithuanians and the English employ the concepts of a horse and a cat to express the aspects of... [to full text]
Šio darbo tikslas yra ištirti laimės aspektus bei jų reiškimo būdus lietuviškuose ir angliškuose zoomorfiniuose frazeologizmuose. Tyrime yra naudojami kokybinis, kiekybinis ir aprašomasis analizės metodai. Teorinėje dalyje yra apžvelgiama frazeologizmų definicijos problema, jų struktūrinė bei semantinė klasifikacija, formavimosi subtilybės bei kultūros įtaka. Šiame darbe skiriamas didelis dėmesys šiuolaikinei ir praėjusių šimtmečių laimės sampratai bei ryšio tarp žmogaus ir gyvūnų aptarimui. Praktinės dalies analizei buvo surinkta 135 zoomorfiniai frazeologizmai: 50 anglų kalboje ir 85 lietuvių kalboje. Iš viso 45 gyvūnai buvo pasitelkti reikšti laimės aspektus abiejų kalbų frazeologizmuose: 25 iš jų anglų kalboje ir 33 lietuvių kalboje. Tik 13 gyvūnų sutampa abiejose kalbose (jautis, veršis, katė/katinas, karvė, šuo, arklys, avis, erelis, paukštis, balandis, žuvis, bitė ir ančiukas). Dauguma jų yra naminiai gyvūnai, vieni iš anksčiausiai prijaukintų bei būdingi abiem šalims. Vienas iš svarbiausių praktinės dalies akcentų buvo išskirti laimės aspektų semantines grupes. Remiantis mokslininkų darbais bei statistiniais tyrimais buvo išskirta 10 semantinių grupių: džiaugsmas/sėkmė, turtas/gerovė, gera sveikata/fizinė būklė, santykiai/sutarimas, žinios/patirtis, ilgaamžiškumas/energija, lengvas gyvenimas, optimizmas/pozityvios permainos, pripažinimas, teigiami bruožai/buvimas geresniu už kitus. Remiantis šiais kriterijais, frazeologizmai buvo klasifikuojami, lyginami ir... [toliau žr. visą tekstą]

Ce travail repose sur l'etude de 843 terres cuites datees entre le ve s. A. C. Et le vie s. P. C. Conservees dans differents musees etrangers ou francais. Il s'agit de figurines faconnees ou moulees, parfois associees a une petite lampe ou servant de vases. La plupart des figurines mesurent entre dix et quinze centimetres. Quelques unes se distinguent par une taille nettement plus grande tandis qu'a l'inverse, une serie est designee par le terme de miniature. Si la technique du moulage est employee des le moyen empire, il faut attendre l'arrivee des grecs pour que l'emploi des moules se generalise jusqu'a arriver a une production de masse. Les figurines decouvertes dans les tombes alexandrines permettent de fixer le debut de la production au iiie s. A. C. Les collections museographiques constituent des ensembles heterogenes pour lesquels nous avons peu de renseignements au sujet de la provenance. Des comparaisons avec des objets exhumes au cours de fouilles et une etude technique ont permis de proposer des criteres de datation. Le bestiaire en terre cuite apporte de precieux renseignements sur l'epoque greco-romaine. Il est revelateur des changements apportes par les grecs et de la prise d'importance de certains animaux comme le dromadaire ou le porc. La majorite des animaux representes appartient a la vie quotidienne, soit comme animal familier soit comme betail. Les images divines, relativement rares, sont facilement identifiables a leur couronne. Par contre la majorite des autres figurines fournissent une double cle de lecture : animal associe a une fete ou animal familierplace sous une protection divine. Une serie de figurines representent des animaux en attitude humaine, image de mascarade ou caricature.

Le gisement de Fontalès à Saint-Antonin-Noble-Val (Tarn-et-Garonne) appartient à la série des sites magdaléniens de la vallée de l'Aveyron rendus célèbres par les oeuvres d'art qui y furent découvertes. Connu et exploité depuis 1865 jusque vers 1960, ce site n'a connu finalement qu'un seul fouilleur principal. Il a livré une importante industrie lithique et osseuse, une grande quantité de faune et un matériel orné assez considérable (environ 500 pièces, en grande partie inédites). Malgré les lacunes documentaires et l'absence d'études pluridisciplinaires, cet ensemble remarquable restait cohérent et pouvait donc être considéré comme significatif pour l'étude de l'art mobilier du Magdalénien supérieur dans la vallée. Une fourchette chronologique étroite - confirmée par une datation sur harpon bilatéral - a pu être établie, situant le gisement dans le Dryas I. Le travail est limité à l'art figuratif. . .

Les gravures rupestres de tazzarine-msissi (anti-atlas oriental, maroc) sont des representations schematiques. Elles constituent un ensemble riche en zoomorphes et signes, mais pauvre en anthropomorphes et armes. Cette etude essaie d'analyser plus particulierement les zoomorphes et de les inserer dans leur contexte chronologique, culturel et environnemental grace a une demarche pluridisciplinaire. La determination taxinomique, bien qu'elle soit difficile lorsque les sujets sont extremement schematiques, revele la presence d'une majorite de faune sauvage liee a des traditions cynegetiques. La presence de scenes d'affut et de pieges conforte cette hypothese. Le bestiaire grave a plusieurs affinites avec la faune neolithique de certains sites du sahara. Ces affinites refletent le realisme des zoomorphes et legitiment les interpretations qui s'y rapportent. Ainsi, la presence d'un taux eleve d'especes du biotope aride serait la reproduction visuelle d'une partie de la biocenose environnante aux graveurs ; cette derniere vivait dans un milieu semi-aride, favorable toutefois a la survie des pachydermes. Si les zoomorphes permettent de fixer 4000 b. P. Comme limite chronologique superieure de cet assemblage de gravures, ils demeurent incapables de determiner la limite inferieure a cause de la persistance de certains animaux. La thematique associee vient combler cette lacune ; elle livre une chronologie assez large allant du neolithique jusqu'aux periodes protohistoriques. Les analogies avec le sahara occidental, sahara central, sahara meridional et l'atlas saharien permettent de reconnaitre un ensemble tazinien homogene au niveau technique et thematique. Ces analogies sont a mettre en correlation avec la mobilite des populations liee aux fluctuations climatiques holocenes.

In Fear and Loathing in Las Vegas by Hunter S. Thompson, the city of Las Vegasrepresents a country that is torn between the flippant capitalism and the dream ofprogress on the one hand, and the need to come closer to your own humanity on theother. Critics have had much interest in the novel and Thompson’s personal relation toit, although they have not treated the dynamic of zoomorphism that informs therelationship between man and animal of the whole novel and how the animal representdifferent values depending on circumstance. This essay provides a new approach to theideas of animalism and to Thompson’s relation to it, and the analysis examines thenovel’s representation of the relation between society, man and animal and how it canbe connected to contemporary 1972 political and personal relations. This essay’s aim isto investigate how the novel through a Bakhtinian carnival reading, together withaforementioned concept of zoomorphism, handles the issue of the underlyinganimalistic tendencies of humans and how those tendencies can represent differentthings depending on context.First, I begin with a description of the concepts and theories of significance that shall beof use in the analysis, mainly that of the Bakhtinian concept of the carnival and to alesser extent Wendy Doniger’s take on zoomorphism, which will then be connectedwith instances in the novel that handles the issue of man and animal coexistence.

"Cette thèse est une recherche interdisciplinaire basée sur des travaux sur le terrain depuis 1991 entre les différentes tribus nomades Bakhtiâri "Haftlang". Cette thèse est fondée sur les études de la structure et du corps des pierres tombales en forme de lion et les informations fournies dans ses épitaphes. Parallèlement, les études à propos des traditions de deuils, les lamentations et les traditions orales des Bakhtiâri nous ont aidés à trouver les raisons probables de la création des lions en pierres et des motifs gravés sur leur corps. Dans cette thèse, nous avons aussi parlé des tailleurs de pierre qui travaillaient les lions our les nomades Bakhtiâri, leur technique de taille de pierre, et aussi leurs outillages. "
Tis PhD is the result of one interdisciplinary research based on field works between different tribes of nomads "Haftlang" Bakhtiari since 1991. This research based on the study of physical structure and corps of lion tombstones and information that we found in their epitaphs. Meanwhile, study of funeral tradition, lamentations, and oral traditions of nomads Bakhtiari helped us to find more information about creation of lion tombstones and engraved motives and images on their corps. In this research, we talk about stonemasons who sculptures lion tombstones, their technique of sculpturing and their tools too

“The Bedroom and the Barnyard: Zoomorphic Lust Through Territory, Procedure, and Shelter in ‘The Miller’s Tale’” is an academic endeavor that takes Chaucer’s zoomorphic metaphors and similes and analyzes them in a sense that reveals the chaos of what is human and what is animal tendency. The academic work is expressed in the adjunct creative project, Haunchebones, a 10-minute drama that echoes the tale and its zoomorphic influences, while presenting the content in a stylized play influenced by Theatre of the Absurd and artwork from the medieval and early renaissance period.

This study examines small finds from the site of Chogha Gavaneh, Iran, including zoomorphic clay figurines, geometric-shaped objects, and sling bullets in order to deter-mine if they served an economic function during the Early Chalcolithic period (ca. 5000-4000 B.C.E.). A total of 104 animal figurines, sling bullets, and geometric-shaped objects have been found at Chogha Gavaneh. This research challenges previous archaeological interpretations of animal figurines that have interpreted them as being magical or lucky objects for hunting and religious rituals, or for use as game pieces, educational objects, or toys. Through the use of XRF (x-ray fluorescence spectrometry) analysis and the chaine opératoire approach, I suggest, contrary to the conventional wisdom, that some of these clay objects might represent another kind of social practice and may have had an economic function.

This is a first synopsis of the research that we have realized at the Templete de Limoncarro recognized as a site of the Cupisnique culture. At this Templete we have excavated five times and identified two phases of construction. The structures of the first phase, La Calera, are very few, while at the second phase, Limoncarro, are constructed a sunken court and three platforms, which are the objects of frequent repair. Some structures of conic adobe at the platforms represent faces of animals, which seems to be of the Cupisnique iconography.
La presente es una primera aproximación al estudio que se realiza en la actualidad en el Templete de Limoncarro, complejo reconocido como un sitio de la cultura Cupisnique. En este se han efectuado excavaciones a lo largo de cinco temporadas y se ha comprobado la existencia de dos fases de construcción. Las edificaciones de la primera fase, denominada La Calera, son muy escasas, en tanto que a la segunda fase, nombrada como Limoncarro, corresponden la plaza hundida y las tres plataformas identificadas, las que fueron objeto de reparaciones frecuentes mientras estuvieron vigentes. Algunas de las estructuras hechas con adobes cónicos en dichas plataformas representan rostros de animales, los que se asemejan a la iconografía cupisnique.

This thesis presents the claimed Protovillanova pottery from Luni sul Mignone and San Giovenale through a typological study. The pottery from San Giovenale and Luni is then compared to Bronzo Finale, Bronzo Recente and Protovillanova pottery from various sites in central and northern Italy. The reason for the comparison is to establish if the pottery should be categorized as a cultural expression or to a certain time period. Included in this study is a discussion on whether the term Protovillanovan should be used or not and if it really describes cultural phenomenon active during the Bronze Age or if it describes the same phenomena of the Bronze Age but with a different name.

Participant à une certaine opacité dans son étude générale, la civilisation nomade des steppes Eurasiatiques fut longtemps considérée comme apolitique et symboliquement ancrée dans la barbarie. Cependant, cette dernière demeure un sanctuaire d’investigation scientifique à l’intérieur duquel le politique s’est considérablement manifesté par la création de nombreuses confédérations tribales. Opérant son entrée dans l’histoire de l’humanité en tant qu’élément perturbateur des sociétés sédentaires, les peuples de la Haute Asie ont ainsi participé, durant près de deux mille ans, à la chute, au bouleversement ou au renouveau des plus grandes civilisations. La création et l’expansion de l’empire gengiskhanide, dès le début du XIIIème siècle a permis de démontrer la faculté pour ces populations de pasteurs nomades d’opérer d’importantes modifications au sein même de leur morphologie sociale, et ce pour les besoins du politique et de la guerre vers l’extérieure. Cependant examinée de l’intérieur, cette civilisation atypique n’en reste pas moins problématique, notamment du fait de son actualisation culturelle. Cette dernière, accomplie au travers de concepts socio culturels alliant pensée animiste, spiritualité chamanique et utilisation de représentations sociales à aspects zoomorphiques, ne semble rentrer dans aucune grille de lecture impériale. La symbolique du loup est ainsi devenue omniprésente dans l’évolution de la morphologie tribale altaïque, participant à une unification massive des tribus turco-mongoles sous l’hégémonie hiérocratique de Gengis Khan. Devenu progressivement élément mythologique attracteur, l’animal carnassier s’est ainsi frayé une place de choix au sein de la mentalité collective nomade, participant directement au chamboulement de la morphologie tribale, pour les besoins du politique et de l’expansion de la civilisation des steppes en terres sédentaires. Au delà de la simple utilisation lycanthropique de l’ancêtre clanique, sa symbolique, réutilisée habilement par Gengis Khan, est en mesure de démontrer à la fois le dynamisme politique à apposer aux sociétés considérées à tort comme «primitives», tout comme l’instauration d’une identité sociale et d’une idéologie guerrière prédatrices. Etablissant de ce fait l’entité nomade comme antagonique mais complémentaire avec la pensée et l’histoire humaine sédentaire
Participating in a certain opacity in it’s general study, the nomadic civilization of Eurasian steppe was long regarded as non-political and symbolically rooted in barbary. However, the latter remains a sanctuary of scientific investigation within which the political has significantly expressed itself by the creation of many Tribal confederations. It’s entry operates in the history of mankind as a disruptive element of sedentary societies. People of High Asia participated for almost two thousand years to the collapse, disruption or renewal of the world’s greatest civilizations. From the beginning of the 13th century the creation and expansion of the gengiskhanid empire enabled the demonstration of the faculty of these nomad pastors. They operated major changes in their social morphology for the political needs and because of the war outside. Examined from the interior, this atypical civilization remains questions. This is a result of cultural updating. The latter, accomplished through social and cultural concepts combining animist thinking, shamanist spirituality and the utilisation of social representations with zoomorphic aspects doesn’t fit any imperial cases studies. The symbolic representation of the wolf became ubiquitous in the development of the Tribal-Altaic morphology and participation of a massive unification of Turko-Mongolian clans under the hierocratic hegemony of Gengis Khan. The carnivorous animal had progressively became administred as an attraction mythological element and cleared the way to the Tribal collective mentality. This participating directly to the disruption of Tribal morphology for the political needs and expansion of the steppe civilization in settled population territories. Beyond the single lycanthropic utilization of the Tribal ancestor, its symbolism skillfully reused by Gengis Khan demonstrates simultaneously the political dynamism to pin on societes mistakenly considered as « primitive », and the establishment of a predatory social identity and war-making ideology created de facto the nomadic identity as an antagonist but complementary to the social wores and history of human sedentary
Судалгааны хувьд ерөнхийдөө зарим тайлбарлахад амаргүй байдлыг хуваалцахад, Евро- Азийн тал нутгийн соёлыг урт хугацааны туршид зэрлэг бүдүүлэг байдалтай байсан хэмээн үздэг. Гэсэн хэдий ч сүүлд оршин байсан ариун дагшин газраас шинжлэх ухааны судалгаа авч үзвэл олон овог аймгийн нэгтгэн байгуулсан улс төрийн байдал нь нэлээд тод томруун харуулж өгдөг байна. Хүн төрлөгтөний түүхийн хувьд авч үзвэл уналт, өөрчлөлтийн зөрчилдөөн эсвэл илүү том нөлөө бүхий соёл иргэншлээр шинэчлэл явагдсан байдал зэргээр сууршмал нийгмийн хөгжил нь төв азийн нүүдэлчин улс орнуудын оролцоо нөлөөгөөр 2000 орчим жил тасалдсан. Улс төрийн болон гадагш хандсан дайны шаардлагаар Чингис хааны эзэнт гүрний байгуулалт болон тэлэлт нь 13-р зууны эхэн үед нийгмийн бүтцэд чухал өөрчөлтүүдийг бий болгоход малчин нүүдэлчид их нөлөө үүрэг гүйцэтгэсэн гэдгийг илэрхий харуулж өгдөг. Гэвч дотоод байдлыг нь ухан авч үзвэл энэхүү өвөрмөц соёл багагүй асуудалтай байсан бөгөөд дашрамд дурдахад соёлын өөрчлөлтийн нөлөө ч бас илэрхий байв. Энэхүү нийгэм соёлын үзэл баримтлалыг нь өргөнөөр авч үзвэл сүнслэгжүүлсэн үзэл санаа, бөөгийн сүнслэг үзэл болон амьтны сүнстэй холбосон үзэл санаан дээр тулгуурласан нийгмийн төлөөллийг ашигласан зэрэг нь эзэнт гүрний утга зохиолын хүрээнд оруулсан байдаг. Чингис хааны доор Түрэг-монголчуудын овгуудын өргөнөөр нэгтгэсэн байдлыг хамруулан Алтайн овгийн хэл зүйн хувьсал өөрчлөлтөнд чонын билиг тэмдгийн талаар хаа сайгүй дурдагдсан байдаг. Бодлогын зорилгоор болон соёлын алхамын тэлэлтүүд сууршиж, нүүдэлчдийн ерөнхий сэтгэлгээнд үлгэр домгийн хэлбэрүүд аажмаар багасаж махчин амьтны талаарх сэдэв түгэж эхлэсэн бөгөөд овгийн хэл зүйд шууд өөрчлөлтөнд нөлөө үзүүлэв. Эртний отог аймгийн энгийн бэлэг тэмдэг болсон чонын утгыг Чингис Хаанаар дамжуулан цааш улс төрийн хүч, итгэл үнэмшлийг харуулах арга замаар ухаалгаар дахин ашиглагдаж ирсэн байдал нь хэсэг бүлгийнхний дүгнэлтэнд буруугаар тайлбарлагдах шалтгаан болсон бөгөөд балар эртний дайтан эзлэн түрэмгийлэгч хэмээн тэд авч үзэх болсон бөгөөд нүүдэлчдийн энэхүү байдлыг хувиа хичээсэн байдлаар оршин тогтнож байсан хэдий ч сууршмал соёлын үзэл баримтлал холбоотой зүйлс бас байсан байна хэмээн үзжээ

No
Five fragments of Late Neolithic clay zoomorphic vessels from northern Greece have been analysed for organic residues by gas chromatography - mass spectrometry. The results showed that the containers had been used in connection with a number of substances, in particular lower terpenoids, an oil or fat, possibly fossil fuel and in one case possibly beeswax. The paper considers likely interpretations of such combinations of materials in relation to possible functions of these symbolically enhanced artefacts. It appears that substances may have been used in the vessels because of their aromatic and/or medicinal and combustible properties, possibly in order to produce light, fragrance and/or smoke.

碩士
國立臺灣藝術大學
造形藝術研究所
93
It is amazing that we can’t stop marveling and be awestruck when we have the chance to experience the beauty of the Bronze Zoomorphic Seals of the Former Qin Period. These masterpieces naturally express themselves the diverse movement, the delight of primitive simplicity, and the vivid and vigorous modeling, by the uncanny craft of art-masters. Even more astonishing is the trick of near-comic exaggeration to present the realistic things and the abstract image of inner heart. It is a feature that the contemporary artistic works such as the various zoomorphic seals, often, to some extent, display the thoughts of people at that time as well as their living styles. This paper includes a comprehensive search of the drawing modeling and generalizes the various modeling idiosyncrasy, which is a stepping-stone for us to integrate the following entirely analysis. This paper is subdivided into 5 chapters. The first chapter is Preface, including “Study Motives”, “Study Coverage and Focal Points”, “Study Method and Restrictions”, and the “Analysis of Literatures”. The second chapter gives an extensively introduction and a gradational comprehension of the origin and backgrounds of the Zoomorphic Seals, followed by how the application and creation of the seal materials is linked with its social function, and the examination and appreciation of the artistic works. The third chapter is stepping further to analyze the origin of the Zoomorphic Seals by categorizing it into “Person Genre”, “Animal Genre”, “ Drawing and Character combination” and “Geometry Drawings”, by comparing the drawings and analyzing literatures to sort out the relationship between the “drawings” and “literatures and other appliances”. The forth chapter is plumbing deeply how the seals drawings interpret the appearance of Gods, in order to attain the relationship between the drawings and Gods. There are two analyzing directions: one is to discuss what the artistically modeled Gods express; the other is to find the Gods’ instruments related to the legendary mythology. Afterwards, these findings will be generalized, by the graphic statistics technique and consulting predecessors’ seal cutting theory, to make a comprehensive analysis of the arrangement and presentation of the seals’ drawings of Former Qin Period The fifth chapter is analyzing the heritance and transformation of zoomorphic seals. We can find the relationship from some predecessors’ creations, by analyzing the ideology and idiosyncrasy of their creation, and afterwards the influence. Eventually, we could involve ourselves more deeply into the significant meaning of imitation and pursuit of the ancient zoomorphic seals in the process of creation. Do the zoomorphic seals possess any artistic value? The answer is absolutely “Yes.” We can find some clues of the modeling idiosyncrasy from the seals in the period of Former Qin dynasty, such as circumference, spacing, symmetry, humble concession in terms of art, and so on. Furthermore, we can make a comprehensive survey of the abundant creations of the experts like Wei Zu Ba, Jhih Cian Jhao, San Mu Deng , Chu Sheng Lai, Tian Heng Han… in metal and stone cutting during recent hundred years . The creations are too numerous to enumerate no matter they are the imitation of the ancient or the originally creative ones. Moreover, due to the sophisticated printing technique, some zoomorphic seals listed books are emerging and even set up a separate flag from numerous general seals listed books. Besides, there is a tendency of the increasing studies on the seals. To search for the cause if the tendency, it will be amazing that the aesthetic feeling contained in the zoomorphic seals is so broad and profound. With the proficient and original performance of the seal learner, the tendency is accomplished to its peak.

This diploma thesis on the topic Home Pet contains art approaches that lead students to a sensitive and conscious behaviour towards animals. The theoretical part presents imaging of an animal in the history of art and possibilities of involvement of the animal themes to Framework Education Programme and School Education Programme for Elementary Art Schools. The thesis also focuses on the relationship between children and animals and the healing power of animals. Further, the thesis discusses the project method of teaching, which was chosen for the given topic at Elementary Art School. The practical part of the thesis was realized in the preparatory year and the first year of Elementary Art Schools in Dačice and Jemnice and reflects the course of my own lesson on the topic Home Pet.

Dissertação de Mestrado em Arqueologia e Território apresentada à Faculdade de Letras
In this dissertation we intend to revive the debate relating to the meaning and symbolism of zoomorphic figurines in metals from the Late Bronze Age.To this end, we started by discussing the contacts and influences of the Late Bronze Age, with a special focus on the Atlantic Bronze Age, while trying to understand the changes at the regional level, giving the example of the communities that lived in the currently Portuguese territory as well as their relationship with animals.Then we approached the metallic objects with which the zoomorphic figures are associated, namely flesh hooks and articulated spits, also linking them to the commensality rituals in which the objects were used. We then mentioned those known to date, two flesh hooks and ten articulated spits (as well as an isolated zoomorphic figurine), describing them and briefly contextualizing them regarding their discovery, again giving a focus to those found in currently Portuguese territory.In an attempt to get to know and better understand the importance of objects and figures for the communities that wielded them, we analysed the ritual framework in which they were used, the relationship of the figurine with the object (the reason why they are together), and their finding contexts, as these directly mirror their importance for the communities.From these data, the lessons learned point to a totemic interpretation of the zoomorphic figurines, serving as an identity symbol for the communities and a means of expressing their ideals. However, not all fit this interpretation, and the possibility of representing a deity or an event relevant to the community was also raised.That said, our goal is not to reach any conclusions about the symbology and meaning of zoomorphic figures, but rather to take the first steps towards a discussion of the topic, since being a virtually unknown and difficult to know world, it needs to be actively investigated.
Na presente dissertação pretendemos reavivar o debate em relação ao significado e simbolismo das figurações zoomórficas em metais da Idade do Bronze Final Atlântico.Para tal, começámos por discutir os contactos e influências do Bronze Final, com especial enfoque no Bronze Atlântico, tentando ao mesmo tempo compreender as mudanças a nível regional, dando o exemplo das comunidades que viviam no território atualmente português, assim como a relação das mesmas com os animais.Em seguida abordámos os objetos metálicos aos quais as figurações zoomórficas estão associadas, nomeadamente fúrculas e espetos articulados ligando-as também aos rituais de comensalidade em que os objetos atuavam. Referenciámos então os conhecidos até à data, três fúrculas e onze espetos articulados, assim como uma figura zoomórfica isolada, descrevendo-os e contextualizando-os brevemente quanto à sua descoberta, dando novamente um enfoque aos encontrados em território atualmente português.Numa tentativa de conhecermos e compreendermos melhor a importância dos objetos e das figuras para as comunidades que as empunhavam analisámos o enquadramento ritual em que aqueles eram utilizados, a relação da figura com o objeto (isto é, a razão pela qual estão juntos), e os seus contextos de achado, pois estes espelham diretamente a importância que as comunidades lhes ofereciam.A partir destes dados, as ilações retiradas apontam para uma interpretação totémica das figurações zoomórficas, servindo como símbolo identitário das comunidades e meio de expressão dos seus ideais. No entanto, nem todas se enquadraram nesta interpretação, sendo também posta a hipótese de representarem uma divindade ou um acontecimento relevante para as comunidades.Posto isto, o nosso objetivo não é chegar a quaisquer conclusões acerca da simbologia e significado das figurações zoomórficas, mas sim dar os primeiros passos para uma discussão do tema, pois sendo um mundo virtualmente desconhecido e difícil de se conhecer implica que seja ativamente investigado.