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Hughes, Theodore Brooks. "An Analysis of Wars of the Romani, a Flemish Tapestry From the Late Sixteenth Century." The University of Montana, 2007. http://etd.lib.umt.edu/theses/available/etd-05312007-134933/.
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Among the treasures of the Montana Museum of Art and Culture is a lovely and elaborate work of art entitled Wars of the Romani, a Flemish tapestry woven in the last third of the 16th century. It is a large weaving, 10 x 15, portraying two armies intertwined in merciless combat. The specific subject matter of Wars of the Romani is unknown, but a standard displaying the Roman eagle held aloft in the background indicates the presence of the Roman legions. The tapestry displays rushing horsemen mounted on vigorous horses, marching spearmen, and supine warriors, imagery common to Flemish battle tapestries from the last quarter of the sixteenth century. Framing the battle scene is a grotesque style border composed of gods placed within whimsical filigree architectural pavilions interwoven with fanciful decoration and mythical beasts. Wars of the Romanis Mannerist battle scene offers a view into the pictorial trends of the late Renaissance and displays the energy of the tumultuous era in which it was woven.
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Moretti, Valentina <1983>. "San Paolo filosofo: universalismo e coscienza morale nella Lettera ai Romani." Master's Degree Thesis, Università Ca' Foscari Venezia, 2012. http://hdl.handle.net/10579/2008.
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Cafici, Giorgia. "Funzionari egizi come Cives Romani: prospettive sulla ritrattistica privata in Età Tolemaica." Doctoral thesis, Scuola Normale Superiore, 2017. http://hdl.handle.net/11384/85767.
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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 spectateur<br>Over 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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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 spectateur<br>Over 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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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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Kim, Hyun-hee. "La figure de l'artiste et le rôle de l'art dans les romans de Romain Gary." Thesis, Clermont-Ferrand 2, 2013. http://www.theses.fr/2013CLF20017.
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La conception du « roman total » proposé par Romain Gary met fin au « chef d’œuvre ». Traversant « le siècle des ténèbres », Romain Gary trouve une part de responsabilité de l’art et de l’artiste dans l’impuissance de la culture face à l’horreur existante. Pourtant, bien qu’il mette l’accent sur la fonction sociale de l’art, Romain Gary n’adhère pas à l’art engagé, ni au roman réaliste ou au Nouveau roman. Il ne cherche pas à imposer ses idées au lecteur, mais veut lui ouvrir un espace de liberté. L’art doit être une jouissance pour qu’il finisse par devenir une force éthique. Il amène une prise de conscience de ce qui manque à la réalité. L’esthétique garyenne consiste à rendre au lecteur son autonomie de pensée. Nombre de ses personnages incarnent la figure de l’artiste sous différentes formes provocatrices : picaro, dandy, clown, etc. Pour Romain Gary, créer, c’est jouir et la jouissance est une révolte métaphysique contre la condition de la vie et contre la souffrance. Les artistes dans ses romans figurent bien ceux qui mènent cette lutte. Transgresseurs des valeurs et des ordres établis, les artistes chez l’auteur tiennent à se libérer de la réalité. Cette libération s’effectue d’une part à travers la création d’un monde imaginaire, d’autre part à travers le dépassement de soi ou la création de soi. Transformant leur vie comme une œuvre de leur imagination, les artistes garyens témoignent d’une identité multiple et en « devenir »<br>Néant
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Chung, Seung-Hee. "L'Union des contraires dans les romans de Romain Rolland." Brest : [s.n.], 1995. http://catalogue.bnf.fr/ark:/12148/cb357397391.
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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 politique<br>The 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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Petit, Aimé. "L'anachronisme dans les romans antiques du XIIe siècle : le "Roman de Thèbes", le "Roman d'Énéas", le "Roman de Troie", le "Roman d'Alexandre /." Paris : H. Champion, 2002. http://catalogue.bnf.fr/ark:/12148/cb388862146.
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Takimoto, Miwa. "Représenter l’espace habité par les dieux ? La Méditerranée de la mosaïque aux Îles d’Ammaedara (Haïdra, Tunisie)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040006.
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Que cherchent à représenter et à percevoir les Romains, lorsqu’ils décrivent un parcours topographique ou géographique dans le cadre de l’art figuré ? Comment construisent-ils mentalement les déplacements géographiques réels ou imaginaires ? Comment se construit la carte mentale entre l’image et le récit ? La « mosaïque aux Îles » d’Haïdra est un parfait exemple qui nous permet de réfléchir sur ces questions. Elle a été découverte en 1995 sur le sol d’une pièce d’un grand édifice dans le quartier suburbain de la cité antique d’Ammaedara en Afrique proconsulaire. Attribuée à la fin du IIIe ou au début du IVe siècle, cette mosaïque offre la vue d’un espace insulaire avec une série de quinze îles et villes de la Méditerranée orientale et de la Sicile dont douze sont désignées par une légende en latin : Cnidos, Cnossos, Cypros, Cytherae, Egusa, Erycos, Idalium, Lemnos, Naxos, Paphos, Rhodos et Scyros. La représentation des îles et des villes ainsi que la manière de restituer leur succession ne correspondent pas à la réalité géographique, alors que ces zones ont été décrites par les auteurs anciens. Ce travail se propose d’étudier la structuration spatiale, la coordination et le montage des éléments réalistes et imaginaires des lieux dans l’art romain, à partir de cette mosaïque. Il s’agira d’analyser les différentes images qui rendent compte de la dualité à la frontière entre la notion de paysage figuré et celle de la cartographie ; il s’agira également de recueillir dans les sources écrites les descriptions spatiales de la géographie physique et littéraire évoquant un paysage culturel<br>What do the Romans aim to represent and perceive when they describe a topographical or geographical trajectory within the framework of figurative art? How do they mentally build real or imagined geographical journeys? How is the mental path created from the image and the narrative? The "Mosaïque aux Îles" of Haidra is a perfect example that allows us to think about these issues. It was discovered in 1995 on the floor of a room in a large building in the suburban district of the ancient city of Ammaedara in Africa Proconsularis. Attributed to the end of the 3rd or the beginning of the 4th century, this mosaic offers the view of an insular space with a series of fifteen islands and cities of the eastern Mediterranean and Sicily, twelve of which are designated by an inscription in Latin: Cnidos, Cnossos, Cypros, Cytherae, Egusa, Erycos, Idalium, Lemnos, Naxos, Paphos, Rhodos, and Scyros. Therepresentation of islands and cities as well as the manner of reconstructing their succession do not correspond to the geographical reality, although ancient authors have described these areas. This work aims to study the spatial structuring, the coordination, and the assembly of the realistic and imaginary elements of places in Roman art, on the basis of this mosaic. The different images that represent the duality at the boundary between the notion of landscape painting and that of cartography have been analysed. Also, the spatial descriptions of the physical and literary geography evoking a cultural landscape have been collected in the written sources
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Domes, Ingeborg. "Darstellungen der Africa : Typologie und Ikonographie einer römischen Provinzpersonifikation /." Rahden (Westfalen) : Marie Leidorf, 2007. http://catalogue.bnf.fr/ark:/12148/cb41345539k.
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Lynch, Pamela. "The people of Roman Britain : a study of Romano-British burials." University of Western Australia. School of Humanities, 2010. http://theses.library.uwa.edu.au/adt-WU2010.0101.
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This thesis utilises the evidence from mortuary archaeology to explore the identity of the inhabitants of Britain during the period of Roman rule. It assimilates burial evidence from diverse sources both published and unpublished and integrates it with other material and literary evidence to investigate the people of the province and examine aspects of their lives. By assessing the extent and reliability of the mortuary evidence and by combining this evidence from major cemeteries, smaller burial sites and individual or isolated burials it has been possible to determine aspects of their lives from a different perspective than that previously employed. The thesis has been divided into five parts. Part 1 (chapters 1 to 3) serves as an introduction. Part 2 (chapters 4 and 5) considers the evidence available while Part 3 (chapters 6 to 8) focuses on specific groups within the population. Part 4 (chapter 9) looks at instances of death and burial that differ from the norm and Part 5 (chapters 10-12) presents a picture of the daily life of these people. The study concludes with a summing up of the evidence and a look at the future of mortuary studies of Roman Britain. The introductory chapters set out the objectives of the dissertation, look at the work that has already been done in this area and evaluates the need for a synthesis of the available evidence. The scope of the project, both temporally and geographically is outlined in chapter 2. The third chapter takes a look at the contemporary written evidence available, in the form of literary and epigraphic contributions, and assesses its reliability as an indicator of the appearance and lives of the Romano-Britons. This survey looks not only at the Roman view of the natives of the province but extends beyond the Roman period to examine the literary evidence that is available from the subsequent centuries. Chapters 4 and 5 take an in-depth look at the evidence available on the people of Roman Britain. The extent of the burial evidence is reviewed in chapter 4 while chapter 5 deals specifically and in depth with how this evidence can be utilised. The skeletal evidence is assessed for its extent and reliability. Factors affecting the survival of the remains is appraised and the effects of the biases created by such differential survival considered. Grave-goods and the organisation of the cemeteries are brought into the evaluation and the strengths and weaknesses of all of the evidence evaluated. The following chapters (6 to 11) focus on discrete aspects of the population. Chapters 6 to 8 look at the representation of specific groups within the community - the young, the elderly and those who arrived from other parts of the empire. With the aim of providing an indication of the diversity of both the composition of the population, the communities they represent and the associated burial rites, chapter 9 examines some of the more distinctive burials from Britain during this period. An area of intense interest, decapitation burials provides the focal point of this chapter. What may appear to be more mundane aspects of the lives of these people occupy chapters 10 to 12. What kept them busy, their occupations and their pastimes is viewed from the perspective of the burial evidence in chapters 10 and 11, while chapter 12 examines the mortuary evidence, in the form of funerary art and the remains of clothing, hair and accessories for their appearance.
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Granzotto, Cinzia <1993>. "Mulieres Romanae insignes: la funzionalità dell’exemplum romano nell’Adversus Iovinianum di San Girolamo." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12733.
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Adversus Iovinianum: un trattato in due libri del dottrinale, dogmatico, intransigente San Girolamo, il quale, con vigore ed energia, alterna l’argomentazione di due questioni ‘carnali’ ad altrettante di più ‘teologiche’: dalla verginità come condotta esclusiva da privilegiare, al Battesimo che non libera definitivamente dalla tentazione e dal peccato; dall’alimentazione votata al ‘minimo indispensabile’, alla corrispondenza tra i gradi delle virtù e dei peccati e il loro relativo Giudizio.
In questo contesto, quale può essere l’apporto della romanità? Come può inserirsi l’esperienza della civiltà latina? Nel sostenere la castità sessuale, Girolamo, dopo le autorevoli evidenze scritturali ed evangeliche, recupera la casistica e le fonti pagane per avvalorare la sua tesi.
Tra le numerose esemplificazioni greche e i più sporadici rimandi ad altre realtà straniere, spiccano gli exempla della romanità per lo più arcaica e repubblicana. L’apporto latino risulta così considerevole da richiedere una dettagliata analisi di ciò che di romano c’è in una trattazione profondamente cristiana.
Attraverso la collazione con la tradizione classica, lo studio si propone di verificare le tecniche di codificazione della memoria adottate da Girolamo per plasmare il ricordo ai suoi fini; dal vaglio delle singole figure femminili romane citate l’obiettivo è quello di tracciare le modalità entro cui egli recuperò la latinità, in un complesso, articolato, ragionato processo di elaborazione funzionale.
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Roux, Caroline. "Portails romans de Haute-Auvergne : études de sites /." [Aurillac] (rue Arsène-Vermenouze, 15000) : Société des lettres, sceinces et arts La Haute-Auvergne, 2005. http://catalogue.bnf.fr/ark:/12148/cb399210584.
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Rocco, Marco. "Persistenze e cesure nell'esercito romano dai Severi a Teodosio I: ricerche in ambito socio-politico, istituzionale, strategico." Doctoral thesis, Università degli studi di Padova, 2011. http://hdl.handle.net/11577/3427397.
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This work aims at clarifying the most important stages in the evolution of the Roman army, between the Severan age and the death of Theodosius I. The purpose is to give new hints in the history of the Roman army during the III and IV centuries AD. Therefore we collected and examined significant information from all kinds of ancient and later sources, from many different areas of the empire. By comparing them we came up with a few general questions on the subject, to which we tried to give original answers, suggesting new points of view, sometimes different from the traditional ones. In particular, we tried to distinguish the factors of continuity from the moments of break in the period of transition from III to IV century AD, considering the latest historiographical trends and mainly searching into the possible or probable reasons of this evolution.
We studied the dynamics of change from material, organizational, political and, as much as possible, economic and social points of view, and we tried to fit them into the historical context concerning the late Roman military, and presented it in the different stages of its evolution. As regards the chronology, the present work is structured in five different historical phases, each one characterized by its own peculiarities and problems: from the Severan emperors to 284 AD; Diocletian and the Tetrarchy; the age of Constantine I; from Constantine's dynasty to Adrianople; Theodosius I and the military emergency at the end of the IV century AD. Each chapter searches into the following topics: recruitment and barbarization; commanders and officers; unit transformations and distribution; fighting strength; interactions between troops and civilians; tactical and strategical changes; evolution of weaponry and equipment; prevailing frontier policies.
At the end of the research it seems reasonable to maintain that several of the principal innovations in the military were already introduced at the time of Septimius Severus and Caracalla, if not earlier, and that in the following decades there was often just a mere strengthening of the previous tendencies and trends. During the crisis of the third century this consolidation was still uncertain and mostly 'experimental'. Then, Diocletian and the Tetrarchs gave a more stable aspect to the experiments of the previous decades, adding some important reforms. Constantine I's great reorganization was by far more fundamental, even if it was characterized by a socio-political and economic nature rather than strictly a military one. Finally, Constantine's successors did not introduce relevant changes in his reformed army. Theodosius I himself did not bring about any structural transformation in the military: he merely climaxed some processes begun under his predecessors, but his politics about the Goths after Adrianople already forestalled the radical changes of the V century AD. Thus the history of the Roman army in the III and IV centuries AD represents a process of continuous but linear evolution, interrupted only when the foundations which constituted the basis of the Roman imperial army were abandoned.<br>Il presente lavoro vuole contribuire a chiarire le principali tappe dell'evoluzione dell'apparato militare terrestre dei Romani tra l'età dei Severi e la morte di Teodosio I. Il proposito è di fornire spunti innovativi per la composizione di una storia complessiva dell'esercito romano di III e IV secolo. A tal scopo sono state raccolte e vagliate il maggior numero possibile di informazioni significative, tratte da tutti i tipi di fonte antica e tardoantica e da molteplici aree dell'impero; dal loro confronto si sono ricavati alcuni quesiti generali sul tema, ai quali si è cercato di dare risposte originali, con approcci talora diversi da quelli tradizionali. In particolare, si è inteso evidenziare gli elementi di continuità e i momenti di cesura nel passaggio dal III al IV secolo, alla luce dei più recenti indirizzi di studio, approfondendo in particolare le cause, possibili o probabili, sottese all'evoluzione.
Le dinamiche evolutive, esaminate da un punto di vista materiale, organizzativo, politico e, per quanto possibile, economico e sociale, sono state inserite nel quadro del contesto storico relativo alla macchina bellica tardoromana, presentata nei suoi diversi stadi di mutamento. Cronologicamente, il lavoro è articolato in cinque diverse fasi storiche, con peculiarità e problematiche differenti: dai Severi al 284 d.C.; Diocleziano e la Tetrarchia; l'epoca costantiniana; dai costantinidi ad Adrianopoli; Teodosio I e l'emergenza di fine IV secolo. Ogni capitolo approfondisce i seguenti argomenti: reclutamento e imbarbarimento; catena di comando; trasformazioni dei reparti e loro dislocazione; numero degli effettivi; interazioni tra esercito e società civile; mutamenti tattici e strategici; evoluzione di armamento ed equipaggiamento; politiche di frontiera prevalenti.
Al termine della ricerca sembra possibile affermare che molte tra le principali innovazioni in ambito militare furono introdotte già al tempo di Settimio Severo e Caracalla, se non prima, e nei decenni seguenti si ebbe spesso soltanto un rafforzamento di tendenze e indirizzi precedenti. Tale consolidamento fu ancora incerto e quasi sempre a carattere 'sperimentale' durante la crisi del III secolo. In seguito, Diocleziano e i tetrarchi sistematizzarono il fermento dei decenni precedenti, con l'aggiunta di alcune importanti riforme. La grande riorganizzazione costantiniana fu ben più radicale, anche se ebbe una natura più socio-politica ed economica che strettamente militare. I successori di Costantino I, infine, non introdussero trasformazioni di rilievo nel suo esercito riformato. Lo stesso Teodosio I non operò alcun intervento organico nelle strutture militari, portando semmai all'esasperazione alcuni processi iniziati sotto i suoi predecessori; ma la sua politica gotica dopo Adrianopoli recava già in sé le premesse concrete degli stravolgimenti del V secolo. La storia dell'esercito romano del III e IV secolo rappresenta, dunque, un processo di evoluzione continua ma lineare, interrotto solo quando si rinunciò ai fondamenti essenziali che avevano costituito la struttura portante dell'armata imperiale romana.
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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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Jacob, Thierry. "Art et histoire : l'iconographie religieuse romane dans les églises du Forez et du Livradois : persitances pai͏̈ennes et pédagogie monastique aux XIe et XIIe siècles." Lyon 3, 2000. http://www.theses.fr/2000LYO31019.
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Si la région regroupant le Forez et le Livradois n'eut jamais d'existence politique (aujourd'hui département de la Loire et du Puy-de-Dôme), on constate qu'elle semble avoir possédé une identité humaine. En étudiant l'iconographie romane de ce secteur, on observe une ceertaine homogénéité des thèmes de sculpture persitantes. En effet, les thèmes proprement "chrétiens" y sont quasi inexistants, supplantés par ceux de traditions pai͏̈ennes. Ces sculptures se répartissent en trois groupes : les symboles protohistoriques et celtiques, gréco-romains et enfin orientaux. Il se pourrait que ces thèmes aient été utilisés à des fins pédagogiques. En effet, lorsque Robert de Turlande fonde la Chaise-Dieu au XIe s. , la région paraît être un "désert religieux". Rapidement, Robert reprend en main de nombreuses églises, y fondant chaque fois un prieuré, comme pour initier une réévangélisation de cet espace. Cette volonté contemporaine de la réforme lancée par Cluny semblerait s'être appuyée sur une thématique pai͏̈enne, surtout prothistorique ou celtique, fort répandue dans les églises casadéennes et leurs voisines. Notons que, lorsqu'un thème est sculpté dans la pierre, et non peint, c'est qu'il y a une volonté forte qu'il perdure parce qu'il est important. Or, c'est le cas de nombreux symboles solaires, de "divinités" pai͏̈ennes,. . . , apparaissant dans ces églises. Si les sujets traités par Robert et les cassadéens peuvent provenir d'un "répertoire", ils ont pu être adaptés aux lieux. Néanmoins, on retrouve des similitudes dans d'autres régions ou pays d'Europe, souvent, apparemment, dans des espaces christianisés ou rechristianisés tardivement. En fait, on peut se demander si, aux XIe et XIIe siècles, il n'y aurait pas eu dans les campagnes d'Occident une politique de rechristianisation s'appuyant sur une thématique pai͏̈enne réusitée dans l'art roman, et mise en place pour le Forez et le Livradois par St Robert?
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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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Malizia, Eleonora. "Programmes décoratifs des villas impériales du suburbium de Rome." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL157.
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Ce projet de recherche porte sur l’étude du décor des villas impériales dans le suburbium de Rome, avec le but de comprendre, à l’aide des sources littéraires, archéologiques et épigraphiques, comment se caractérisaient ces villas tant du point de vue de leur conception architecturale que de leur décoration. Chaque villa a fait l’objet d’un dossier dans lequel tous les éléments du décor ont été organisés, classifiés et interprétés. Par la suite, on a procédé à une comparaison entre les éléments décoratifs caractérisant les villas du suburbium et ceux des autres grandes résidences impériales connues dans la région du Latium. On a pu analyser l’évolution du rapport entre architecture et décor dans les différents espaces de la villa impériale (pièces de représentation, thermes, jardins, édifices de spectacle,…), ainsi que le programme décoratif sculpté, qui nous renseigne sur le travail des ateliers et sur les choix de thématiques spécifiques de la part des empereurs, comme celle du mythe des Niobides ou des épisodes de l’Odyssée. De surcroît, l’analyse topographique et chronologique des contextes a permis, d’un côté, de comprendre les dynamiques de l’occupation du territoire de la part du pouvoir impérial et de l’autre, d’analyser le processus de formation, évolution et transformation de ces résidences. À travers l’étude des complexes résidentiels suburbains, on explore les possibilités d’approche à l’intérieur du plus ample questionnement sur l’identification d’une villa impériale, une problématique qui n’a jamais été abordée de façon complète et systématique<br>The research project, presented in this manuscript, illustrates the decoration of imperial villas in the Roman suburbium. Thanks to literary, archaeological and epigraphic sources, its purpose is to understand how these villas were characterised both from the point of view of their architecture as of their decoration. Indeed, each villa has been subject of accurate investigations, in which all elements were parsed, classified and interpreted. Subsequently, the attention is focused on the comparison between the decorative features of the suburbium’s villas and those of the other imperial residences scattered in Latium region. This allowed to analyse in details the evolution of the correlation between architecture and decor in the different areas of the imperial villa (representative rooms, thermal baths, gardens, entertainment buildings,…). In addition, it helped understanding the choice of sculptural subjects made by the emperors, such as the group of Niobids or Odyssey episodes. Moreover, topographic and chronological studies of these contexts gave the opportunity to understand the occupation dynamics of the territory on the part of the imperial power, but also to analyse the formation, evolution and transformation processes of these residences. Finally, through the study of suburban residential complexes, it is possible to face the wider questioning on the identification of an imperial villa, an issue that has never been approached in an exhaustive and systematic way
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Soustre, Robert. "Art et nature dans quelques romans de l'insularité." Poitiers, 1992. http://www.theses.fr/1992POIT5007.
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La dialectique de la nature et l'art - au sens etymologique de ces termes - est celle des deux expressions contradictoires de l'etre humain, l'affectivite et la rationalite. La premiere domine dans la production des mythes, des religions et celle des "beaux-arts", alors que la seconde s'impose dans les productions techniques, dans les systemes philosophiques et dans les sciences. Il s'agit, dans cette etude, de montrer que les ecrits romanesques prenant l'ile pour theme sont, sous des formes diverses, le "roman" devenu inconscient de l'insularite de chacun, auteur ou lecteur. Dans cette perspective, le retour a la nature est, pour le robinson, le retour au temps mythique - anhistorique, donc - de sa propre nature, alors que l'art, s'il temoigne de l'effort de l'homme pour maitriser rationnellement et techniquement la nature, est surtout l'expression d'une acceptation, pour chacun, de son etre social et du reel a assumer. Retour a la nature par le moyen de l'art et passage de l'insularite a l'alterite par le moyen du don de l'oeuvre, tel est le sens de l'aventure esthetique.
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Mikocki, Tomasz. "Sub specie deae : les impératrices et princesses romaines assimilées à des déesses : étude iconologique /." Roma : G. Bretschneider, 1995. http://catalogue.bnf.fr/ark:/12148/cb35789035r.
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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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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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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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Wright, Nigel Richard Reginald. "Separating Romans and barbarians : rural settlement and Romano-British material culture in North Britain." University of Western Australia. School of Humanities, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0124.
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This thesis investigates the role which Roman artefacts played within rural settlements in North Britain during the Romano-British period. The possibility that Roman artefacts were used by native Britons as markers of prestige is explored through the presence or absence of Roman artefact types. The more prestigious the occupants of the rural settlements were, the more likely they were to have access to a variety of exotic trade items. The methodology employed in this study has been adapted from previous studies on pottery types and settlement remains from Scotland. This thesis examines an area that centres on Hadrian's Wall, which at various times in its history acted as the frontier for the Roman Empire, as well as being a staging post for troops and a means of controlling the local population's movement. The study region includes land up to 50 kilometres either side of Hadrian's Wall, and examines rural settlements located within one or two days travel from the Wall. The excavation reports of rural settlements were examined, and include settlement types such as homesteads, hillforts and villas. From these sites, Roman artefact types were quantified and used to generate data for analysis. The results agree with the hypothesis that social hierarchy can be detected through the comparative presence or absence of Roman artefact types. It is also apparent that the settlements on either side of Hadrian's Wall, and either side of the Pennines mountain chain, were not part of a simple, homogenous culture. This thesis begins with an outline of the geographic and environmental nature of the region (Chapter 2), and an examination of settlement and society in North Britain during the preceding Bronze and Iron Ages (Chapter 3). An essay on Romano-British society and settlement is included (Chapter 4), and is followed by a brief discussion of post- Roman Britain (Chapter 5). Following an outline of the methodology used (Chapter 6), the results of analysis are presented in detail (Chapter 7). The Discussion chapter explores how the results of analysis meet existing theories of rural settlement and society, and compares North Britain with continental data from Germany and North Gaul (Chapter 8).
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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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Webb, Emily Violet. "'We are a Roma nation' : support for Romani nationalism amongst Britain's Romani populations." Thesis, University of Leeds, 2017. http://etheses.whiterose.ac.uk/17649/.
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This study is a sociological analysis of Romani nationalism in Britain. It explores the extent to which Britain’s Romanies support, and identify with, the notion of a “Roma Nation”. It is guided by questions regarding how Britain’s Romanies negotiate otherness, home and belonging within the context of increasing Roma migration to Britain. It looks for instances of “groupness” or “collective identity” between previously disconnected Romani populations who have been brought together by migration. Fifty-two Romanies participated in this research. They belong to three waves of Romani diaspora: Romany Gypsies who arrived in Britain in the 15th century; Roma who arrived as refuges in the 1990s; and EU Roma migrants arriving post-2004. The primary aim of this study is to explore their experience of otherness, home and belonging and how their identifications with the Roma Nation are conditioned by their positions and experiences. The participants’ relationships to Britain are associated with both strong desires to belong and/or be recognised, and a bleak reality of exclusion and otherness. In their narratives there is no given homeland to which they all relate and with which they all identify. Roma maintain strong identifications with their countries of birth and Romany Gypsies assert a strong sense of British identity. The study shows that both Roma and Romany Gypsies have little interest in and limited knowledge of, an Indian homeland. The study also highlights the internal boundaries and contradictions that divide Britain’s Romani population. The analysis shows that they remain largely divided by country of origin, national identity, religion and lifestyle. The study concludes by considering the implications of these findings on the prospect of Romani nationalism in Britain.
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Petit, Aimé. "Naissance du roman : les techniques littéraires dans les romans antiques du XIIe siècle /." Paris ; Genève : Champion : Slatkine, 1985. http://catalogue.bnf.fr/ark:/12148/cb37398123k.
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Blanchard, Florian. "Iuppiter in Gallia : recherches sur le culte, l'iconographie et l'essence de Jupiter en Gaule romaine." Brest, 2011. http://www.theses.fr/2011BRES1017.
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Scalco, Luca. "RITRATTI DI FAMIGLIA SUI MONUMENTI FUNERARI ROMANI: COMMEMORAZIONE E RAPPRESENTAZIONE SOCIALE DI LEGAMI AFFETTIVI." Doctoral thesis, Università degli studi di Padova, 2017. http://hdl.handle.net/11577/3425357.
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The thesis analyses the family portraits on Roman funerary monuments (reliefs, altars, tombstones and statuary groups), coming from Rome and the Italian territory up to the Alps (Regiones V-XI) and dating from the 1st century BC to the early 4th AD. It aims to investigate the household composition and its relations with the funerary realm, by identifying the codification of iconographical features related to kin.
After a short introduction on family in Roman time, the analysis moves through the different types of monuments and delineates their complex geographical and chronological distribution. This is shared by the sepulchral iconography, which is characterized by a large variability: it has stressed the need to classify depictions in different schemas, drawn at the same time on the number of portraits, on their distribution and on gender and age differences. In this way it has been possible to delineate the geo-chronological evolution of the iconography and to discover its serial parental meaning. Later, the analysis addresses the familiar significance of dress, attributes and gestures, identifying age and gender distinctions according to the different schemas. In the last part, the social impact of such representations is investigated: it contributes to delineate the general tendencies of family funerary portraiture and helps to link them to “every-day” structure of Roman household.<br>La tesi affronta lo studio delle raffigurazioni a soggetto familiare su monumenti funerari di epoca romana – rilievi, altari, stele, gruppi statuari –. Vengono considerati i segnacoli già editi provenienti dai territori tra Roma e l’arco alpino (Roma, Regiones V-XI), nel periodo compreso tra il I secolo a.C. e l’inizio del IV d.C. Il lavoro si pone l’obiettivo di indagare la famiglia del tempo ed il suo rapporto con l’ambito funerario, attraverso il riconoscimento dei criteri di codificazione dei legami di parentela nell’immagine sepolcrale, nel loro sviluppo crono-geografico.
Dopo una breve disamina del concetto di famiglia in epoca romana, lo studio affronta l’evoluzione dei supporti monumentali, tratteggiando una complessa distribuzione che ricalca da vicino quella delle diverse varianti iconografiche. Le immagini sono caratterizzate, infatti, da un’ampia variabilità, che ha reso necessaria una classificazione degli schemi sulla base del numero di persone ritratte, dell’età, del sesso e della posizione reciproca: in tal modo si delinea non solo l’evoluzione complessiva delle iconografie, ma anche se ne definiscono i significati parentali ricorrenti. Successivamente si analizza il valore familiare di vesti, attributi e prossemica, riconoscendone i criteri di distinzione generazionale e di genere. Infine si indaga il valore sociale della raffigurazione e si individuano i criteri iconografici generali del ritratto funerario di famiglia, correlandoli successivamente alla realtà “quotidiana” dei nuclei domestici romani.
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Bossert-Radtke, Claudia. "Die figürlichen Rundskulpturen und Reliefs aus Augst und Kaiseraugst /." Augst : Römermuseum, 1992. http://catalogue.bnf.fr/ark:/12148/cb388956299.
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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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Langstaff, Holly. "Maurice Blanchot : art and technology." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/101267/.
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Maurice Blanchot (1907-2003), writer of fiction, literary critic, political journalist and thinker, is one of the most influential figures in twentieth-century literature and thought. The relationship between art and technology is a largely unexplored aspect of Blanchot’s writing; this thesis examines his engagement with the question of techne in criticism and fiction over a fifty-year period and demonstrates that he is far from subscribing to the technophobia of probably the most influential thinker of technology, Martin Heidegger. It is argued that writing for Blanchot is a mode of techne which destabilises the opposition between nature and culture, or nature and technology, or nature and history, and provides a means of thinking other than the anthropos. The chronological approach of this thesis stresses how a thinking of writing as techne radicalises over time and indicates the enduring influence of Blanchot. The first chapter considers the treatment of the division, often taken for granted by critics, between literary and everyday language; focussing on Blanchot’s reading of Mallarmé in essays dating from 1940 to 1952, this chapter reveals a shift in his thinking of literature from autonomy to radical non-essentiality. The second chapter examines Blanchot’s critical engagement with Heidegger in essays written in 1953 and shows how we might reconcile Blanchot’s work with ecological thought. A third chapter focuses on the discussion of modern technologies in essays from the 1950s and 1960s and the coincidental emergence of the non-concept of the neuter in literature and criticism; it listens to various apocalyptic tones in work from this period to reveal a continuity between the experience of the technological and of the imaginary. The final chapter explores how ‘technique’ is everywhere implied once the term disappears from Blanchot’s idiom; it argues that fragmentary writing is that techne which outplays the human.
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Bellomo, M. "IMPERIALISMO E ISTITUZIONI POLITICO-MILITARI A ROMA NELL'ETÀ DELLE PRIME DUE GUERRE PUNICHE (264-201 A.C.)." Doctoral thesis, Università degli Studi di Milano, 2015. http://hdl.handle.net/2434/283460.
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The work starts from Polybius’ point about 202 B.C. being the moment when world-conquest became practical for Rome, and then analyze how the conflict with Carthage (i.e. 264 B.C. onwards) was fundamental in transforming the Roman State in various ways to reach this point. A particular emphasis is given to the institutional element, in order to take into account and unite in one place all those developments that took place both prior to and during the Hannibalic War (prorogation, institutional expansion, step-changes in military deployment, increasing flexibility, etc.) that clearly affected Rome’s expansionist policy. The goal of the work is to show that what really changed in 201 B.C. was not the “ambition to rule” in a general sense – as that was always present in Roman society – but the capability by the Romans to fulfil their ambitions, and that this awareness was reached thanks to the new military and political institutions developed especially during the Hannibalic war.
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Beissinger, Margaret H. "The art of the lăutar : the epic tradition of Romania /." New York : Garland, 1991. http://catalogue.bnf.fr/ark:/12148/cb371466593.
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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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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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Didonè, Alessandra. "La pittura romana nella Regio X: dalla schedatura informatizzata all'analisi degli aspetti artistici e culturali." Doctoral thesis, Università degli studi di Padova, 2015. http://hdl.handle.net/11577/3424290.
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The study is part of the TECT project, which originated from the collaboration between research groups of the universities of Padova and Bologna. The goal is the creation of a database to systematically record the presence of Roman wall paintings in Cisalpine Gaul.
This research aims to analyze and examine all the Roman wall-paintings that have been recovered in Regio X, ranging from the 2nd century BC to the 4th century AD, using the database and the glossary developed for the TECT project.
The study aims to test the database through processing data which had never been analysed as a whole. This systematic classification was the prerequisite to highlight the specificity of the artistic production of the region. Indeed it was possible to stress the original traits of this production and also to identify its relations with others areas, particularly with central Italy and with transalpine regions.<br>La presente ricerca si inserisce nel progetto TECT, nato dalla sinergia tra le Università di Padova e di Bologna, rivolto alla creazione di una banca dati della documentazione pittorica dell'area cisalpina. Servendosi dello strumento informatico e del glossario terminologico elaborato nell'ambito del progetto, di cui la scrivente è stata parte attiva, la ricerca è consistita nella catalogazione informatizzata delle pitture messe in luce nella Regio X all'interno di un arco cronologico esteso tra il II sec. a.C. e il IV sec. d.C. L'obiettivo è stato quello di verificare la validità della banca dati, che nel panorama nazionale si rivela uno strumento innovativo, raccogliendo e mettendo in sistema una mole di dati che non era mai stata analizzata complessivamente. La catalogazione sistematica delle attestazioni pittoriche ha costituito il presupposto indispensabile per far luce sulla specificità della produzione pittorica della regione, della quale sono stati indagati i caratteri di originalità e, al contrario, quelli che hanno permesso di individuare rapporti con altre aree geografiche, in particolare con l'area centro-italica, imprescindibile termine di confronto per abbondanza di documentazione, ma anche con le aree limitrofe transalpine e altoadriatiche
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CARBONI, TIZIANA. "La parola scritta al servizio dell'imperatore e dell'impero: l'AB Epistulis e l'A Libellis nel II secolo D.C." Doctoral thesis, Università degli Studi di Cagliari, 2016. http://hdl.handle.net/11584/266734.
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This study examines the office ab epistulis and the office a libellis, which were two offices of the Roman imperial administration that played a significant role in the communication between the Emperor and the Empire. While investigating these offices, particularly in the second century CE (from the age of Hadrian to the age of the Severan dynasty), I analyze epigraphical, literary, and juridical sources in order to illuminate the true functioning of each office. Moreover, I contextualize each one of them both within the framework of the imperial policy of the time, and within the framework of the imperial central administration. The major innovation provided by this PhD thesis consists in examining not only the people who worked in each office, but also the documents produced by them. Two chapters are devoted to this: the second chapter, which explores the people, and the third chapter, which analyzes the documents. In addition, both an introductory chapter and a concluding one frame these two chapters. The former focuses on the equestrian administration, for, in the second century CE, the directors of these offices were all equites. The latter looks at the ab epistulis and the a libellis as actual administrative structures. In the course of this dissertation, I elucidate the different working phases involved in the well functioning of these two offices, while pointing to the existence of forms of collaboration that occurred between them when specific administrative needs required it. Furthermore, my research demonstrates that the office ab epistulis in particular played an important role in the management of many imperial administrative documents.
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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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Mackintosh, Marjorie. "The divine horseman in the art of the western Roman Empire." n.p, 1991. http://ethos.bl.uk/.
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Roudil, Roland. "Correspondance Romain Rolland - Gaston Thiesson (1915-1919)." Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30059.
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Romain Rolland et Gaston Thiesson se rencontrent en août 1912 en Suisse mais leur amitié se renforce lors des deux séjours du peintre dans ce pays durant la première Guerre mondiale, entre septembre 1915 et avril 1916. Sur les 166 lettres présentées ici, 86 lettres sont échangées durant cette période. La venue de Thiesson, au moment où Rolland décide de se retirer de la mêlée, est un réconfort pour l’écrivain attaqué par la presse nationaliste qui l’accuse de défaitisme à la suite de ses articles parus au Journal de Genève. Rolland voit en lui un homme courageux et dévoué qui, après la parution du libelle de Henri Massis Romain Rolland contre la France, veut recueillir avec l’aide des journalistes Jacques Mesnil et Georges Pioch des témoignages de soutien à paraître dans Les Hommes du Jour. L’engagement du peintre pour la défense des idées pacifistes de l’auteur de Au-dessus de la mêlée, est semée d’embûches (les réactions de P.-H. Loyson notamment) et la parution des témoignages est un succès en demi-teinte. Touché par cet homme au cœur tendre, dont les mésaventures le remplissent de compassion, Rolland exprime dans ses lettres sa foi dans les forces de l’art et de la bonté. Après son installation au bord du lac Léman, Thiesson séjourne à Montana avec le poète Pierre Jean Jouve. Après un voyage à travers la Suisse, il rentre en France où il meurt trois ans plus tard. Cette correspondance révèle la volonté exigeante de Romain Rolland de mettre en accord une pensée, une vie et un art pour mieux les opposer tous ensemble aux forces destructrices de la haine, dans la recherche héroïque et périlleuse d’une entente entre les êtres et d’une harmonie entre les peuples<br>Romain Rolland and Gaston Thiesson first met in August 1912 in Switzerland but their friendship got stronger when the painter happened to spend some time in that country, during World War I, twice between September 1915 and April 1916. Among the 166 letters presented here, 86 were exchanged during that period. Thiesson’s coming to support him, at the very time when Rolland decided to retire, was very comforting for the writer who was being attacked by the nationalist press that accused him of defeatism after he had published some leading articles in the Journal de Genève. Rolland saw him as a brave and devoted man who, after Henri Massis published his pamphlet Romain Rolland contre la France, wanted to gather, with the journalists Jacques Mesnil et Georges Pioch’s help, expressions of support to be published in Les Hommes du Jour. The painter’s commitment in favour of the author of Au-dessus de la mêlée, is full of ups and downs (P.-H. Loyson’s reactions particularly) and the publishing of the testimonies a half tone success. Moved by this soft-hearted man, whose misadventures fill him with compassion, Rolland expressed, in his letters, his faith in the strength of Art and kindness. After settling near the Lac Leman, Thiesson stayed in Montana for a while with poet Pierre Jean Jouve. After travelling around Switzerland, he went back to France, and died there three years later. This correspondence gives away Romain Rollands’s demanding will that a way of thinking has to match a way of living and a way of seeing Art but then he wants to oppose them all to the destroying forces of hatred, in the heroic and perilous search of meeting of minds between people and harmony between peoples
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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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Romani, Anna Maria. "Your hands are on my eyes." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/mq25353.pdf.
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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.
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Kretschme, Marek Thue. "Rewriting Roman history in the Middle Ages : the 'Historia Romana' and the Manuscript Bamberg, Hist. 3 /." Leiden : Brill, 2007. http://catalogue.bnf.fr/ark:/12148/cb411011516.
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