Cette étude doctorale s’inscrit dans le cadre d’une cotutelle de thèse entre les universités de Paris Ouest Nanterre La Défense et de « l’Orientale » de Naples. Elle vise à étudier les typologies architecturales et décoratives utilisées dans les maisons des classes moyennes de Pompéi entre la fin du IVe et le début du Ier s. av. J.-C. Cette thématique est encore incomplètement traitée par la littérature spécialisée, qui s’est souvent concentrée sur des contextes plus raffinés et des périodes ultérieures. La recherche a été appuyée sur l’analyse conjointe des données de fouilles, si ces dernières sont disponibles, et des structures d’époque samnite encore in situ. Par ailleurs, la participation à un projet de recherche sur la Regio VI, nous a offert l’occasion de travailler sur du matériel inédit et de démarrer notre enquête à partir d’un cas d’étude spécifique, la Casa del Granduca Michele (VI,5,5) et ensuite de vérifier la diffusion des données acquises à l’échelle de la ville. Le travail a été donc divisé en trois parties. La première a été consacrée au cas d’étude, avec une analyse approfondie de la structure et de la décoration de la maison notamment au IIe s. av. J.-C. La deuxième a concerné l’étude des types architecturaux diffusés dans la cité vésuvienne l’époque samnite, avec un regard particulier sur le type de la maison à atrium testudinatum qui n’avait pas fait l’objet d’une étude systématique. La troisième partie a enfin concerné des décors des maisons de taille moyenne. L’analyse a concerné, avec une approche diachronique, d’abord les décorations peintes des parois et des plafonds, ensuite les éléments accessoires et pour finir les revêtements de sols. / This Ph.D is prepared in co-tutorship between the Université de Paris Ouest Nanterre La Défense and the Università degli studi di Napoli « l’Orientale ». Its aim is to analyze the architectural and decorative typologies used in the construction of Pompeian middle class houses between the end of forth and the beginning of first c. B.C. As a matter of fact, if the most luxurious domus of this period are well known, many aspects of the middle-class houses are still to be studied, for they have long been left aside by the scientific research. The study has been based on the analysis of data coming both from excavations and from a survey of the samnitic structures still in situ. Moreover, the participation to a research program centered on the Regio VI has offered the occasion to work with unpublished material and to start the research from a case study, the Casa del Granduca Michele (VI,5,5). The diffusion of data collected in this house have later been verified with a research on the city level. Therefore, work has been divided in three parts. The first one has been dedicated to the case study by a deepened analysis of structure and decoration of this house in the second c. B.C. The second one to the architectural typologies used in middle class houses during the samnite period, with a particular regard to the type of the atrium testudinatum house, which previously had never been systematically studied. The third part has dealt with the decoration of these houses. The analysis, carried out with a diachronic approach, has concerned walls and ceilings’ paintings, floors and other elements like terracotta and main door stone capitals.

Abstract The aim of this study is to describe similarities and differences in the inscriptions of runestones in today's county of Kronoberg, the former county of Värend and, in addition, a part of the former county of Sunnerbo. The study is based on 27 remaining runestones which are analysed through choice of words and runes, orthography and decorations. The section of choice of words and runes are categorised and based on the choice of choosing one particular word over another and of choosing one particular rune over another. Orthography is based on the spelling of five particular words; efter, sten, reste, hjälpe and och. Monophtongisation is discussed and analysed. The section of decorations has two subsections; 1) crucifixes and ”suns”, and 2) other forms of decoration. The study showed that the runestones had some significant numbers of similarities and differences. The study also showed that the option of choosing one word, or rune, over another was probably a conscious choice made by the runic inscriber himself. The spelling of the five words revealed a limited number of spelling choices, and that monophtongisation had occurred in some words. The majority of the runestones had some form of decoration, usually a crucifix, which were categorised. However, attribution could only be made in a few cases, due to the limited amount of criteria used. Keywords: crucifixes, decorations, Kronoberg, monophtongisation, runes, runestones, Sunnerbo, Värend

La recherche archéologique au sujet du Complexe Culturel Lapita, qui se développa en Océanie il y a environ 3200-2800 ans BP, a considérablement évolué ces dernières décennies. Le propos de la thèse présentée ici est de montrer que l’étude des décorations des poteries lapita peut être particulièrement utile pour la compréhension de des populations lapita. Après avoir rappelé l’historique de la recherche autour du lapita, et l’état de la recherche actuelle, nous présentons dans un second temps une étude très détaillée des décors céramiques : comment ceux-ci étaient réalisés, comment les différentes frises et les motifs s’organisaient entre eux. Enfin, quelles sont les différences et les répartitions spatiales et temporelles de tous ces motifs et de leurs variantes. Cette première étape permet de dresser un bilan exhaustif du mode de représentation graphique des Lapita et d’insister sur son importance dans notre connaissance de la société au tournant des IIème et Ier millénaires avant notre ère. Dans un troisième temps, les observations et les résultats obtenus sont mis en relation avec les autres données archéologiques, ainsi que celles issues de la linguistique historique et de l’ethnologie pour tenter de montrer que les décors lapita peuvent sans doute être considérés comme les reflets de certains aspects immatériels –principalement sociaux- des Lapita : de la parenté à l’organisation des groupes lapita dans le vaste territoire compris entre la Nouvelle-Guinée et les îles Samoa, en passant par les îles Salomon, le Vanuatu, la Nouvelle-Calédonie, les îles Fidji et les archipels de Tonga et de Wallis et Futuna. Ce type d’étude permet une ouverture de la recherche océanienne vers des hypothèses de reconstitutions sociales ouvrant de nouvelles perspectives pour la compréhension des sociétés dites « à tradition orale. » / Archaeological research on the Lapita Cultural Complex, which developed in Oceania about 3200-2800 years Before Present, has evolved considerably in recent decades. The purpose of the thesis presented here is to show that the study of Lapita pottery decoration can be particularly useful for the understanding of the Lapita people. After having remembered the history of research about Lapita, and the state of current research, we present in a second time a very detailed study of ceramic decorations : how they were made, how the various friezes and motifs organize themselves. Finally, what are the differences, spatial and temporal distributions of all these patterns and their variants. This first step allows a comprehensive review of the mode of graphical representation of the Lapita and emphasize its importance in our understanding of society at the turn of second and first millennia BC. In a third step, observations and results are linked with other archaeological data, as well as those from historical linguistics and ethnology in an attempt to show that Lapita decorations can probably be seen as the reflections of intangible aspects -mainly social- of Lapita: the relationship to the organization of Lapita groups in the vast territory between New Guinea and Samoa, through the Solomon Islands, Vanuatu, New Caledonia, Fiji and the archipelagos of Tonga and Wallis and Futuna. This type of study allows an opening for the Pacific Research into social assumptions reconstructions opening new perspectives for understanding the cultures so-called "oral tradition."

Cette étude se situe dans le cadre des recherches sur le patrimoine balnéaire de la Côte d'Azur dans la deuxième partie du XXème siècle. Elle porte sur l'histoire de trois créations ex nihilo: Port-Grimaud, Marina-Baie-des-Anges, Port-la- Galère initiées par trois constructeurs de rivage. Les terrains, encore disponibles parce qu'hostiles, avaient en commun, d'allier à la beauté naturelle des sites des conditions de vie inhospitalières. La société de consommation des années soixante, tournée vers les activités nautiques fut responsable d'une nouvelle forme d'urbanisme proche de celle des marinas américaines. Urbanisme et architecture étant indissociables dans le balnéaire, la typologie fonctionnelle des stations balnéaires anciennes fut remplacée par des constructions plus ou moins standardisées qui secrètent une faculté d'identification: maisons de pêcheurs, alignées sur des péninsules, conçues par François Spoerry à Port-Grimaud, pyramides serpentiformes à terrasses décalées en. amphithéâtre autour du port imaginées par André Minangoy, grappes accrochées au rocher à Port-la-Galère. Une profusion décorative sur les façades rehaussée par l'emploi de matériaux variés, sont responsables du style du site balnéaire. Les nouvelles créations balnéaires sont le reflet d'une architecture méditerranéenne avec la prédominance de terrasses, prolongeant le dehors au-dedans, avec les emprunts de motifs architecturaux aux pays du Sud et à la sémantique du nautisme. Ces constructions, les pieds dans l'eau, permirent à la société des années soixante, de satisfaire leur désir de rivage et devinrent les marqueurs d'un urbanisme révolu. / This investigation situates itself in the frarnework of the studies on the seaside resort heritage of the Côte d'Azur in the second part of the 20th century. It concerns the history of three creations ex nihilo: Port-Grimaud, Marina-Baie-des- Anges, Port-la-Galère,initiated by three seashore builders. The grounds, still available because of their hostile character, had in common to combine natural beauty of the sites with inhospitable conditions of life. The consumer society of the sixties, turned towards watersports activities, was at the origin of a new way of urban development close to that of American marinas. Urban development and architecture being indissociable concerning seaside resorts, the functional typology of former seaside resorts was replacecl by more or less standardised constructions secreting a facility of identification: fishermen's housings, aligned on peninsulas, conceived by François Spoerry at Port-Grimaud, meandering pyramids bearing staggered terraces organised as an amphitheatre around the harbour and imagined by André Minangoy, grapes clung to the roc at Port-la-Galère. The style of the seaside resort isdue to the abundance of façade decoration, set off by the use of various materials. The new seaside resorts retlect Mediterranean architecture, with the prevalence of tenaces extending the outside inside, with architectural motives from the South and t'rom watersports semantics, These waterside constructions allowed the society of the sixties to satisfy their desire of seashore access and beeame the market of a bygone urban development.

[pt] O trabalho analisa o papel das ordens honoríficas ao longo do Primeiro Reinado, entendendo-as como elementos fundamentais na constituição do Estado Imperial brasileiro. As condecorações eram concedidas pelo imperador a todos que prestassem serviços a ele e ao Estado, de forma que a larga utilização destes recursos permite entrever que D.Pedro os utilizava como instrumento de cooptação de alianças políticas, exercidas localmente. As ordens eram parte significativa das representações mentais daquela sociedade, pois elevavam hierarquicamente seus membros. Atendiam, portanto, ao desejo de distinção que permeava o tecido social pela existência de um forte sentimento aristocrático. A importância destes elementos é constatada não apenas pela quantidade de condecorações concedidas, mas também pela grande preocupação que estes suscitaram nas discussões promovidas no Parlamento e em veículos impressos. Aqueles que se dispuseram a discutir a constituição do novo Estado que se criava não deixaram de refletir sobre o papel destes instrumentos e suas ligações com o tipo de sociedade e de projeto político a eles ligados. / [en] The thesis analyzes the role of honorary orders during the First Reign, understanding them as a key element in the constitution of the Brazilian Imperial State. Those who received an award granted by the emperor were required to provide services to him and to the state, so that the widespread use of these resources shows that D.Pedro used it as an instrument to create political alliances locally constructed. The orders were a significant element of the mental representations of the Brazilian society on the nineteenth century, because its members ascend hierarchically. Thus it fulfilled the desire of distinction that permeated the society by the existence of a strong aristocratic feeling. The importance of these elements is evidenced not only by the amount of awards granted, but also by the major concern raised in the discussions of these elements held in Parliament and in media. Those who were willing to discuss the constitution of the new state reflected also on the role of these instruments and its links to the kind of society and political project associated with them.

The aim of this study is to explore the relationship between apotropaic decorations, here termed as apotropaic devices, and the architectural layout of an average Roman bathhouse. Moreover, to argue for the hypothesis that there was an apotropaic decorative program, i.e. an intentional plan for the placement of apotropaic devices within a Roman bathhouse. A sample of decorations are analysed, specifically 16 mosaics which constitute the main material, which is divided into three categories, namely, labyrinth, geometric/grid and Gorgon mosaics. Along with these there is supplementary material, namely, three freestanding sculptures (one hunchback and two herms) and two mosaics with inscriptions (One Greek and one Latin, both with a phallus symbol). The material is analysed with a modified phenomenological framework in mind, focusing on the experience which a bather might have had of the decoration itself and the room/space in which it was placed. Moreover, in order to argue for this hypothetical decorative program, this study constructs a hypothetical plan/map of an average Roman bathhouse based on the analysed material. The results gained from the analysis reveal patterns that seem to indicate a deeper intentionality than mere aesthetic appeal, and in turn these patterns seem to indicate, when viewed via our conceptual plan/map, some sort of apotropaic defence of Roman bathhouses. Thus, these results seem to lend credence to the hypothesis of an apotropaic decorative program. / Syftet med denna studie är att undersöka förhållandet mellan apotropeiska dekorationer, här kallade apotropeiska anordningar, och den arkitektoniska utformningen av ett genomsnittligt romerskt badhus. Vidare syftar studien till att argumentera för hypotesen att det fanns ett apotropaiskt dekorativt program, det vill säga en avsiktlig plan för placeringen av apotropeiska anordningar i ett romerskt badhus. Ett urval av dekorationer analyseras i studien, närmare bestämt 16 mosaiker som utgör huvudmaterialet, som är indelat i tre kategorier, nämligen labyrint, geometrisk/rutnät och Gorgon mosaik. Utöver dessa analyseras kompletterande material såsom tre fristående skulpturer (en puckelrygg och två hermer) och två mosaiker med inskriptioner (en grekisk och en latinsk, båda med fallossymbol). Materialet analyseras med en modifierad fenomenologisk ram i åtanke, med fokus på den upplevelse som en badgäst kan ha haft av själva utsmyckningen och rummet/utrymmet där den placerades. I syfte att argumentera för detta hypotetiska dekorativa program konstruerar denna studie en hypotetisk plan/karta över ett genomsnittligt romerskt badhus baserat på det analyserade materialet. Resultaten från analysen avslöjar mönster som tycks indikera en djupare intentionalitet än enbart estetiskt tilltalande. I sin tur verkar dessa mönster indikera, när de ses via studiens konceptuella plan/karta, något slags apotropeiskt försvar av romerska badhus. Således verkar dessa resultat ge trovärdighet åt hypotesen om ett apotropeiskt dekorativt program.

This thesis deals with the involvement of the Austrians in the 2nd tank division SS "Das Reich." The introductory part analyzes personnel cast of the division and aims at finding the answer to the question, in which period the largest number of the Austrians served in the division and possibly how many. The main focus is put on the question, whether the Austrians in the division who owned the highest army decorations of the Third Reich were represented by below-average or above-average numbers in view of their total number. We can not omit to mention a social profile of these decorated men, which provides us with broader point of view of their personalities. Last but not least, the thesis deals with the question, whether the Austrians took part in war crimes committed by the division. Key words: division "Das Reich", Waffen-SS, Austrians, social profile, war crimes, high decorations

The intention of this paper is to explore the contacts between the Swedish province of Scania and Southeastern Europe in the Migration Period. This has been done through comparative studies of four object categories. Parallels to glass, horse trappings, jewellery with inlays and sword decorations found in Scania have been studied in southeastern and centralEurope, as well as the cultures of peoples involved in the Migration processes. The conclusion is that contacts were upheld in several ways: through trade, exchange, alliances and gifts. Old trade routes along the Vistula were used in the south-easterly direction to the Pontic area but were changed to the Moravian Gatein the latter half of the period, while westerly routes probably worked most of the time. The Heruls are thought to have been an important link between Scandinavia,Southeastern Europeand the Huns.

The thesis is a study of a traditional popular art form of China known as New Year Pictures. Although the production of these woodblock printed images virtually ceased early this century, the relevance of this art form in contemporary China has continued. The New Year Picture is often hailed as a prototype for modern forms of visual expression. A renewed interest in this old art form has also prompted widespread conservation of the New Year Picture at the same time as making it the subject of scholarly pursuit. This study evaluates the relevance of New Year Pictures to contemporary art and society by focussing on prints produced in the period spanning the century from 1842 to 1942. This period is definitive of the changes that occurred within the popular art form. The year 1842 marks the end of the Opium War with Britain and the signing of the Treaty of Nanjing, permanently changing China’s international relationships. This, in turn, impacted greatly upon Chinese society and culture. The 1942 was the year of Mao’s “Talks at the Yan’an Conference on Literature and Art”. In mapping out strategies for artists to participate in the communist transformation of Chinese society, the “Talks” articulated an approach to Chinese art and culture that would permanently alter the way in which artistic traditions were to be utilised, both in a practical way and in the sense of how the past was to be perceived.

Si les membres des « Ordres du roi », expression désignant, sous l’Ancien Régime, l’Ordre de Saint Michel créé en 1469 par Louis XI, et l’Ordre du Saint-Esprit créé en 1578 par Henri III, sont connus et précisément recensés, l’histoire de l’art, en l’occurrence l’examen des toiles, gravures ou sculptures produits entre les XVe et XVIIIe siècles, et en particulier des portraits peints et gravés de chevaliers, permet de progresser dans la compréhension de la fonction et du fonctionnement de ces deux institutions. L’invention et le recours aux ordres de chevalerie par des puissances étatiques centralisatrices ne peuvent être dissociés du processus qui vit en Europe, du Moyen Âge à nos jours, l’affirmation et l’ascension progressive de l’individu, sinon de l’individualisme, face à la collectivité, aux corporations, aux « castes » d’un « vieux monde » solidement organisé. Loin de servir cette vaste émancipation, comme on le conçoit a priori, les ordres de chevalerie agissent à son encontre en permettant certes aux chevaliers décorés d’assouvir leur désir de distinction, mais uniquement de façon superficielle – en leur offrant la possibilité de ressembler au roi –, sans conséquence sur l’ordonnancement des affaires de l’État. À partir de l’étude du don du cordon bleu aux fils de France, des insignes accaparés et des signes que l’on prend pour des insignes alors qu’ils n’en sont pas et de l’altération, par accident, par intention ou par incompréhension des motifs visuels des Ordres du roi, il s’agit de démontrer comment ces derniers constituent des outils de neutralisation d’ordre esthétique, par le pouvoir, des ambitions aristocratiques. / If the members of the "Orders of the King", which refer, under the Ancien Régime, to the Order of Saint Michael created in 1469 by Louis XI of France, and the Order of the Holy Spirit created in 1578 by Henry III of France, are well known and precisely identified, history of art, through the examination of canvases, engravings or sculptures produced between the 15th and the 18th centuries, and in particular painted and engraved portraits of knights, paves the way to a better understanding of the Orders in terms of roles and operation. The invention and the use of chivalric orders by a centralized state is intimately linked to the process that led in Europe, from the Middle Ages to present days, to the rise of the individual, if not the rise of individualism itself, in a strong society made up of corporations and “castes”. These orders were not founded to strengthen this dynamics of emancipation, as one could think. Even if the knights were given the right to stand out from the crowd, thanks to insignias that give them the illusion to look like the king, it was only in a superficial way, without affecting the affairs of the state. Our thesis, which consists in demonstrating how the “Orders of the King” were used as a tool of aesthetic neutralization, by the King, of aristocratic ambitions, relies on the study of the Sons of France’s Cordons Bleus – the ribbon from which the Cross of the Holy Spirit was hung was blue –, insignias that are not precisely insignias of the Orders of the King, and the modification by accident, intent or misconception of the Orders of the King’s symbols and representations.