Narrative cycles of St. Stephen, proto-martyr, are common, frequently found on ecclesiastical monuments of thirteenth-century France. The cathedrals of Bourges, Chartres, and Paris, to name only a few, support visual imagery inspired by the legend of Stephen. Ordained by the apostles, ostensibly to aid the widows and orphans of the congregation, Stephen quickly shows himself "full of grace and fortitude" (Acts 6:8). His inspired, vitriolic sermon incurs the wrath of the Jews who lead him from the city of Jerusalem and stone him. The prevalence of Stephen's cult in the Gothic cathedrals of medieval France has been recognized by scholars; however, little attention has been devoted to the bishops' development and use of the cult, or the churches' production or interpretation of visual imagery. Explanations of the extant images have been driven by text based, iconographic models, which have often obfuscated the relevance of intricate compositional elements and relationships that are key to a more artistically and historically relevant understanding of the compositions. The intricately sculpted Stephen cycles in thirteenth-century France and the historic circumstances that informed their conceptions and receptions are the subjects of this dissertation. Drawing from a survey of the extant, architectural, sculptural narratives and relevant historical resources, this dissertation begins with a discussion of the establishment and dissemination of Stephen's cult in France. The following chapters focus specifically on the thirteenth-century images at the cathedrals of Rouen, Arles, Paris and Bourges chosen for their intricacy and unique compositional formulations. Ultimately, I propose the retelling of the Jewish/Christian debate at the root of Stephen's story was subtly reconstructed by ecclesiastical officials and articulated by artists to reference and comment on contemporary anti-Jewish conflict and ideologies in the mind of the medieval, Christian viewer. I continue to argue that St. Stephen was an exemplar of ecclesiastical succession and an idealized manifestation of the extension of the bishop's power within the ecclesiastical hierarchy. In addition to situating the proto-martyr's imagery in social and political context, this endeavor also contributes to the broader understanding of the construction and function of pictorial, hagiographic narrative. / A Dissertation Submitted to the Department of Art History in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy. / Spring Semester, 2007. / October 9, 2006. / Medieval Art, Gothic Sculpture, Paris Cathedral, Rouen Cathedral, Bourges Cathedral, Arles Cathedral, St. Stephen / Includes bibliographical references. / Cynthia Hahn, Professor Directing Dissertation; Paul Strait, Outside Committee Member; Paula Gerson, Committee Member; Richard Emmerson, Committee Member.

The annual Junkanoo festival in the Bahamas is regarded as "the ultimate national symbol," representative of Bahamian sovereignty and culture. A festival that originated from Bahamian slaves, Junkanoo has evolved into a popular commercial and cultural event that features extravagant, crépe-paper costumes. This paper analyzes the role of the commodified Junkanoo costume in constructing a Bahamian national and cultural identity. Specifically, it analyzes the history and policies of the National Junkanoo Museum, the first institution to display the costumes outside their performative context. Through a interdisciplinary approach that incorporates methodologies from art history, sociology, and museum studies, I argue that Junkanoo serves a commercial purpose, which the National Junkanoo Museum perpetuates by displaying the costumes for touristic consumption. My thesis is based on three separate grounds of analysis. First, I examine the festival's hybrid and dynamic nature by analyzing external factors that influenced Junkanoo's development. Notably, I consider the Ministry of Tourism and the Bahamian Development Board's involvement and administration of the parade, which significantly impacted the costumes' iconography, materiality, and ephemerality. Next, I view the National Junkanoo Museum within the context of other Caribbean Museums to conclude that the institution encounters similar challenges to its neighbors, which include reconciling the museum's nationalistic intentions with its objectives to bolster cultural tourism. Finally, I demonstrate how the National Junkanoo Museum diverges from standard museum practice in order to augment the country's fledging heritage industry. Instead of assembling a permanent collection, the museum operates as a non-collecting institution by exhibiting the costumes only on an annual basis and then returning the objects to the Junkanoo artists who proceed to dismantle and recycle their costumes. The museum's exhibition policy reflects the artists' habit of abandoning their costumes immediately following the parade. However, I contend that the National Junkanoo Museum's use of nostalgia as a museum epistemology is less about an effort to restore the costumes' traditional ephemerality, than it is an indication of the pervasiveness of the tourism industry in formulating a Bahamian national and cultural identity. Junkanoo's economic potential is dependent on the perception of the festival as an identifiable, authentic Bahamian product, which the government facilitates by promoting the costumes as national symbols of Bahamian culture and appropriating them into a national museum system. / A Thesis submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Master of Arts. / Fall Semester, 2009. / August 18, 2009. / Institutionalization, Fringe Costume, Iconographic Analysis, Commodification, Discourse Theory, Nostalgia, Social History / Includes bibliographical references. / Roald Nasgaard, Professor Directing Thesis; Karen Bearor, Committee Member; Michael Carrasco, Committee Member.

This dissertation examines the altar murals created by Jean Charlot at St. Francis Xavier's Catholic Mission, Naiserelagi village, Ra District, Fiji Islands. The church houses three of Charlot's frescoes, a triptych over the main altar and single panels over each of the two transept altars. Painted between October 1962 and January 1963, the central triptych, The Black Christ and Worshipers, measures ten by thirty feet and features a crucified Black Christ, while the side panels depict full body portraits of indigenous Fijians and Indo-Fijians presenting culturally appropriate offerings to Christ. The two side altar panels, St. Joseph's Workshop and The Annunciation, each measure ten by twelve feet. During his lifetime, 1898-1979, Charlot refined his knowledge of the fresco technique and painted murals at forty-five different sites in Mexico, the United States, and the Pacific Islands of Hawai'i and Fiji.1 I concentrate on Charlot's contributions as a mature artist by focusing on his little-known liturgical frescoes in Fiji. This text is the first serious academic study to document the history, social contexts, and commission of any of his frescoes in the Pacific Islands. Through my investigation, I demonstrate how his later Pacific works expressed relationships with local cultures and drew from his earlier experiences in France and Mexico. I explore the relationship that developed among artist, artwork, and audience. I argue that Charlot conceptualized his artistic works as "signs" that operated within both aesthetic and communication systems cross-culturally. I reconfigure signs within their cultural contexts to determine meaning from both the synchronic perspective of the artist, as well as a diachronic and multicultural perspective based on the three cultural groups who compose the major audience, Fijian, Indo-Fijian, and European. I address the history of liturgical art in the twentieth century by offering the first scholarly text to document thoroughly a major art form, Charlot's "Black Christ," in the syncretistic traditions of the Catholic Church as experienced in the Pacific Islands/Fiji. Charlot's Fijian frescoes embodied ideas integral to the future of the Catholic Church. In his Fijian murals, Charlot's incoporated local models, indigenous objects, and native flora, capturing the religious climate of the early 1960s and the changes brought about by Vatican II, changes that sought to define the future direction of the Church in relation to indigenous cultures in mission areas. While not overtly political, these ideas led to liberation theological movements, especially, Black theology, and, as such, advocated socio-political independence. As a colonized nation, Fiji's future in the 1960s depended on indigenous representation and self-determination. Charlot's Black Christ, with its native savior as the head of the Church, symbolized Fijian leadership and, by extension, sovereignty. Although Charlot's Fijian frescoes were a liturgical commission, the illustration of Fijian Black Christ triptych articulated post-colonial values. A public artwork, the Fijian frescoes transcended time, ethnic, and religious boundaries, extending even into the realms of national society. As a citizen of the United States, Charlot had pledged his belief in "one people under God." In his Fijian triptych, he promoted the idea of the "peace of God" and a universal humanity by presenting the diversity of creation; he painted the major ethnic groups of Fiji, native Fijian and Indo-Fijian, coming together as equals, regardless of social status, cultural background, or ethnicity. In Fiji, as in Hawai'i, Charlot's murals implicitly empowered Pacific Islanders through his monumental public images. He depicted local peoples within their cultural contexts and represented them as equals, not only in the eyes of God, but also in the eyes of the colonialists who dominated them. In his Fijian frescoes, Charlot painted a Fijian Black Christ and a natural "Paradise" for an audience of viewers in a post-colonial Pacific. Endnotes Zohmah Charlot, Jean Charlot Books, Portfolios, Writings, Murals (Honolulu: Private printing, 1986). Appendix 1. Jean Charlot's Fresco Murals. / A Dissertation submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester, 2005. / April 22, 2002. / Jean Charlot, Frescoes, Fiji / Includes bibliographical references. / Jehanne Teilhet-Fisk, Professor Directing Dissertation; J. Kathryn Josserand, Outside Committee Member; Tatiana Flores, Committee Member; Robert Neuman, Committee Member; Daniel Pullen, Committee Member.

Can an object be defined as votive solely based upon the presence of an inscription? Does relying upon such a definition restrict a more multivalent analyses of objects thus identified as votive? In this thesis, I examine the most prevalent practice used by scholars to identify votive offerings in the Middle Byzantine period – relying upon an object's accompanying inscription. This study focuses on those objects inscribed with a particular invocation – one that uses the word boethei. I demonstrate that we cannot rely on this inscription alone to identify an object as votive. It is rather the combination of many elements, including medium, iconography, patron and function that contribute to this identification and which enable us to more clearly understand the multivalent messages conveyed by these objects. In Chapter One, I turn to the context with which votive is most often associated – sacred. With each object I consider whether it is or is not votive and how the inscription contributes to that identification. In Chapter Two I examine objects inscribed with boethei that were intended for use or display in a secular context. While the objects discussed in Chapter One can be identified as votive, those discussed in this chapter cannot be so labeled. What then does the inscription mean in a secular context? In Chapter Three I present one object as a case study. I examine aspects of its production including inscriptions, patronage, iconography and function to argue that identifying a votive object requires a multivalent analysis of all its components. I show that, in this case, the patrons created a unified program of text, iconography and relics to convey their hope for salvation through perpetual prayer. I demonstrate that when all of these components are considered, we find a more precise message than what is explicitly stated in the inscription itself. / A Thesis submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Master of Arts. / Summer Semester, 2009. / June 24, 2009. / Votive, Byzantine, Patron, Byzantium, Byzantine Art, Bloodstone Pilgrimage, Seal, Icon, Ring, Processional Cross, Reliquary, Boethei, Theotokos, Inscription, Middle Byzantine Period, Prayer, Gift, Donor, Artophorion / Includes bibliographical references. / Lynn Jones, Professor Directing Thesis; Michael Carrasco, Committee Member; Richard K. Emmerson, Committee Member.

In 1516 Louise of Savoy, mother of the French king Francis I, undertook a pilgrimage to Provence to visit La Sainte-Baume, the grotto shrine of Saint Mary Magdalene, to whom she was particularly devoted. Accompanied by her son, daughter, and daughter-in-law, Louise made the pilgrimage to fulfill her vow to visit the shrine in exchange for the saint's protection of Francis during the Battle of Marignano the previous year. After visiting the holy grotto and the nearby Church of Saint-Maximin, which houses the Magdalene's relics, Louise and Francis made sizeable financial donations for the support and renovation of the shrine and abbey, as well as commissioning works of art for placement in the grotto as outward signs of their veneration of Mary Magdalene and gratitude for her protection. Upon returning home Louise commissioned the Franciscan priest Francois Demoulins de Rochefort to create a manuscript depicting the life of Mary Magdalene as a personal book of devotion and a commemoration of the royal pilgrimage. Demoulins collaborated with the illuminator Godefroy le Batave to create the Vie de la Magdalene (Paris, B.N., ms. fr. 24.955). The diminutive manuscript is composed of four parts--the text, which includes both narrative and commentary; the illuminations, which include miniatures of the saint's life as well as depictions of the shrine and relics; multi-lingual mottoes inscribed in the gold frames around the illuminations; and the colored frames with decorative motifs that surround the text. While ostensibly a saintly vita, the Vie de la Magdalene is, in fact, a complex work that functions on a number of levels. Although much of the manuscript's imagery and content aligns with major aspects of the medieval Magdalene legend, the Vie also has intriguing anomalies that do not have their source in traditional representations of Magdalenian hagiography. This dissertation examines the complexities of the Vie de la Magdalene to demonstrate how and why this vita differs from other accounts of the Magdalene's story. It argues that Demoulins and Godefroy manipulated the narrative, illuminations, mottoes, and decorative motifs of the manuscript to reflect the personal and political concerns of Louise of Savoy and her children. For example, the author establishes thematic parallels between events in Louise's life and the lives of both Mary Magdalene and the Virgin Mary, just as he makes correlations between Francis and Jesus Christ as Christian kings who are the sons of devoted and courageous mothers. Another example is the mottoes, which are written in French, Spanish, Italian, German, Latin, and two forms of Greek. The inclusion of these specific languages reflects not only an interest in humanism at the French court but also Francis's bid to become Holy Roman Emperor. Equally important are the aspects of the Vie that stress Louise and Francis's royal lineage as well as their perpetuation of the traditions, established by their regal ancestors, of devotion to Mary Magdalene and patronage to the Provençal shrine. A corresponding theme emphasizes the Magdalene's role as unctrice in the anointing of Jesus as the first Christian "king," and the significance of her actions to the sacre, the ceremonial anointing of French kings during their coronation. Using this theme of sacral anointing, Demoulins establishes a direct connection between Francis I, the newly crowned "Most Christian King" of France, and Jesus Christ, the "King of Kings." This study also demonstrates the manner in which the Vie de la Magdalene reflects the influence of three fifteenth-century French Passion plays. Demoulins incorporates into the Vie specific scenes, characters, text, and themes found in the plays, thereby increasing the dramatic and spiritual impact of the story for the manuscript's reader. In addition, Godefroy's design of certain miniatures mimics the traditional staging of these plays, and in particular, recreates the experience of viewing the scenes from a royal box, again emphasizing the regal station of the Vie's owner, Louise of Savoy. The last portion of the dissertation is an iconographic analysis of the decorative motifs on the narrative frames and a catalogue of the Vie, including translations of the text and mottoes, and detailed descriptions of the roundel images. This dissertation adds to the scholarship on the Vie de la Magdalene by examining the components of the manuscript as individual and interactive devices designed to stimulate the reader visually, intellectually, emotionally, and spiritually. Equally important, this dissertation reveals that the Vie de la Magdalene is replete with regal references intended to align Louise of Savoy and Francis I with their illustrious royal ancestors through their mutual devotion to Mary Magdalene and patronage to her shrine at La Sainte-Baume. / A Dissertation submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Summer Semester, 2007. / April 19, 2005. / La Sainte Baume, Sacred, Anointing, Francois Demoulins De Rochefort, Godefroy Le Batave, Renaissance In France, French History, Illuminated Manuscript, Hagiography, Vita, Saints Lives, Symbolism, Hagiography / Includes bibliographical references. / Robert M. Neuman, Professor Directing Dissertation; Lori J. Walters, Outside Committee Member; Jack Freiberg, Committee Member; Paula Gerson, Committee Member.

This study examines the construction of the pre-Hispanic past of Colombia from the 1820's to the 1940s. It describes and analyses the reception, dissemination and appropriation of knowledge about ancient Colombian societies. It analyses the works by Colombian and foreign antiquarians, savants and archaeologists and the formation of Colombian pre-Hispanic collections in the Museo Nacional in Bogotá and in three major European Museums : the Museum für Völkerkunde in Berlin, the British Museum in London and the Musée d'Etnographie du Trocadero in Paris. The study shows the ways Colombian archaeological objects were viewed in the course of this history. At its outset, during the Colonial period, Colombian pre-Hispanic objects were first seen as "Idols of the devil"; in Europe, they were initially considered as curiosities and as works or art. During the nineteenth century, archaeological objects began to be valued and interpreted by Colombian and foreign scholars and antiquarians as antiquities and also as art objects. How Colombia was presented and represented in the National Museum in Bogotá and in international exhibitions during the second half of the nineteenth century is described and analysed, and how pre-Hispanic artefacts came to form part of a representation of Colombia nationally and internationally. The final chapters deal with the first four decades of the twentieth century, when the pre-Hispanic period received a new degree of recognition in Colombia with the enactment of official measures for the protection of antiquities, the building of archaeological collections in the National Museum in Bogotá and in research done by foreign and Colombian archaeologists, which began to define archaeological areas scientifically. The final chapter examines the background for the establishment of the Colombian scientific tradition in archaeology during the 1930's with the creation of the Servicio Arqueológico Nacional, the Institute Etnológico Nacional and two archaeological museums, the Museo Arqueológico Nacional and the Museo del Oro.

The history of peoples has always evoked a great deal of both academic and popular interest, and the peoples of Britain, with its island position and semi-mythic serial invasions, have evoked as much as any. As most of the period during which Britain has been inhabited by modern humans lies in prehistory, archaeology has long been the best method for elucidating the past. In recent years, however, genetics has come to complement the reconstruction of peoples' pasts, with its ability to trace lineal human biology instead of transferable human culture. The purpose of this thesis is to assess population genetics systems of Britain against the backdrop of archaeologically determined history, informed for later periods by linguistics, and attempt to ascertain any marked congruities or incongruities between this history and modern genetic data. The genetic datasets included in this work are the People of the British Isles Project collection, and some ancillary cohorts from surrounding countries. The genetic systems assessed include mitochondrial DNA, classical marker genes, lactase, pigmentation genes and some phenotypes, and finally a suite of candidate genes for determining normal facial variation. In a self-contained section, the principle of relating population genetic data to population histories is illustrated by a study focusing on Central Asia (a larger area), but using fewer genetic markers. The chosen markers systems overall reveal modest amounts of genetic differentiation among different groups in Britain, but consistently highlight Wales and Orkney especially as relatively distanced from the rest of Britain. This is in keeping with the historically quite isolated state of the former, and the comparatively recent heavy influx of Norse Vikings in the latter. Further details are observable from subsets of this study: all are discussed in the context of archaeological and linguistic evidence. These findings provide support and foundation for a forthcoming study from the People of the British Isles Project, using a genome-wide SNP approach rather than selected markers, which will likely increase the nuance of this initial picture and contribute further to answering specific questions regarding Britain's past.

No description available.

<p>The purpose of this project was to record the private archaeological collection of the Keene family, which was previously unknown to the professional community. While at the two sites, Keene Redfield site (8Ja1847) and Keene Dog Pond site (8Ja1848), in Jackson County, northwest Florida, USF archaeologists also conducted field investigations to look for prehistoric cultural materials in undisturbed contexts. </p><p> This research was conducted at the request of the Keene family. The field crew systematically documented, cataloged and photographed each artifact in the Keene collection while at the sites. Surface survey and testing were also carried out in order to determine site boundaries, occupation and function. </p><p> ]Over 1,000 artifacts from every time period from the transitional Paleo-Indian/Early Archaic through the Mississippian were documented from the collection. Field investigations resulted in the location and investigation of undisturbed cultural strata below the plow zone, enabling the researchers to obtain radiocarbon dates from these deposits. Evidence of hunting and gathering activities and of tool processing including repair, sharpening and possible re-use was found at both sites. </p><p> This work allowed for the publication of two previously unknown, rich archaeological sites and for a better understanding of the prehistoric activities and functions of this region of the southeast. While participating in this public archaeology project, several other similar opportunities presented themselves, providing USF archaeologists with the ability to maintain a presence in the area to continue public archaeology efforts to engage the community and encourage appropriate participation and good stewardship of these types of private sites. </p>

<p> This thesis is an historical archaeological study of how Chinookan peoples at three villages and employees of the later multicultural Village at Fort Vancouver negotiated the processes of contact and colonization. Placed in the theoretical framework of practice theory, everyday ordinary activities are studied to understand how cultural identities are created, reinforced, and changed (Lightfoot et al. 1998; Martindale 2009; Voss 2008). Additionally uneven power relationships are examined, in this case between the colonizer and the colonized, which could lead to subjugation but also resistance (Silliman 2001). In order to investigate these issues, this thesis studies how the new foreign material of vessel glass was and was not used during the everyday practice of tool production. </p><p> Archaeological studies have found that vessel glass, which has physical properties similar to obsidian, was used to create a variety of tool forms by cultures worldwide (Conte and Romero 2008). Modified glass studies (Harrison 2003; Martindale and Jurakic 2006) have demonstrated that they can contribute important new insights into how cultures negotiated colonization. In this study, modified glass tools from three contact period Chinookan sites: Cathlapotle, Meier, and Middle Village, and the later multiethnic Employee Village of Fort Vancouver were examined. Glass tool and debitage analysis based on lithic macroscopic analytical techniques was used to determine manufacturing techniques, tool types, and functions. Additionally, these data were compared to previous analyses of lithics and trade goods at the study sites. </p><p> This thesis demonstrates that Chinookans modified glass into tools, though there was variation in the degree to which glass was modified and the types of tools that were produced between sites. Some of these differences are probably related to availability, how glass was conceptualized by Native Peoples, or other unidentified causes. This study suggests that in some ways glass was just another raw material, similar to stone, that was used to create tools that mirrored the existing lithic technology. However at Cathlapotle at least, glass appears to have been relatively scarce and perhaps valued even as a status item. While at Middle Village, glass (as opposed to stone) was being used about a third of the time to produce tools. </p><p> Glass tool technology at Cathlapotle, Meier, and Middle Village was very similar to the existing stone tool technology dominated by expedient/low energy tools; however, novel new bottle abraders do appear at Middle Village. This multifaceted response reflects how some traditional lifeways continued, while at the same time new materials and technology was recontextualized in ways that made sense to Chinookan peoples. </p><p> Glass tools increase at the Fort Vancouver Employee Village rather than decrease through time. This response appears to be a type of resistance to the HBC's economic hegemony and rigid social structure. Though it is impossible to know if such resistance was consciously acted on or was just part of everyday activities that made sense in the economic climate of the time. </p><p> Overall, this thesis demonstrates how a mundane object such as vessel glass, can provide a wealth of information about how groups like the Chinookans dealt with a changing world, and how the multiethnic community at Fort Vancouver dealt with the hegemony of the HBC. Chinookan peoples and the later inhabitants of the Fort Vancouver Employee Village responded to colonization in ways that made sense to their larger cultural system. These responses led to both continuity and change across time. (Abstract shortened by UMI.)</p>