La "rencontre à Naxos " est l'une des nombreuses étapes du parcours aventureux qui jalonne et façonne l'itinéraire mythique de Bacchus.De l'Antiquité romaine à l'époque moderne, elle a nourri et inspiré la littérature et les arts ne cessant de se modifier au cours de treize siècles, dans un long processus d'acculturation et de métamorphoses.La "rencontre" a fait l'objet de nombreuses versions, dans lesquelles le personnage d'Ariane connaît un destin tragique ou heureux.Mais quelle version de la légende les romains vont-ils utiliser et s'agit-il toujours de la troisième version, la plus célèbre, lorsque Bacchus découvre Ariane abandonnée? C'est accompagné de son cortège composé de Ménades, Eros, Pan et de Silène que Bacchus découvre Ariane à Naxos. Il en tombe amoureux, lui offrant de devenir sa compagne et de séjourner avec lui éternellement, auprès des dieux de l'Olympe. Bacchus dévoile l'un de ses multiples visages, celui de la bienveillance et de l'amour. L'image d'Ariane se métamorphose, de simple mortelle elle devient un personnage divin.Au Moyen Âge le mythe sera mainte fois revisité et métamorphosé alors que la Renaissance s'en inspirera à de nombreuses reprises. / "Encounter in Naxos" is one of many steps the adventurous journey that marks ans shapes the mytical route of Bacchus. Fron ancient Rome to modern times, it has nurtured and inspired litterature and the arts not ceasing change over thirteen centuries, in a long process of acculturation and metamorphosis. The meeting has been many versions, in which the character of Ariadne knows a tragic or happy fate.But which version of the legendery Roman-they will use and is it the third version, the moste famous, when Bacchus discovers Ariadne abandoned?This is accompanied by his retenue composed of maenads, Eros, Pan and Bacchus then Bacchus discovered Ariadne auf Naxos. He falls in love, offering to become his wife and stay with him forever with the gods of Olympus. Bacchus reveals one of its many faces, one of kindness and love. The image of Ariadne metamorphosis from mere mortal becomes a divine character.In the Middle Ages the myth be revisited many times and metamorphosed while the Renaissance will inspire many times.

Thèse. / Bibliogr. p. 207-214. Index.

Texte remanié de: Thèse--Lettres--Paris IV, 1984. / Bibliogr. p. 831-845. Index.

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Of the eighty-five known Roman mosaics that depict Orpheus charming the animals, or the theatrum, eight of these mosaics are located in Southwest Britain. The Orpheus mosaics were laid at the end of the third through the fourth centuries A.D. in lavish Roman villas at the sites of Barton Farm, Brading, Littlecote Park, Newton St. Loe, Wellow, Whatley, Withington, and Woodchester. Along with the central image of Orpheus, all eight mosaics contain Bacchic iconography. While the Orpheus mosaics in Roman Britain are the topic of several publications, none have addressed the appearance of Bacchic imagery in conjunction with that of Orpheus. This dissertation investigates the relationship between Orpheus and Bacchus in the Classical world in order to explain the frequent appearance of Bacchic iconography on Orpheus mosaics in southwest Britain. In order to understand how the Roman aristocracy viewed the relationship between Orpheus and Bacchus, this dissertation explores three avenues of study. First, the more then seventy-five figures and objects that are part of the Bacchic iconographic repertoire associated with the Orpheus mosaics are identified and their connection with Bacchus established. Second, the connection between Orpheus and Bacchus in the Greek Classical Period is explored to establish a literary and artistic tradition from which the Roman tradition emerged. Third, an examination of Greek and Latin literature from the third century B.C. to the sixth century A.D. is undertaken to describe how Orpheus was perceived by pagan and Christian Roman elite as the founder of the Bacchic mysteries and the author of the sacred texts used in these mysteries. Furthermore, the evidence presented within this dissertation demonstrates that the Orpheus mosaics in southwest Britain were placed in public areas of wealthy Roman villas to reflect the homeowners' knowledge of both the past and present philosophical and theological beliefs. These mosaics advertise the provincial Roman aristocrat's Classical education while maintaining their association with the city of Rome and the imperial court in Constantinople.

Recentemente, tem aumentado o interesse acadêmico nas figurações do Baco romano, que, até então, não havia recebido tanta atenção quanto o Dioniso grego. Novos estudos têm mostrado como o repertório dionisíaco proliferou no Período Augustano, produzindo novas metáforas atreladas às transformações sociais, políticas e culturais da época. Horácio, o poeta que mais desenvolveu os temas dionisíacos entre os augustanos, apresenta diversas facetas do deus em diferentes gêneros poéticos, reservando a ele um lugar de destaque em suas Odes. Esta pesquisa preenche uma lacuna nos estudos de poética latina, discutindo questões associadas a Baco e ao simpósio em Horácio, tendo em vista os papéis do deus como herói deificado, divindade simpótica e orgiástica e patrono da poesia, em associação a temas como o amor, a política, a guerra, a patronagem e a composição poética. A tese divide-se em seis capítulos: dois capítulos introdutórios em que são considerados antecedentes e aspectos gerais de Baco e do simpósio, e quatro capítulos com a análise desses temas em Horácio. No terceiro capítulo, o enfoque é sobre o furor dionisíaco como impulso poético. Nos capítulos quatro e cinco, o simpósio - presidido por Líber - é observado como um cenário metafórico em que a persona poética de Horácio relaciona-se com amantes, patronos, poetas e amigos; um lugar onde o vinho combina com política, guerra, amor, amizade e poesia. No capítulo final, são analisadas questões de composição poética associadas ao engenho e ao furor poético dionisíacos. / Recently, scholarly interest in the representations of the Roman Bacchus has increased, which had not received as much attention as the Greek Dionysus. New studies have shown how the dionysiac repertoire proliferated in the Augustan Age, producing new metaphors linked to cultural, social and political transformations that took place in the period. Horace, who is the most prolific of the Augustan poets in the use of dionysiac imagery, presents different aspects of the god in different genres, reserving a special place to him in his Odes. This research fulfills a gap in the studies of Latin poetics, exploring issues associated with Bacchus and the symposium in Horace, considering the gods roles as deified hero, sympotic and orgiastic divinity and patron of poetry in association with themes such as love, politics, war, patronage and poetic composition. The thesis is divided into six chapters, with two introductory chapters on the antecedents and general aspects of Bacchus and the symposium, and four chapters with an analysis of these themes in Horace. In the third chapter, I investigate the Bacchic enthusiasm as a metaphor for the poetic impulse. In chapters and four and five, I observe the symposium - presided over by Liber - as a metaphorical setting where the poet interacts with lovers, patrons, other poets and friends; a place where wine combines with politics, war, love, friendship and poetry. In the last chapter, I consider issues of poetic composition connected with dionysiac ingenium and poetic furor.

Recentemente, tem aumentado o interesse acadêmico nas figurações do Baco romano, que, até então, não havia recebido tanta atenção quanto o Dioniso grego. Novos estudos têm mostrado como o repertório dionisíaco proliferou no Período Augustano, produzindo novas metáforas atreladas às transformações sociais, políticas e culturais da época. Horácio, o poeta que mais desenvolveu os temas dionisíacos entre os augustanos, apresenta diversas facetas do deus em diferentes gêneros poéticos, reservando a ele um lugar de destaque em suas Odes. Esta pesquisa preenche uma lacuna nos estudos de poética latina, discutindo questões associadas a Baco e ao simpósio em Horácio, tendo em vista os papéis do deus como herói deificado, divindade simpótica e orgiástica e patrono da poesia, em associação a temas como o amor, a política, a guerra, a patronagem e a composição poética. A tese divide-se em seis capítulos: dois capítulos introdutórios em que são considerados antecedentes e aspectos gerais de Baco e do simpósio, e quatro capítulos com a análise desses temas em Horácio. No terceiro capítulo, o enfoque é sobre o furor dionisíaco como impulso poético. Nos capítulos quatro e cinco, o simpósio - presidido por Líber - é observado como um cenário metafórico em que a persona poética de Horácio relaciona-se com amantes, patronos, poetas e amigos; um lugar onde o vinho combina com política, guerra, amor, amizade e poesia. No capítulo final, são analisadas questões de composição poética associadas ao engenho e ao furor poético dionisíacos. / Recently, scholarly interest in the representations of the Roman Bacchus has increased, which had not received as much attention as the Greek Dionysus. New studies have shown how the dionysiac repertoire proliferated in the Augustan Age, producing new metaphors linked to cultural, social and political transformations that took place in the period. Horace, who is the most prolific of the Augustan poets in the use of dionysiac imagery, presents different aspects of the god in different genres, reserving a special place to him in his Odes. This research fulfills a gap in the studies of Latin poetics, exploring issues associated with Bacchus and the symposium in Horace, considering the gods roles as deified hero, sympotic and orgiastic divinity and patron of poetry in association with themes such as love, politics, war, patronage and poetic composition. The thesis is divided into six chapters, with two introductory chapters on the antecedents and general aspects of Bacchus and the symposium, and four chapters with an analysis of these themes in Horace. In the third chapter, I investigate the Bacchic enthusiasm as a metaphor for the poetic impulse. In chapters and four and five, I observe the symposium - presided over by Liber - as a metaphorical setting where the poet interacts with lovers, patrons, other poets and friends; a place where wine combines with politics, war, love, friendship and poetry. In the last chapter, I consider issues of poetic composition connected with dionysiac ingenium and poetic furor.

<i>Bacchus, Vulcan and Metis walk into a bar . . .</i> The following dialogues took place beginning in January of this year. In a series of investigations through drawing, physical constucts and research, the project began to take shape. With the help of Bacchus, Vulcan and Metis, the building was given a body of its own. Ideas of the way a building ages, as well as the way the parts of the building relate to the whole, are the basis of the thesis. The building is a sort of beast with two heads: the foundry, and the speak-easy [with cunning navigating the straits]. / Master of Architecture

Mardi Gras draws millions of tourists to New Orleans yearly, contributing to the economy of the city. Visitors soon discover the thrill of catching "throws" tossed to paradegoers by members of parade organizations' riding floats. For tourists and locals alike, throws become the cultural currency of New Orleans during Carnival. Beads, doubloons, coconuts, cups and other throws develop an inherent value, enticing crowds. People esteem throws enough to compete for them, with varying levels of intensity, along parade routes and on the streets of the French Quarter. The purchase of throws by Carnival krewes also brings revenue into New Orleans. Scholars have written many studies on Mardi Gras, including studies on individual organizations, tourism and economy. However, no study examines the history of Mardi Gras throws. This thesis seeks to fill that void, and establishes an earlier date for the first time beads were thrown from floats.

Ce mémoire s’articule autour de trois sections distinctes : dans la première, nous examinons la figure divine de Liber Pater et la perception de cette divinité dans l’Italie romaine. Liber ne cesse de surprendre les chercheurs entre autres grâce à son association avec Dionysos, c’est pourquoi il est nécessaire de s’attarder à une question simple, mais cruciale : qui est Liber Pater? Nous soulignons à travers cette section que Liber est une divinité agraire reconnue au sein du panthéon de Rome et recevant ainsi un culte public à travers les Liberalia et la triade qu’il forme avec Cérès et Libera. La pérennité de Liber sur la libertas y est aussi remise en jeu : plutôt que de concevoir une liberté politique, il faut s’attarder à une liberté physique et mentale. Dans la deuxième section, nous établissons une connexion sur le territoire italien entre Liber et Dionysos-Bacchus grâce au processus d’acculturation qui s’est concrétisé avec l’arrivée de Dionysos en Grande-Grèce au VIIIe et VIIe siècle av. J.-C. Nous explorons par la suite, à travers la tutelle de Liber et Bacchus sur le vin ainsi que la répression des Bacchanales, les formes hétérogènes qu’ont pu prendre les rituels et les cultes dédiés à ces divinités. Finalement, notre dernière section se penche sur le culte de Liber en Italie au Haut-Empire. Pour y parvenir, nous utilisons le cadre méthodologique de la lived ancient religion qui s’intéresse au spectre des stratégies religieuses pouvant être mises en place pour communiquer avec Liber, que ce soit à travers le don, la prière, le geste, le sacrifice, etc. Ce modèle d’analyse nous donne l’opportunité de nous intéresser au culte vécu de Liber, nous rapprochant ainsi de l’expérience religieuse des individus. Nous démontrons, grâce à un corpus épigraphique comportant plusieurs types d’inscriptions, que de nombreuses stratégies de communication étaient utilisées, notamment les rituels du votum, de la dedicatio, et de la consecratio à travers le don d’objets tels des autels et des statues. En groupe, ces stratégies se complexifient puisque le phénomène associatif produit une diversification cultuelle significative : plusieurs associations romaines, toutes différentes les unes des autre dans leurs pratiques et leur composition, honoraient Liber et ses bienfaits. / This dissertation is structured in three distinct sections: in the first one, we examine the divine figure of Liber Pater and the perception of this divinity in Roman Italy. Liber never ceases to surprise scholars, mostly because of his association with Dionysus, so it is necessary to address a simple but crucial question: who is Liber Pater? We emphasize in this section that Liber is an agrarian deity recognized within the pantheon of Rome and thus receives a public cult through the Liberalia and the triad that he forms with Ceres and Libera. The tutelage of Liber on libertas is also questioned: rather than understanding it in terms of political freedom, we must rather focus on a physical and mental freedom. In the second section, we establish a connection on the Italian territory between Liber and Dionysus-Bacchus thanks to the process of acculturation that took place with the arrival of Dionysus in Magna Graecia in the 8th and 7th century BC. We then explore, through the tutelage of Liber and Bacchus over wine as well as the repression of the Bacchanalia, the heterogeneous forms that the rituals and cults dedicated to these deities may have taken. Finally, our last section dives into the cult of Liber in Italy in the Early Empire. To do so, we use the methodological framework of lived ancient religion, which focuses on the spectrum of religious strategies that can be put in place to communicate with Liber, be it through donation, prayer, gesture, sacrifice, etc. This model of analysis gives us the opportunity to focus on the lived worship of Liber, therefore bringing us closer to the religious experience of individuals. We demonstrate, through an epigraphic corpus comprising several types of inscriptions, that numerous communication strategies were used, notably the rituals of votum, dedicatio, and consecratio through the donation of objects such as altars and statues. In groups, these strategies become more complex since the associative phenomenon produces a significant cult diversification: several Roman associations, all different from one other in their practices and composition, honored Liber and his benefits.