Dans son ouvrage de référence L'Empire romain en mutation des Sévères à Constantin (192-337 p.C.), Jean-Michel Carrié évoque les changements intervenus dans les armées au cours du IIIe et du début du IVe siècles. Selon lui, “les tâches de patrouille aux frontières, la nécessité d'intervenir rapidement dans les secteurs menacés, a imposé une plus grande mobilité”. En échos à l'historiographie du XXe siècle, il n'hésite pas à parler pour l'année 378 p.C. d'une “armée largement reconvertie à l'arme équestre” au moment de la bataille d'Andrinople. L'idée d'une montée en puissance de l'arme de cavalerie au sein de l'armée romaine entre les règnes de Septime Sévère et de Théodose n'est pas nouvelle. Tous les auteurs abordant le sujet de l'évolution de l'armée romaine tardive mettent en exergue le renouveau de la cavalerie. Leur argumentaire repose essentiellement sur une source, la Notice des Dignités, et sur le fait que Gallien aurait créé un commandement de cavalerie vers 256 p.C. Il convient donc de reprendre tous les éléments du dossier et de s'interroger sur la réalité de cette “armée largement convertie à l'arme équestre”. Y a-t-il des changements structurels majeurs et un renouvellement de la hiérarchie ? Les missions attribuées, tant militaires que civiles, sont-elles vraiment différentes par rapport à celles du Haut-Empire ? Dans un premier temps, nous favorisons une approche chronologique des métamorphoses intervenues au sein de l'arme de cavalerie. Cette dernière est composée à l'orée du IIIe siècle de trois types d'unités héritées de l'armée du Principat : les alae, les cohortes equitatae et les equites legionis. La première partie s'intéresse à leur transformation -ci au cours des IIIe et IVe siècles. La deuxième partie se penche sur les innovations intervenues entre les règnes de Gallien et de Dioclétien. La troisième partie se concentre sur les mutations du IVe siècle de Constantin à Théodose. Dans un deuxième temps, il convient de revenir sur le quotidien des unités de cavalerie lorsqu'elles sont stationnées dans les camps ou les forts de l'Empire. La quatrième partie, traite ainsi, en deux volets, la vie en garnison. Dans un troisième et dernier temps, nous cherchons à déterminer les éventuels perfectionnements de l'arme de cavalerie. La cinquième partie est centrée sur le couple du cavalier et du cheval. Enfin, dans une sixième partie, il nous faut comprendre la nouvelle place occupée par la cavalerie au sein de l'armée romaine tardive en étudiant la physionomie du combat de cavalerie. / In his reference book L'Empire romain en mutation des Sévères à Constantin (192-337 p.C.), Jean-Michel Carrié evokes changes in the late Roman army. He notes that “tasks of border patrols and the need of quick intervention in threatened areas imposed a better mobility”. Echoing to twentieth-century historiography, he argues that the Roman army appears “largely converted to the cavalry” at the Battle of Adrianople (378 A.D.) Several historians have already written about the rise of the weapon of cavalry in the Roman army during the reigns of Septimius Severus and Theodosius. All of them agree to highlight the revival of cavalry when dealing with the evolution of the Late Roman army. Considering that Gallienus would have created a command of cavalry in 256 A.D., theirs works are mainly based upon the analysis of a fourth-century document called the Notitia Dignitatum. We endeavour to reopen the case in order to question the reality of an army supposedly “largely converted to the cavalry”. Were there such things as great structural changes and a renewal of the hierarchy? Would assigned missions, both military and civilian, be very different in the Late Empire than they were in the Early Empire?

Horse-depositions were examined to explore the development of human-horse relationships in early Britain using a multidisciplinary approach (osteological, archaeological, historical and ethnographical) to interpret these relationships as part of Horseman identities in the Iron Age, Roman and medieval periods. Medieval Horseman-burials are an established phenomenon and considered an Anglo-Saxon import in Britain which expressed a general elite-warrior male status. However, Horseman-burials form an exclusive minority which suggest not a general warrior elite but specific subgroups and/or traditions potentially rooted in earlier practices. Husbandry, transportation-use and ritual practices were also investigated. Horses and horse-use were evaluated via stature and correlations with sex. The results indicated sexual dimorphism should be considered when interpreting horse stature. It is hypothesised that generally females were pastured breeding-stock while males were transportation-stock which received supplemental nutrition and care. Males were/are generally larger than females, and size disparity was probably heightened by such gendered horse-use practices. Overall, it appears females were 1.3m or less, and horses over 1.3m were males. Horse-depositional patterns in human, particularly funerary, spaces were analysed. Horse deposition often had ritual components and practices changed over time reflecting changing Horseman identities, particularly during the Roman period. Roman-British interactions, the destruction of native-elite chariot-warfare identities and the development of native-auxiliary groups refocused Horseman identities on mounted-warfare. This change from driver to rider, a more intimate relationship, appears reflected by the development of human-horse burials and Horseman identities linked to auxiliary-native cultural groups which incorporated Roman equites ideals with native-auxiliary and imported Eurasian Horseman traditions. / Arts & Humanities Research Council (AHRC). Financial support also came from the project partners, particularly author Bernard Cornwell, the Sutton Hoo Society. Additional financial support for equine osteological research was supplied by SYNTHESYS. / The appendices which accompany the thesis are not available online.

This thesis is an examination of the Russian Armed Forces from the time of Peter the Great in the eighteenth century to the Red Army of the present.

This dissertation presents an investigation of the place of the horse in Roman society, within the context of its roles as equus publicus, which derived ultimately from that of the cavalry mount, and race-horse. Consideration of the ceremonial role of the horse provides a clearer understanding of the value placed upon horses and horsemanship in the Roman world, thus permitting inferences to be drawn regarding the role played by the horse in the development of the equester ordo. Evidence is drawn from both literary and archaeological sources to shed light on the management and training of the horses of equestrian Rome. Chariot racing is also re-examined from the perspective of its equine players, and evidence is drawn from various sources to provide a more complete picture of the Roman horse-racing industry as a social structure. The importance of the racehorse in Roman society is examined and the symbolism of the victorious horse as represented in Roman art is discussed. / Classics & Modern European Languages / M.A. (Ancient Languages and Cultures)

O Diário escrito por Isaak Bábel, durante sua participação na guerra russo-polonesa de 1920, serviu de base para a sua obra mais importante Konármia ou O Exército de Cavalaria. A existência desse material permite entrever os bastidores da técnica criativa de um dos grandes mestres do conto russo do século XX, conforme foi visto na análise de alguns trechos do Diário, comparados com os de Konármia. No entanto, o Diário de 1920, de per si, não deixa de representar, hoje, uma obra com marcantes características literárias. Assim, o nosso objetivo foi, inicialmente, fazer uma tradução direta do Diário de Bábel, do russo para o português. A seguir, ao lado de sua breve biografia, uma análise e uma discussão de sua maneira de construir o que hoje é considerada uma obra literária. / The Diary written by Isaak Babel, during his participation in the Russian-Polish war of 1920, was the basis for his most important work Konarmia also called The Red Cavalry. The existence of this material allows us to foresee the backstage of the creative technique of one of the great Russian short story masters of the XX century, as we saw analysing some parts of the Diary and comparing them to the short stories of Konarmia. However, the 1920 Diary, is considered today by itself a literary work, with relevant artistic characteristics. Therefore, our goal was initially the direct translation of the Diary from Russian into Portuguese. Afterwords, beside his short biography, an analysis and discussion of his method of constructing the Diary as a literary piece.

O Diário escrito por Isaak Bábel, durante sua participação na guerra russo-polonesa de 1920, serviu de base para a sua obra mais importante Konármia ou O Exército de Cavalaria. A existência desse material permite entrever os bastidores da técnica criativa de um dos grandes mestres do conto russo do século XX, conforme foi visto na análise de alguns trechos do Diário, comparados com os de Konármia. No entanto, o Diário de 1920, de per si, não deixa de representar, hoje, uma obra com marcantes características literárias. Assim, o nosso objetivo foi, inicialmente, fazer uma tradução direta do Diário de Bábel, do russo para o português. A seguir, ao lado de sua breve biografia, uma análise e uma discussão de sua maneira de construir o que hoje é considerada uma obra literária. / The Diary written by Isaak Babel, during his participation in the Russian-Polish war of 1920, was the basis for his most important work Konarmia also called The Red Cavalry. The existence of this material allows us to foresee the backstage of the creative technique of one of the great Russian short story masters of the XX century, as we saw analysing some parts of the Diary and comparing them to the short stories of Konarmia. However, the 1920 Diary, is considered today by itself a literary work, with relevant artistic characteristics. Therefore, our goal was initially the direct translation of the Diary from Russian into Portuguese. Afterwords, beside his short biography, an analysis and discussion of his method of constructing the Diary as a literary piece.

This dissertation presents an investigation of the place of the horse in Roman society, within the context of its roles as equus publicus, which derived ultimately from that of the cavalry mount, and race-horse. Consideration of the ceremonial role of the horse provides a clearer understanding of the value placed upon horses and horsemanship in the Roman world, thus permitting inferences to be drawn regarding the role played by the horse in the development of the equester ordo. Evidence is drawn from both literary and archaeological sources to shed light on the management and training of the horses of equestrian Rome. Chariot racing is also re-examined from the perspective of its equine players, and evidence is drawn from various sources to provide a more complete picture of the Roman horse-racing industry as a social structure. The importance of the racehorse in Roman society is examined and the symbolism of the victorious horse as represented in Roman art is discussed. / Classics and Modern European Languages / M.A. (Ancient Languages and Cultures)

Submitted by Maria Dulce (mdulce@ndc.uff.br) on 2014-08-18T20:14:25Z No. of bitstreams: 1 Coimbra, Marcos-Dissert-2014.pdf: 632860 bytes, checksum: 766adce2d910dc8176c880ea87bff28a (MD5) / Made available in DSpace on 2014-08-18T20:14:25Z (GMT). No. of bitstreams: 1 Coimbra, Marcos-Dissert-2014.pdf: 632860 bytes, checksum: 766adce2d910dc8176c880ea87bff28a (MD5) Previous issue date: 2014 / O objetivo deste trabalho é analisar a produção de memória realizada durante os primeiros reinados da Dinastia de Avis, com ênfase na Crônica de D. João I e na Crônica de D. Fernando, de autoria do autor lusitano Fernão Lopes, e na Crônica do Condestável, de autor anônimo. Diante do desafio de se consolidar e legitimar no poder, os reis avisinos e a nova nobreza que com os mesmos ascende, promoveram uma propaganda política, por meio de representações dos seus maiores personagens, visando a construção de imagens paradigmáticas. Esses heróis, exemplos morais e modelos de conduta, fortaleceram tanto a nova dinastia, quanto as novas casas senhoriais, no jogo político da corte, onde a centralidade monárquica e a hierarquização dos espaços ganhavam força. Nuno Álvares Pereira emerge destes escritos como o nobre/cavaleiro ideal, personificando atributos, como lealdade, fidelidade e piedade, provenientes do ideal cavaleiresco-cristão, ganhando novos significados no bojo do projeto centralizador da monarquia avisina. A análise das características marcantes deste cavaleiro/nobre exemplar sugere a promoção - por meio de instrumentos simbólicos e ideológicos do poder, de novas forças sociais, que ascendem ao espaço da corte régia, fortalecendo a noção de um novo súdito, incondicionalmente fiel ao soberano lusitano. / The aim of this work is to analyze the memorialization accomplished during the first reigns of the Avis Dynasty, with emphasis on the Crônica de D. João I and the Crônica de D. Fernando, by Lusitanian author Fernão Lopes, and on the Crônica do Condestável, by an unknown author. Facing the challenge of consolidating and legitimizing their power, the Avis kings and the new nobility that ascended to power with them made use of political propaganda through the representation of their major personages, in order to produce paradigmatic images. Through these real heroes, who served as moral examples and role models, the kings, as well as the new nobility, strengthened their positions in the political game of the court, where the concentration of power by the monarchy and the hierarchization of spaces were increasingly prevalent. Nuno Álvares Pereira emerges from these writings as the ideal nobleman/knight, personifying attributes such as loyalty, fidelity and piety pertaining to the chivalrous Christian ideal, gaining a new significance within the centralizing project of the Avis monarchy. The analysis of the major features of this exemplary nobleman/knight suggests the promotion – through symbolic instruments, genuine ideological bases of power - of new social forces that, up to then, had little or no access to space in the royal court, strenghthening the notion of a subject unconditionally loyal to his sovereign.

An examination of the influences on twentieth-century wind music would be incomplete without the consideration of composer, organist, pianist, conductor, teacher, and critic Nadia Boulanger (1887-1979). Students from the United States began studying with Boulanger between World War I and World War II, and continued to travel to study with her for over fifty years. The respect awarded this legendary French woman was gained as a result of her effectiveness as a teacher, her influence on the development of each student's unique compositional style, and her guidance of an emerging American musical style. The correlation between the teacher's lessons and the compositional output of her students must be explored. Boulanger did not compose specifically for winds, and she did not encourage her students to compose for the wind symphony. However, this document will outline the influence that this powerful pedagogue exerted over the creation of repertoire by her students by providing insight into the pedagogical style and philosophical foundations of Boulanger as reflected in the literature and by the writings, comments, and compositions of three successful students who composed literature for the wind symphony: Aaron Copland (1900-1990), Leslie Bassett (b. 1923), and Donald Grantham (b. 1947). Three significant works for winds will be considered including Copland's Emblems, Bassett's Lullaby for Kirsten, and Grantham's Variations on an American Cavalry Song.

L’étude a pour objet le combat de cavalerie dans le monde romain du Ier siècle a.C. au VIe siècle p.C. Il s’agit d’un travail de synthèse, traitant de la doctrine d’emploi de la cavalerie aux époques impériale et proto-byzantine. Les questions organisationnelles et stratégiques sont abordées, mais la focale est surtout mise sur la tactique et la physionomie du combat. L’objectif de cette recherche est de rendre compte de l’évolution de l’art de la guerre durant la fin de l’Antiquité en analysant spécifiquement les enjeux liés au développement et à l’utilisation de la cavalerie. L’importance croissante des troupes montées dans la stratégie impériale marque en effet une rupture importante dans l’histoire de l’armée romaine. Au primat des guerres offensives, de la bataille rangée et de l’infanterie lourde succède progressivement celui de la temporisation, de la guérilla frontalière et des cavaliers-archers. Ces changements, qui n’ont jamais fait l’objet d’une analyse approfondie, sont ici situés dans le temps long de l’Antiquité romaine. Le dialogue des sources narratives, techniques, figurées et archéologiques permet de dégager un schéma évolutif cohérent, un « développement organique des formes de combat » (Hans Delbrück) que nous nous efforçons de réinscrire dans le contexte plus large de l’évolution de la culture militaire impériale, en attachant une importance particulière au rapport des Romains à la guerre et à leur perception idéale des rôles respectifs de l’infanterie et de la cavalerie. / This study is about cavalry warfare in the Roman world from the 1st century BC to the 6th century AD. It is a work of synthesis dealing with the employment doctrine of cavalry in the imperial and early Byzantine eras. Organizational and strategic issues are discussed, but the focus is mainly put on tactics and battle mechanics. The aim of this research is to account for the evolution of the art of war during the end of Antiquity by analyzing specifically the stakes involved in the development and use of cavalry. The growing importance of mounted troops in the imperial strategy marks an important change in the history of the Roman army, with a gradual shift from offensive warfare, pitched battle and heavy infantry toward deception, frontier warfare and mounted archery. These changes, which have never been the subject of a thorough analysis, are here reviewed in the overall context of Roman history. The cross-analysis of narrative, technical, iconographic and archaeological sources reveals a coherent evolutionary pattern, an "organic development of forms of combat" (Hans Delbrück), which we endeavor to reinsert in the wider context of a changing Roman military culture, attaching particular importance to the Romans' relationship to warfare and to their ideal perception of the respective roles of infantry and cavalry.