Würzburg, Univ., Diss., 2008

Zugl.: Eichstätt, Ingolstadt, Univ., Diss., 2006

Looking primarily at the family photographs in Anne Carson’s epitaph in book form, this essay explores how Nox multiply exhibits translation as the approximation of an imperfect nearness. The replica of a testimonial object Carson created after her brother’s passing, Nox is a resolutely non- narrative work of poetry structured around a belabored translation of a Catullan elegy, prose poems, photographs, and other fragments of memorial matter. Examining Nox as an intimate archive made public through Carson’s act of curation, my project draws attention to how this work analogizes translation to the understanding of affective life. Inspired by Marianne Hirsch’s critical work on vernacular photography, I demonstrate that the exhibited family photographs in Nox not only thematize Carson’s focus on illumination and darkness, but also materially amplify the inaccessibility of the felt lives they encapsulate. I argue that Nox, like the photographs it houses, models a memorial practice insistent simultaneously on materiality and the incomplete proximity to what remains. / text

Grave markers represent a significant amount of highly important information related to the cultural patterns of a society, as well as how these patterns have changed over time. Although, cemetery studies are popular in other regions of the United States, few studies regarding grave marker attributes have been conducted in Florida. The purpose of this research was to analyze and interpret temporal and demographic changes in grave marker attributes in Greenwood Cemetery in Orlando, Florida. Another aspect of this research focused on the possible correlation between the age and inferred sex of the deceased individual in relation to the type of epitaph and iconography chosen to represent them in their mortuary context. Data was collected from 925 headstones within Greenwood Cemetery; these headstones further represent 1,102 individuals. Attributes analyzed include marker material, marker type, iconographic images, epitaph, memorial photographs, footstones and curbs. These attributes will be analyzed and compared to trends noted within a similar study conducted by Meyers and Schultz (2016), to allow for better interpretation of trends in grave marker attributes across a range of Florida cemeteries. Results indicate multiple trends. The popularity of marble headstones decreased greatly from 51% in Pre-1900 to only 8% from 2000 to 2017. Furthermore, the prevalence of epitaph and iconography categories vary greatly on both a temporal and demographic basis. Male infants are more likely than any other demographic group to be represented by a genealogical epitaph, at 41% representation. Ultimately, these trends illustrate important aspects of cultural changes related to mortuary practice and individual mortuary contexts within Orlando, Florida.

Gemäldeepitaphe sind eine zu Unrecht vernachlässigte Gattung der Kircheneinrichtung. Die vorliegende Arbeit umfasst 458 gemalte Epitaphe aus Franken, aus der Zeit von 1550 bis 1800. Der Schwerpunkt liegt auf der Darstellung der vielfältigen religiösen Themen der Gemälde. Die Arbeit versteht sich dabei als Beitrag zur Erforschung religiöser Malerei der Renaissance- und Barockzeit.

Made available in DSpace on 2015-05-14T12:39:46Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2194564 bytes, checksum: a4f1dd1be4d99183df9c7c2411264c8e (MD5) Previous issue date: 2013-03-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The various discourses that circulate in society, to be materialized on the textual form, and are subject trace of truth wills that follow a regime of repeatability. With this, we find different discursive materiality, refracting the events and presenting statements already said. In this paper we produce gestures interpretation of the inscriptions around posthumous. It's about gender epitaph we turn our eyes, based on a reading of discursive practice that enables us to understand the meanings through the production conditions of utterances. Our study takes a look toward production of discourse epitáfico, official and fabulous, from the procedures used in his speeches, how they are organized and redistributed. Therefore, we, the light of the theoretical assumptions of Discourse Analysis of French line, the general objective, analyze the genre both in the epitaph "official" as in fabulous shape, as evidenced by observing the redefinition of gender through memory and discursive power relations that are involved in their sayings. The "new" epitaphs, to break the discursive order established in the original epitaphs, fall into a place unofficial, and utopian comic grotesque, inscribing new meanings through a subversive and weaving complaints glimpse wires in the text a socio-historical characteristic of postmodern thought. / Os vários discursos que circulam na sociedade, ao serem materializados, sobre a forma textual, constituem sujeitos e traçam vontades de verdade que obedecem a um regime de repetibilidade. Com isso, encontramos diferentes materialidades discursivas, refratando os acontecimentos e apresentando enunciados já ditos. No presente trabalho produzimos gestos de interpretação em torno das inscrições póstumas. É sobre o gênero epitáfio que voltamos nossos olhares, tendo por base uma prática de leitura discursiva que nos possibilita compreender os sentidos através das condições de produção dos enunciados. Nosso estudo tem um olhar direcionado à produção do discurso epitáfico, oficial e fabuloso, a partir dos procedimentos utilizados em seus discursos, na forma como são organizados e redistribuídos. Para tanto, temos, a luz dos pressupostos teóricos da Análise de Discurso de linha francesa, como objetivo geral, analisar o gênero epitáfio tanto em sua forma oficial , quanto em sua forma fabulosa, observando como se evidencia a ressignificação desse gênero através da memória discursiva e das relações de poder em que estão envolvidos seus dizeres. Os novos epitáfios, ao quebrar a ordem discursiva estabelecida nos epitáfios originais, inserem-se em um lugar não-oficial, cômico grotesco e utópico, inscrevendo novos sentidos por meio de um caráter subversivo e tecendo denúncias que deixam entrever, nos fios do texto, um contexto sócio-histórico próprio do pensamento pós-moderno.

Made available in DSpace on 2016-04-28T20:38:56Z (GMT). No. of bitstreams: 1 Francisco de Assis Carvalho.pdf: 2228129 bytes, checksum: e146ff562cf7539ccecad160df0c5142 (MD5) Previous issue date: 2014-09-19 / This work presupposes present the importance of the use of epitaphs in the cemeteries of São João Del Rei for the elaboration of mourning. Cemeteries where the epitaphs were collected reflect the romantic mentality of the eighteenth century and the imaginary in which they live. They were born from the confluence of a number of factors that cut across social, political and mental ordering, urbanization, the application of medical and hygienic discourses; consolidation of the bourgeoisie as the ruling class , the supremacy of individualism and the hegemony of the Catholic Church . Messages analyzed reveal key elements for understanding society and the relationships that develop between men facing death and mourning and memorial function have, to the extent that they convey memories and tributes to deceased. The interpretation of these messages reveals meanings and varied meanings and its method hermeneutics of Paul Ricoeur .The main focus of the research are the four cemeteries of Sao Joao del Rei / Este trabalho tem como pressuposto apresentar a importância da utilização dos epitáfios nos cemitérios de São João Del Rei para a elaboração do luto. Os cemitérios em que os epitáfios foram coletados refletem a mentalidade romântica do século XVIII e o imaginário no qual estão inseridos. Eles nasceram da confluência de uma série de fatores que perpassam a ordenação social, política e mental; a urbanização, a aplicação dos discursos médicos e higiênicos; a consolidação da burguesia como classe dirigente, a supremacia do individualismo e a hegemonia da Igreja Católica. As mensagens analisadas revelam elementos fundamentais para a compreensão da sociedade e das relações que se estabelecem entre os homens diante da morte e do luto e têm função memorial, na medida em que veiculam lembranças e homenagens aos falecidos. A interpretação destas mensagens revela significados e sentidos variados e tem como método a Hermenêutica de Paul Ricoeur. O foco principal da pesquisa são os quatro cemitérios de São João Del Rei

Objet sculpté ou gravé, associant l’image et le texte, le monument funéraire se charge des aspirations spirituelles, sociales et artistiques de groupes sociaux divers. Dans un souci de préservation mémorielle, gisants, dalles à effigie, sarcophages ossuaires, bas-reliefs aux représentations diverses (funérailles, absoute, Christ de pitié, crucifixion, Vierge de la Chandeleur), tombeaux monumentaux ou épitaphes, mettent le défunt en scène au terme d’un cheminement de vie culminant à la quête du salut éternel de l’âme. Cette volonté de laisser une trace, de perpétuer son souvenir au-delà de la mort, pousse le commanditaire à mettre en ordre ses affaires, avant d’immortaliser ses derniers espoirs et ses dernières volontés dans la pierre. La grande variété typologique du territoire étudié, compris entre la Petite Camargue et la Catalogne du Nord du XIe au XVe siècle, met en évidence les traditions artistiques funéraires locales, et les apports septentrionaux et plus méridionaux (Espagne, Italie) qu’elles intègrent. Cette approche globale du patrimoine funéraire du littoral méditerranéen et de la société apporte une meilleure compréhension des mentalités religieuses, des pratiques juridiques (testaments) et économiques (dons, legs pieux, fondations de chapelles et d’anniversaires) et enfin esthétiques (somptuosité, ostentation), au seuil du trépas. Le croisement de différentes sources écrites et numériques (base Palissy) conduit à l’élaboration d’un corpus prenant en compte les monuments funéraires retrouvés, mais également disparus dont on garde traces dans les productions anciennes. / Carved ou engraved objet, associating the image and the text, funeral monument embodies the spiritual and artistic aspirations of various social groups. In order to preserve memory, recumbent statues, tombstones with effigy, sarcophagus ossuaries, low-reliefs with various representations (funeral, absolution, Christ of pity, crucifixion, Virgin of the Candlemas), monumental tombs or epitaphs, present the deceased at the end of his journey through life, peaking at the quest of the eternal salvation of the soul. This will to leave a trace, to perpetuate one’s memory beyond death, pushes the one who ordered such tombstone into putting one’s affairs in order before immortalizing his last hopes and his last wills in the stone.The large typological variety of the studied territory, between little “Camargue’ and the north of “Catalogne”, of the 11th to the 15th centuries, highlights the local funerary artistic traditions and the northern contributions or the more southern ones in Europe (Spain, Italy) which they integrate. This comprehensive approach of the funeral heritage of the Mediterranean coastline and the society brings a better understanding of religious mentalities, legal practices (wills), and economic (gifts, pious legacy, foundations of chapels and death birthdays) and lastly esthetic ones(sumptuousness, ostentation) at the threshold of the death. The crossing of various written and digital sources (Palissy bases) has led to the development of a fascinating corpus taking into account the monuments that were found again, but also the ones that disappeared, whose traces are found in the old productions.

Les fouilles archéologiques et les prospections conduites à Ghazni ont permis de collecter une grande quantité de documents épigraphiques. Parmi ceux-ci, un corpus inédit d’inscriptions funéraires en langue arabe, gravées sur des tombeaux en marbre, fait l’objet de cette étude qui se base sur un fonds photographique unique, gardé dans les archives de la Mission Archéologique italienne en Afghanistan (1957-1978). Ces tombeaux, datés entre le VIIIe/XVe et le XIIe/XVIIIe siècle, témoignent d’une nouvelle phase d’activité de la ville après la période d’abandon dans laquelle elle fut plongée au VIIe/XIIIe siècle, suite à l’invasion des hordes mongoles. À cette époque, Ghazni perd à jamais son rôle politique et culturel mais la ville continue à jouir d’une réputation de sacralité assurée par la présence de mausolées et de tombeaux vénérables des souverains ghaznévides et des personnages renommés de l’époque qui y furent enterrés. Leurs tombeaux devinrent bientôt des lieux de dévotion populaire et de pèlerinage inscrits dans un circuit dévotionnel d’importance locale. Le prestige historique et religieux de ces monuments est resté intact et s’est renouvelé au fil du temps, les cimetières de la ville ont grandi et se sont multipliés jusqu’à dessiner une nouvelle topographie urbaine. Ces tombeaux et leurs épitaphes permettent de retracer un profil tout-à-fait nouveau de la ville et de ses habitants entre la fin du moyen-âge et l’époque pré-moderne. Il s’agit de monuments authentiques en termes de forme et conception, résultat d’une production qui n’est pas associée à une dynastie ou à une époque particulière, mais qui est fortement enracinée dans la culture locale de la ville / Archaeological investigations and surveys in Ghazni - the ancient capital of the Ghaznavids (late 10th-12th c.) - delivered a large amount of epigraphic documents. Among these, an unpublished corpus of funerary inscriptions engraved on marble tombs is the object of this study, mostly based on the photographic archives of the Italian Archaeological Mission in Afghanistan (1957-1978).These lavishly decorated tombs, dating from the 15th century onwards, bear epitaphs carved in cursive script, which display a combined use of Arabic and Persian. They attest of a new phase of activity of the city and shed new light on Ghazni history, after the long period of dump and destruction it suffered in the aftermath of the Mongol invasion (early 13th century), when the city lost its ancient political and cultural hegemony. Nevertheless, Ghazni witnessed a new renaissance as a religious and pilgrimage centre as the high number of mausoleums, holy shrines and tombs prove. These monuments mostly belong to local prominent personalities and often preserved the echo of their prestige for centuries, attracting later burials and becoming part of a local holy itinerary. Extensive cemeteries and burial sites grew up all around the city, redefining the local sacred topography.The tombs and their epitaphs draw a new sketch of the city and its inhabitants between the late Middle Ages and pre-modern times. They maintained a refined level of craftsmanship along the centuries, showing an outstanding artistic longevity and originality which is the result of a production not associated to a particular dynasty or epoch but deeply rooted in Ghazni local culture

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