Il s’agit dans cette thèse de penser les conditions de possibilité d’une philosophie de l’art à partir d’un examen précis et rigoureux de la production artistique picturale de la Renaissance italienne. Cherchant d’abord à définir une méthode, nous étudions en détail les présupposés de l’iconologie afin d’établir ce qui nous en semble être les limites. Puis, forts de cette analyse, nous en déduisons la nécessité d’une philosophie de l’art qui, loin de se contenter d’une analyse érudite de l’icône, cherche à extraire la signification de l’œuvre à partir de sa forme sensible. Si les pensées de Platon, Hume et Kant nous semblent échouer à proposer pareille démarche, les leçons de Hegel consacrées à l’Esthétique nous offrent un schéma analytique opérant, grâce auquel l’espace, le dessin et le coloris fournissent le lieu même à partir duquel peut surgir le sens. C’est ainsi que les œuvres de Fra Angelico, Botticelli, Léonard de Vinci et Michel-Ange constituent le matériau artistique grâce auquel nous mettons à l’épreuve la pertinence du triptyque espace-dessin-coloris, tel qu’il fut élaboré par Hegel. En outre, ce sont les pensées philosophiques consacrées au lieu, à la lumière ou encore à la couleur que nous convoquons – tant chez Thomas d’Aquin que chez Marsile Ficin, chez Albert le Grand que chez Plotin, chez Aristote que chez Nicolas de Cues – afin de proposer un sens philosophique des œuvres picturales, que ne nous semblent paradoxalement pas pouvoir délivrer les théories de l’art que proposent ces derniers. Chercher le sens philosophique des œuvres à même leur sensibilité et non dans une théorie de l’image, tel est donc le projet essentiel de cette thèse. / This thesis discusses the conditions of possibility for a philosophy of art based on a precise and rigorous analysis of the pictorial artistic production of the Italian Renaissance. After attempting at defining a method, the presuppositions of iconology are studied in detail with a view to establishing what appear to be their limits. On the basis of this analysis, the author deduces the need for a philosophy of art which, rather than just carrying out an erudite analysis of the icon, endeavours to extract the meaning of a work of art on the basis of its sensitive shape. While Plato, Hume and Kant’s thoughts seem to fail in proposing such an approach, Hegel’s teachings dedicated to aesthetics offer an operational analytical framework, thanks to which space, drawing and colour provide the very place out of which sense can come into being.Hence the works of Fra Angelico, Botticelli, Leonardo da Vinci and Michelangelo constitute the artistic material out of which the relevance of the space-drawing-colour triptych, as developed by Hegel, is put to the test. Furthermore, reference is made to the philosophical thoughts on space, light and colour – as expressed by authors like Thomas Aquinas, Marsilio Ficino, Albert the Great, Plotinus, Aristotle and Nicholas of Kues – with a view to proposing a philosophical sense of pictorial works of art, which paradoxically the theories of art provided by these authors do not seem able to deliver. It is the fundamental aim of this thesis to look for the philosophical sense of works of art through their own sensitiveness and not through a theory of the image.

Thesis (MMil)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: Sidi Rezegh and Tobruk are the largest disasters suffered by South Africa in its military history. Yet, despite their enormity, Sidi Rezegh and Tobruk are little understood and hardly remembered. South Africa declared war on Germany on the 6 September 1939, after a bitter internal debate, amounting to a conflict between Afrikaner nationalists and those who supported the British Empire. South Africa’s political ambivalence and disunity ran parallel to her unpreparedness for war in every important department from the lack of vital coastal defences to the miniscule size of her army and air force and complete lack of a navy. The first six months of 1941 saw the South Africans play a significant part in completely defeating the Italian colonial forces in East Africa. However, the campaign was poor preparation for what the South Africans were to encounter in the North African Desert months later. South African troops spent their time rebuilding fortifications in Egypt rather than in essential training to acclimatise this “bush war” army to harsh desert conditions. In a reluctant political decision, the unprepared South Africans were committed to Operation Crusader. The inexperienced South Africans met up with the battle hardened Afrika Korps at Sidi Rezegh on 23 November 1941 and were annihilated in the face of overwhelming odds. In revisiting this forgotten battle, it has been found, using primary and secondary sources, that the South Africans extracted an enormous price on the German armour in what may have been the true turning point of Operation Crusader. In May 1942, Rommel’s Afrika Korps sallied forth in a series of lightning moves that demonstrated the Axis grip on combined operations and managed to isolate the vital port of Tobruk commanded by an inexperienced South African, Major General H. B. Klopper. His surrender in one day is often compared to the previous siege endured under similar circumstances, where the Australians managed to hold Rommel at bay for 244 days until the siege was lifted. Klopper’s surrender of Tobruk resulted in a political crisis for Winston Churchill and for Jan Smuts, as the fiasco caused considerable tension within the Allied camp and within South Africa. On re-examination, interesting facts have emerged from the primary source material, as to the state of the Tobruk defences and of its unfortunate commander and how the United Kingdom, acting in concert with South Africa, sought to suppress the true facts. Immediate post-war memory has been shaped and distorted by sensitive political considerations that affected relations between South Africa and the United Kingdom. Thereafter, the memory of Sidi Rezegh and Tobruk was relegated first by a nationalistic Afrikaner government and then since by a democratically elected government, both of which have seen very little use in incorporating these two milestones into the national memory. / AFRIKAANSE OPSOMMING: Sidi Rezegh en Tobruk is die grootste nederlae wat Suid-Afrika in sy militêre geskiedenis ervaar het. Ten spyte van hul omvang, word daar min van Sidi Rezegh en Tobruk verstaan of onthou. Na ‘n hewige interne debat wat tot konflik tussen Afrikanernasionaliste en pro-Britse Suid-Afrikaners gelei het, het Suid-Afrika op 6 September 1939 oorlog teen Duitsland verklaar. Suid-Afrika se politieke verdeeldheid het saamgeval met die Unie se totale onvoorbereidheid vir oorlog, wat gestrek het van kritieke tekortkominge in kusverdediging, tot die ontoereikende grootte van die leër en lugmag en die totale afwesigheid van ‘n vloot. Gedurende die eerste ses maande van 1941 het Suid-Afrika ‘n beduidende rol gespeel om die Italiaanse koloniale magte in Oos-Afrika te verslaan. Dié veldtog was egter nie effektiewe voorbereiding vir die uitdagings waarteen die Suid-Afrikaners kort daarna in Noord-Afrika te staan sou kom nie. Die Suid-Afrikaanse troepe het daarby hul tyd daaraan bestee om vestings in Egipte te herbou in plaas daarvan om noodsaaklike opleiding te ondergaan om hul “bosoorlog”-leër vir ruwe woestynoorlogvoering voor te berei. ‘n Huiwerige, teensinnige politieke besluit het die onvoorbereide Suid-Afrikaners tot Operasie Crusader verbind. Die onervare Suid-Afrikaners het op 23 November 1941 by Sidi Rezegh teen die geharde Afrika Korps te staan gekom, waar oorweldigende magte hulle verpletter het. ‘n Heroorweging van hierdie vergete veldslag aan die hand van primêre en sekondêre bronne het aan die lig gebring dat die Suid-Afrikaners ‘n hoë tol van die Duitse pantser geëis het, wat besmoontlik die ware keerpunt in Operasie Crusader gebring het. In Mei 1942 het Rommel se Afrika Korps deur ‘n reeks blitsige bewegings wat die greep van die Spilmagte op gekombineerde operasies gedemonstreer het, daarin geslaag om die kritiese hawe van Tobruk, waar die onervare Suid Afrikaanse generaal-majoor H.B. Klopper in bevel was, te isoleer. Sy oorgawe binne ‘n enkele dag word dikwels vergelyk met die vorige beleg van Tobruk toe die Australianers Rommel onder vergelykbare omstandighede vir 244 dae teruggehou het totdat die beleg opgehef is. Klopper se oorgawe het ‘n politieke krisis vir Winston Churchill en Jan Smuts geskep, deurdat dit aansienlike spanning binne sowel die Gealieerde kamp as Suid-Afrika veroorsaak het. Die herevaluering van die gebeure het interessante feite uit die primêre bronne na vore gebring ten opsigte van die toestand van Tobruk se verdedigingstellings, die ongelukkige bevelvoerder, en hoe die Verenigde Koninkryk in samewerking met Suid-Afrika die ware feite wou toesmeer. Die onmiddellike naoorlogse geheuebeeld van die gebeure by Sidi Rezegh en Tobruk is geskep en verwring deur sensitiewe politieke oorwegings wat die verhouding tussen Suid-Afrika en die Verenigde Koninkryk beïnvloed het. Sedertdien het ‘n nasionalistiese Afrikaner-regering en daarna ook die demokraties-verkose, post-apartheid-regering die herinneringe aan Sidi Rezegh en Tobruk tot die vergetelheid verdoem; nie een van die twee het die nut daarvan gesien om dié twee mylpale in die nasionale geheue te verewig nie. Stellenbosch University http://scholar.sun.ac.za

Le but de cette thèse est de créer et d'utiliser un outil d'analyse des aspects de spiritualité chrétienne dans quatre tableaux de Rembrandt intitulés Les Pèlerins d 'Emmaüs. La modélisation de la grille d'analyse s 'établit sur des principes d'analyse iconographique d'Erwin Panofsky; d'analyse sémiologique de Wassily Kandinsky et Fernande Saint-Martin; et d'esthétique théologique de Hans Urs von Balthasar. Les résultats d'interprétation révèlent la pertinence et l'efficacité de la nouvelle grille d'analyse faisant entre autres ressortir la convergence graphique non pas sur la fraction du pain comme il est dit traditionnellement, mais sur l'attitude de contemplation du Christ.

The main thematic scope and basis of the PhD thesis is the specific movement in the historiography called duchové dějiny (in English partly misleading translation intellectual history) in the form, in which it was developed in German speaking lands as Geistesgeschichte, and in the Czech historiography as duchové dějiny outlined by Zdeněk Kalista. In the PhD thesis duchové dějiny is put into the wide context of the development of historical thinking and methodology in the 19th and 20th century. The PhD thesis treats the subdiscipline of duchové dějiny in many perspectives and at different levels and thematically is not enclosed by the boundaries of the duchové dějiny itself. The duchové dějiny is here in a way an optics through which one line of historiography and historical thinking in the 19th and 20th century is observed, treated and interpreted. The PhD thesis also aims to connect the history and its methodology with the archivistics and archival theory. In this way proposes the thesis certain solutions. Nowadays, duchové dějiny belongs rather to the marginal movements or subdisciplines in the historiography in the Czech and German speaking lands, contrary to intellectual history in Anglophone areas. In spite of this the PhD thesis tried to show, that the duchové dějiny is still alive,...

From the viewpoint of classical reception studies, I am asking what contemporary British art (by, for example, Sarah Lucas, Damien Hirst, and Mark Wallinger) has to do with the classical tradition – both the art and literature of Greco-Roman antiquity. I have conducted face-to-face interviews with some of the leading artists working in Britain today, including Lucas, Hirst, Wallinger, Marc Quinn, and Gilbert & George. In addition to contemporary art, the thesis focuses on Greco-Roman art and on myths and modes of looking that have come to shape the western art historical tradition – seeking to offer a different perspective on them from that of the Renaissance and neoclassicism. The thesis concentrates on the generation of artists known as the YBAs, or Young British Artists, who came to prominence in the 1990s. These artists are not renowned for their deference to the classical tradition, and are widely regarded as having turned their backs on classical art and its legacies. The introduction asks whether their work, which has received little scholarly attention, might be productively reassessed from the perspective of classical reception studies. It argues that while their work no longer subscribes to a traditional understanding of classical ‘influence’, it continues to depend – for its power and provocativeness – on classical concepts of figuration, realism, and the basic nature of art. Without claiming that the work of the YBAs is classical or classicizing, the thesis sets out to challenge the assumption that their work has nothing to do with ancient art, or that it fails to conform to ancient understandings of what art is. In order to do this, the thesis analyses contemporary works of art through three classical ‘lenses’. Each lens allows contemporary art to be examined in the context of a longer history. The first lens is the concept of realism, as seen in artistic and literary explorations of the relationship between art and life. This chapter uses the myth of Pygmalion’s statue as a way of thinking about contemporary art’s continued engagement with ideas of mimesis and the ‘real’ which were theorised and debated in antiquity. The second lens is corporeal fragmentation, as evidenced by the broken condition of ancient statues, the popular theme of dismemberment in western art, and the fragmentary body in contemporary art. The final chapter focuses on the figurative plaster cast, arguing that contemporary art continues to invoke and reinvent the long tradition of plaster reproductions of ancient statues and bodies. Through each of these ‘lenses’, I argue that contemporary art remains linked, both in form and meaning, to the classical past – often in ways which go beyond the stated intentions of an artist. Contemporary art continues to be informed by ideas and processes that were theorised and practised in the classical world; indeed, it is these ideas and processes that make it deserving of the art label.