O autor pergunta, a partir da iconografia da Guerra de Tróia, pelo lugar da guerra no imaginário ateniense durante os séculos VI-V a.C.. O corpus da pesquisa é constituído por 248 vasos áticos referentes a nove cenas: 1) Armamento de Aquiles; 2) Partida de Aquiles; os duelos entre 3) Páris e Menelau, 4) Enéias e Diomedes, 5) Ájax e Heitor, 6) Aquiles e Heitor, 7) Aquiles e Mêmnon; os retornos de guerreiros mortos em batalha: 8) Sono e Morte carregando o corpo de Sarpédon e 9) Ájax carregando o corpo de Aquiles. Os recortes espacial, Atenas, e cronológico, séculos VI-V a.C., foram feitos devido à escolha deliberada dos vasos áticos e ao surgimento e desaparecimento do tema nesse período. Partindo dos pressupostos de que há uma relação entre imagens e sociedade e de que as imagens são construções do imaginário social, que permitem uma aproximação às representações coletivas, o autor propõe ser a Guerra de Tróia um elemento constitutivo do imaginário ateniense nos séculos VI-V a.C. e remeter sua iconografia às representações dos atenienses sobre a atividade guerreira em seu próprio tempo. As imagens pintadas da Guerra de Tróia, antes de serem ilustrações de um evento do passado, são manifestações da imagem que a cidade de Atenas faz de si mesma em relação à guerra. Presente na memória coletiva dos atenienses, a Guerra de Tróia é um acontecimento, no qual a cidade fundamenta seus valores, sua sociedade e os respectivos papéis de seus cidadãos. Em suma, a guerra, antes de ser uma atividade restrita aos guerreiros, envolve toda a cidade, isto é, os não guerreiros, entre os quais, a mulher e o homem idoso, pais do guerreiro, ocupam um lugar preponderante. / From the iconography of the Trojan War, the author asks about the place of the war in the Athenian imaginary in the sixth and fifth centuries B.C. The corpus of the research is composed of 248 attic vases about nine scenes: 1) The arming of Achilles; 2) The departure of Achilles; the duels: 3) Paris fighting Menelaos, 4) Aeneas fighting Diomedes, 5) Ajax fighting Hector, 6) Achilles fighting Hector, 7) Achilles fighting Memnon; the returns of the dead warriors in battle: 8) Sleep and Death carrying the body of Sarpedon, and 9) Ajax carrying the body of Achilles. The choice of space, Athens, and chronological period, 6th and 5th centuries B.C., was based on a deliberate option for the attic vases and on the appearance and disappearance of the theme in this period. Based on the assumptions that there is a relationship between images and society and that images are constructs of the social imaginary, allowing an approximation to collective representations, the author proposes that the Trojan War is a constituent element of the Athenian imaginary in the sixth and fifth centuries B.C. and that its iconography refers to the representations of Athenians on the war activity in their own time. The Trojan Wars painted pictures, rather than being illustrations of an event from the past, are manifestations of the image that the city of Athens makes about itself, concerning the war. The Trojan War is an event in the collective memory of the Athenians, upon which the city establishes its values, its society and the respective roles of its citizens. In short, that war, rather than being an activity restricted to warriors, concerns the whole city, namely, the non-warriors, among them, the woman and the old man, the warriors parents, who hold an important place.

A presente tese objetiva apresentar a iconografia Maxakali como expressão da vida e da concepção do universo cosmológico. Os sinais dessa expressão são em especial, os desenhos em papel elaborados pelos indivíduos do grupo, sem distinção de idade, sexo ou status sociocósmico. A finalidade é demonstrar por meio da iconografia como os Maxakali percebem o mundo por meio da percepção sensorial do corpo próprio e como constroem relações de alteridade na intersecção de concepções cosmológicas distintas. Esse movimento é importante para a composição de um diálogo em que as diferenças são pontuadas e as tensões são amplificadas, em especial quando se colocam em cena discussões e práticas de políticas públicas. A metodologia empregada na pesquisa é a mitohermenêutica simbólica de cunho antropológico cujo princípio é um cuidado investido na reflexão e na prática do conhecimento que proporciona demarcar os caminhos percorridos pelo pesquisador na inserção do contexto de sua investigação. / This present thesis aims to introduce the Maxakali iconography as life\'s expression and of the universe cosmological conception. The signs of this expression are especially the paper drawings made by the individuals pertained to the group without any discrimination of age, sex or sociocosmical status. The purpose is to demonstrate through iconography how the Maxakali people perceive the world through the sensorial perception of their own bodies and how they build up alterative relations in the intercession of distinct cosmological conceptions. This movement of ideas is very important to dialogize when differences are shown and tension is amplified chiefly when we come up to discussions and practices of public policies. The methodology used in the research is the symbolical mitohermeneutics of antropological characteristics, wich is originally based in a carefully reflection and in the practice of knowledge wich propriciates to record the ways through which the researcher in the insertion of the context of his investigation.

This thesis explores the imagery of funerary ritual that expresses the commemoration of both the living and the dead in the art of the marble cinerary memorials of the early Empire. This group of objects includes decorated marble artefacts associated with cremation burial between the Augustan period and the reign of Antoninus Pius: ash chests (or cineraria); ash altars and grave altars (with or without ash cavities); as well as round urns and vase-shaped urns. The iconography chosen for cinerary memorials by individuals in the early Empire reflects those individuals’ concerns to remember families and friends and in turn to be remembered. This research approaches the analysis of funerary iconography holistically as embedded in its contemporary culture, as opposed to the focus on the art of various sub-cultures of Roman society, seen in recent scholarship. Items with adequate ancient provenance are used to create a sample dataset that represents individuals that belong to a middle to high income-group of society, individuals that are united through their ability to pay and commission these memorials, rather than by class. The epigraphic material, studied alongside the tomb analysis, indicates that this socio-economic group included people of different legal statuses: slaves, freed-people, non-elites and known-elites. Thus we are able to examine how artistic motifs, and also imperial iconography and culture, were received by a cross-section of society. The use of semiotics allows symbols to be analysed in conjunction with other methods such as examining narration and abstraction. This theoretical framework results in the extraction of meaning from seemingly generic motifs and connects this interpretation with contemporaneous cultural norms. Using these methods and the sample dataset, the memorial typology is examined as indicative of a focal point for funerary cult, through the connection between the object as a replacement altar for ritual, and as a house or shrine for the commemoration of the dead. The iconography associated with the memorials therefore relates to both the ritual context (garlands and other ritualistic motifs) and to the object as a small building (the architectonic façade and doors; garden and vegetative iconography). It also relates to the commemoration of the dead (portraiture and honorific iconography) and in particular to the idea of the spirit or manes of the deceased as being immortalised through the memorial (underworld and mythological iconography). All elements, then, point to the focus of the object in funerary ritual which enables the living to honour the spirit of the deceased and acts as a memento of family and friends, bringing together both the living and the dead in art and inscription.

Contrastando com a raridade dos vestígios materiais de supostas maquetes de arquitetos medievais há uma profusão de representações artísticas (mosaicos, afrescos e esculturas) que retratam figuras (Papas, Reis, Príncipes e Santos) portando modelos de arquitetura, particularmente igrejas. Esta pesquisa, apoiada pela FAPESP, concentra-se sobre este motivo artístico da figura portando o modelo de arquitetura relacionando-o à arquitetura real, à representação tridimensional da arquitetura e ao imaginário medieval acerca da criação arquitetônica. Para tanto esta pesquisa identifica, descreve, analisa e interpreta um corpus iconográfico das representações mais significativas do motivo artístico em foco, produzidas entre o séc. VI e o séc. XV na Europa e na Ásia Menor. O estudo iconográfico deste motivo, considerando suas características plásticas, suas possíveis relações formais, e seus aspectos simbólicos, pretende contribuir assim para uma maior compreensão de suas relações com o pensamento acerca da criação do projeto, entre o mundo romano e a Renascença. / In contrast with the material vestiges scarcity of the supposed medieval architects three-dimensional models, there is a profusion of artistic representations (mosaics, frescos and sculptures) that show figures (Popes, Kings, Princes and Saints) holding architectural models, particularly churches. This research, supported by FAPESP, concentrates on the artistic motif of the figure holding the architectural model and its relations with real architecture, architectural three-dimensional representation and the medieval imaginary on architectural creation. Methodological procedure identifies, describes, analyzes and interpretates an iconographic corpus of the most significant representations of the artistic motif in focus produced in Europe and Asia Minor, between the fall of the Occidental Roman Empire (AD V) and the Italian Quatrocento. The iconographic study of this motif, considering its plastic characteristics, its possible formal relations, and its symbolic meanings, aims to contribute for a better understanding of its relations with the architectural design thought, between the Roman world and the Renaissance.

Essa dissertação de Mestrado trata das relações entre as transformações nas representações dos vasos áticos de figuras vermelhas do IV século a. C. sobre os Mistérios de Elêusis, e as transformações sociais ocasionadas pelo conflito bélico do Peloponeso do V século a.C. Partindo dessa relação, e seguindo a proposta de Henri Metzger, as mudanças identificadas nas representações vasculares do ciclo eleusino estão intrinsecamente ligadas às transformações sociais, religiosas, políticas e econômicas do IV século em Atenas. Essa dissertação se divide em questões teórico-metodológicas relativas à analise e interpretação das imagens nos vasos; a compreensão dos Mistérios; a contextualização social, econômica, política e religiosa de Atenas no IV século e por fim a analise das imagens do ciclo eleusino. / This work deals with the relations between the changes in the Eleusinian figuration of the Athenian red-figure vases in the fourth-century B.C. and the social changes related to the fifth-century Peloponnesian War. Our departure point lay in the proposition made by Henri Metzger that the changes identified in the images of the Eleusinian Mysteries are strictly connected with the social, religious, political e economic changes of the fourth-century Athens. This text is divided into theoretical-methodological questions about the analysis and interpretation of the images on vases; the comprehension of the Mysteries itself; the social, economical, political and religious contextualization of fourth-century Athens and finally the interpretation and analysis of the Eleusinian images.

L’étude de la représentation des femmes sur les objets d’art de l’Iran Sassanide (224-651 EC) a signifié à la fois un défi considérable mais a suscité en même temps beaucoup de plaisir et de curiosité. Au cours des quatre siècles sassanides, on constate une augmentation des représentations féminines sur les vaisselles en argent notamment à la fin de cette période. De plus, cette iconographie a évolué de façon beaucoup plus significative que sur toute autre source artistique à cette époque telle que les bas-reliefs, les sceaux et cachets, les monnaies, les mosaïques, les stucs et les figurines.Le volume I (texte, illustrations) étudie sur trois chapitres les représentations des femmes sur les argenteries puis compare leur iconographie avec celle des autres objets d’arts. Le volume II est constitué du catalogue reprenant les documents des représentations féminines sur l’argenterie Sassanide du IIIe siècle au VIIe siècle (61 objets en argent). Une annexe comporte les explications supplémentaires, les tableaux et les figures pour soutenir les chapitres de Volume I. / The study of women representations on works of art from Sasanid Iran (224-651 CE) has not only meant a tremendous challenge subject but also a source of pleasure and curiosity. During the four Sassanid centuries, the female representations on silver vessels have increased especially at the end of this period. The relevant iconography on vessels have significantly changed more than on any other artistic sources of this period such as the rock reliefs, seals, coins, mosaics, stucco and figurines.Volume I (text, illustrations) in three chapters, studies women representations on silver vessels and addresses the comparison of its iconography with other works of art of this period.Volume II is the catalog of iconographic documents on women representations on Sassanid silver vessels from the 3rd to the 7th century (61 silver objects).An appendix contains additional explanations, tables and figures to support the chapters of Volume I.

Cette thèse est une enquête sur les mosaïques antiques de la Méditerranée occidentale représentant les Travaux d’Hercule entre le IIe et l’IVe siècle ap. J.-C. Elle propose une mise au point archéologique et historiographique et un panorama de l’iconographie de ce mythe en occident, qui sans aucun doute, ne peut être séparé de l’Orient. Six mosaïques sont étudiées provenant des sites différents du pourtour méditerranéen. Il s’agit de décrire puis d'analyser chaque mosaïque, de mettre en évidence les analogies, les différences, les relations et rapports entre elles. L’étude consiste aussi de pouvoir comparer les différentes représentations d’Hercule sur la mosaïque avec d’autres genres artistiques tels que la sculpture, les numismatiques et la céramique de la même époque. Ces comparaisons nous permettent d’avoir une vision plus globale sur la représentation de ce personnage en faisant abstraction du support et en tirer des conclusionsA travers cette analyse, nous trouvons que Héraclès n’appartient pas à une ethnie ou à un peuple. Mais il a une vocation internationale, ce qui explique notamment la place qu’il occupe dans la Méditerranée occidentale. Entre l’Espagne, le Maroc, l’Italie, la France et la Tunisie, une unité dans les représentations du héros se décèle clairement. Parallèlement, il existe des différences importantes liées à la nature même du héros mais aussi au contexte et à l’époque. Au-delà des limites géographiques et temporelles, Héraclès semble symboliser la fondation ; il représente le héros archégète et incarne le pouvoir politique, militaire et religieux. / This thesis is a survey of the ancient mosaics of the western Mediterranean representing the Hercules Labours between the 2nd and 4th century AD. It proposes an archeological and historiographical development and a panorama of the iconography of this myth in the West, which without a doubt, can not be separated from the East. Six mosaics are studied from different sites around the Mediterranean. It is a question of describing then analyzing each mosaic, to highlight the analogies, the differences and the relations between them. The study also consists in comparing the different representations of Hercules on the mosaic with other artistic genres such as sculptures, numismatics and ceramics of the same period. These comparisons allow us to have a more global vision on the representation of this character by disregarding the support and drawing conclusions.Through this analysis, we find that Heracles does not belong to an ethnic group or a people. But it has an international vocation, which explains in particular the place it occupies in the western Mediterranean. Between Spain, Morocco, Italy, France and Tunisia, a unity in the representations of the hero is clearly visible. At the same time, there are important differences related to the nature of the hero but also to the context and the time. Beyond geographical and temporal limits, Heracles seems to symbolize the foundation ; he represents the archetian hero and embodies political, military and religious power.

Orientador: Rouverson Pereira da Silva / Coorientador: Walter Maldonado Jr. / Coorientador: Cristiano Zerbato / Resumo: Uma maneira de melhorar a qualidade da operação de colheita mecanizada do algodão é alterar as configurações e regulagens de colhedora ao longo do processo de acordo com informações que podem ser adquiridas durante a própria colheita. Acreditamos que a previsão da produtividade pode se tornar uma informação de grande importância no gerenciamento da qualidade da operação, visando ao aumento da eficiência e redução das perdas no processo. Portanto, nessa pesquisa apresentamos o desenvolvimento de um sistema inteligente capaz de prever a produtividade do algodão em imagens coloridas, adquiridas por um dispositivo mobile simples. Propomos uma abordagem robusta às condições ambientais, treinando algoritmos de detecção com imagens adquiridas em diferentes horários ao longo do dia. Os resultados experimentais para o modelo SSD Mobilenet V1 indicaram que é possível realizar a contagem dos capulhos presentes nas imagens adquiridas em diferentes horários ao longo do dia, com erros médios de 8.84% (~5 capulhos). Além disso, avaliando a previsão da produtividade em 204 imagens do conjunto de dados de teste, o erro foi igual à 11%. Esse valor representa variações de até 11.90 gramas entre cada previsão. / Abstract: The predict of yield before the mechanized harvesting of a cotton crop depends on the rigorous collection of data in the field, making it impossible to perform in large areas. We believe that this prediction can become a very important information in the management of the quality of the operation. Therefore, in this research we present the development of an intelligent system capable of predicting the productivity of cotton in images acquired by a simple mobile device. We propose a robust approach to environment conditions by training detection algorithms with images acquired at different times throughout the day. The experimental results for the Mobilenet V1 SSD model indicated that it is possible to count the bolls present in the images acquired at different times throughout the day, with average errors of 8.84%. In addition, evaluating the productivity forecast in 204 images of the test dataset, the error was equal to 11%, this value represents variations of up to 11.90 grams between predictions. In future studies we will evaluate the performance of this system to perform the counting of the bolls and predict the productivity of cotton in real time during the mechanized harvesting operation. / Mestre

The Medievalizing Process: Religious Medievalism in Romantic and Victorian Literature posits religious medievalism as one among many critical paradigms through which we might better understand literary efforts to bring notions of sanctity back into the modern world. As a cultural and artistic practice, medievalism processes the loss of medieval forms of understanding in the modern imagination and resuscitates these lost forms in new and imaginative ways to serve the purposes of the present. My dissertation proposes religious medievalism as a critical method that decodes modern texts’ lamentations over a perceived loss of the sacred. My project locates textual moments in select works of John Keats, Lord Byron, Charles Dickens, and Oscar Wilde that reveal concern over the consequences of modern dualism. It examines the ways in which these texts participate in a process of rejoining to enchant a rationalistic epistemology that stymies transcendental unity. I identify the body of Christ, the central organizing principle of medieval devotion, as the cynosure of nineteenth-century religious medievalism. This body offers a non-dualistic alternative that retroactively undermines and heals Cartesian divisions of mind and body and Kantian distinctions between noumenal and knowable realities. Inscribing the dynamic contours of the medieval religious body into a text’s linguistic structure, a method I call the “medievalizing process,” underscores the spiritual dimensions of its reform efforts and throws into relief a distinctly religious, collective agenda that undergirds many nineteenth-century texts.

À travers cette analyse textuelle et iconographique, nous avons suivi les déclinaisons de l’idée de hiérarchie à l’intérieur du Tristan en prose et dans l’iconographie d’une partie de ses manuscrits. Introduite dans la fiction, la hiérarchie devient principe ordonnateur et conduit les personnages à la recherche d’une place privilégiée dans le monde et à la recherche du sens de ce monde en expansion. Oblique, verticale ou horizontale, la hiérarchie traverse le roman et le dépasse, tout en ouvrant un dialogue problématique avec d’autres grands textes de l’époque. Nous avons cherché à comprendre le fonctionnement de l’image par rapport aux axes thématiques du roman, mais aussi par rapport à d’autres cycles iconographiques. / Throughout our analysis, we have investigated the multiple aspects of the idea of hierarchy within the Prose Tristan and a part of its iconography. Introduced in fiction, the hierarchy becomes an ordering principle that makes the characters search for both a privileged place and a meaning in a continuously expanding world. The hierarchy can be oblique, vertical or horizontal. It goes through the novel and beyond it, chiefly to open a problematic dialogue with other major texts of that time. We tried to understand the way the image functions in connection not only with the main themes of the novel but also with other iconographic cycles.