No description available.

Cette thèse porte sur l’iconographie des Rois mages du Xe au XIIe siècle à travers l’étude de son adaptation sur supports monumentaux dans l’Occident latin, pour déceler la reformulation du thème dans la « société féodale ». Pour ce faire, le premier fil conducteur est la conception du statut royal qu’acquièrent les Mages de l’Évangéliste Matthieu au Xe siècle, analysée parallèlement à celle de la figure dirigeante élaborée sur cette période et décrite par Marc Bloch dans Les Rois thaumaturges (1924) et par Ernst Kantorowicz dans Les deux corps du Roi (1957). L’optique est de définir la place des nouveaux Rois mages dans les intrications de liens « d’homme à homme » dépeintes par Marc Bloch. Le second est la notion d’espace féodal, étudiée en profondeur par Robert Fossier, autour du concept « d’encellulement », et par Alain Guerreau qui applique cette idée à l’espace sacré. La notion d’espace féodal régit à la fois le corpus des décors étudiés, leur intégration dans l’espace ecclésial et la conception de l’espace iconique lui-même. Une analyse phénoménologique fait ainsi apparaître une figure des personnages dans l’« imaginaire féodal », pleinement investis de la fonction royale et de son aura, trouvant leur place dans un système mental que l’analyse de grands ensembles iconographiques permet de définir. En tant que figures universelles abstraites, les Rois mages forment ainsi une projection claire de l’idée de groupe, modulée selon diverses consciences fédératrices, de sa cellule la plus restreinte à l’universalité chrétienne. / This dissertation deals with the iconography of the Three Kings from the Xth to the XIIth century, by means of a study of its adaptation on monumental decoration in Latin Europe, so as to unravel how it was adapted by feudal society. In order to do so, the first question is that of the new royal status acquired in the Xth century by the Magi from the Gospel of Matthew, analyzed thanks to the concept of “ruler figure” that emerged at the time and was depicted by Marc Bloch in Les Rois thaumaturges (1924) and Ernst Kantorowicz in the The King’s Two Bodies (1957). The aim is to define where the newly defined Three Kings stand in the intricate network of “ties between man and man” theorized by Marc Bloch. The second question is that of the notion of feudal space, studied in depth by Robert Fossier, with his concept of “encellulement” (1982), and Alain Guerreau, who applies this idea to the sacred space. The notion of feudal space informs the corpus of studied pictures, their integration in the ecclesial space and the conception of the iconic space itself. A phenomenological analysis reveals the features of the characters in the “feudal imaginary”, fully invested with their royal function and its aura, and finding their place in a mental system whose mode of functioning can be unveiled thanks to the study of great iconographic sets. Being abstract universal figures, the Three Kings constitute a clear picture of the notion of social group, modulated according to various unifying consciences, from the most basic unit to Christian Holism.

L'iconographie de saint Grégoire le Grand (v.540 – 604) n'a été jusqu'à présent que très peu étudiée.Lorsqu'on connaît l'importance de ce saint dans la société médiévale, et plus particulièrement à partir du IXe siècle et jusqu'au XIIe siècle, il s'avère donc logique d'en approfondir l'iconographie et les enjeux qui s'en détachent. Riche d'un héritage antique et surtout carolingien lui conférant une autorité, l'image grégorienne souvent insérée au sein d'une image tripartite hiérarchisée (Dieu, l'homme et le livre), semble liée à plusieurs données: hagiographiques, scéniques, scripturaires ou géographiques. Elle expose les relations entre oralité et registre écrit, rend compte des changements de fonction du litteras et de l'importance de la mémorisation et témoigne d'une recherche aiguë du sens. Tendant à s’éloigner des bases hagiographiques, elle met l’accent, entre les IX et le XIe siècles, sur la vocalisation, puis, au XIIe s., sur la représentation des différentes phases de la vie d'un texte, de ce fait l'image est donc liée à la production du livre et axée sur la représentation de la transmission du savoir et de son enseignement dans laquelle la visualisation du savoir prend toute son importance (recherche généalogique et didactique centrées sur les vertus du saint). Grégoire, doué d'attributs impériaux l'élevant vers l'au-delà, est intégré à une image représentant l'invisible puisque Dieu reste caché à la vue de l 'homme. Cette image, à insérer dans le contexte liturgique et sensitif, fait non seulement écho aux principales préoccupations théologiques, morales voire canoniques de l'époque mais tente surtout de les légitimer. / The iconography of St. Gregory the Great (ca. 540 - March 12, 604) has so far been little studied, despite a resurgence of studies recognized for several decades. When we know the importance of this saint in medieval society, especially from the ninth century to the twelfth century, it seems therefore logical to study the iconographic aspects and issues emanating from it. A rich antique heritage and especially carolingian giving it authority, the Gregorian picture often inserted within an image tripartite hierarchy (God, man and the book), seems to be linked to several data: hagiographic, scenic, scriptural or geographic. It describes the relationship between oral and written records, reports changes depending on litteras and the importance of storage and research shows acute sense. Tending to move away from hagiographics bases, it emphasizes between the IXth and XIth centuries, the vocalization, and then, in the twelfth century, on the representation of the different phases of the life of a text (inspiration, transcription, writing, transmission), this that the image is linked to the production of the book focuses on the representation of the transmission of knowledge and teaching wherein the visualization of knowledge becomes important (genealogical and didactic research focus on the virtues of the saint). Gregory, endowed with imperial attributes raising him toward beyond, is integrated into an image representing the invisible because God remains hidden from the view of the man. These pictures to be inserted in the liturgical context and sensitive, are not only reflected the main concerns theological, moral or canonical time but mostly trying to legitimize them.

Text in English / Ancient Egyptian distinctive headdresses made from precious or semi-precious materials date to prehistoric times, indicating a growing sense of individuality and hierarchy. Women’s headdresses were indicators of rulership, divinity, social status, cultic affiliation and wealth. Visual evidence indicates that female identity was emphasised by external and outward appearance and headdresses in the form of diadems followed recognised stylistic dictates throughout the Dynastic Period. The floral and faunal motifs used in the embellishment were believed to have protective amuletic and magical powers. Although a considerable amount of investigation has been undertaken into the use of materials and techniques used in the manufacture of diadems, the incorporation of symbolism and iconography of these gendered artefacts as a means of interpreting visual messages and self-expression has largely been unexplored. The study has been limited to well-provenanced, extant Old, Middle and New Kingdom diadems housed in various museums worldwide. / Old Testament and Ancient Near Eastern Studies / M.A. (Ancient Near Eastern Studies)

Tereza Kolmačková Votive offerings at selected Catholic pilgrimage sites: Theoretical reflection and anlysis of extant examples Abstract The aim of my thesis is to analyse votive offerings at Catholic Marian pilgrimage sites mainly from the early modern period. Firstly I discuss Marian images at pilgrimage sites to show who were the votive offering brought to and to describe a broader context of their placement. The thesis is then focused on analysis of textual evidence from the 17th century relating to the Czech pilgrimage site Svatá Hora and of extant objects mainly from Bavaria. Based on these sources the most common types of votive offerings seem to be painted pictures, models of body parts, statues and figures, candles and jewelry, other objects, however, occur as well. The votive offerings were mostly donated to express gratitude for a miracle. Therefore, the miracle process is also shortly discussed in my thesis. Votive offerings did not, however, only show the gratitude of a devotee but it seems that their promise was needed for Virgin Mary to perform a miracle. My analysis suggests that very important aspects of votive offerings were their performative character and the power to create and maintain relationships with Virgin Mary and other pilgrims.

Text in Afrikaans / Die proefskrif ondersoek die funksie van fonteine en putte in die religie van ou Israel. Die religie van die Hebreeuse Bybel word tradisioneel beskryf as 'n historiese religie waarin Jahwe, die god van Israel, fundamenteel gemoeid is met die verlossing van sy volk in die gang van die geskiedenis, terwyl die wêreld van die natuur van marginale belang is. Dit is egter duidelik dat die natuur in die vorm van haar grondwaterbronne 'n belangrike rol in ou Israel se leefwerêld gespeel het, nie alleen as lewegewende bronne in die droē fisiese Palestynse landskap nie, maar ook in hulle narratiewe en simboliese wêrelde. Fonteine en putte was kultiese plekke en heilige ruimtes waar teofanieē plaasgevind het, konings gekroon is, regsgedinge gevoer is, voorvadergeeste opgeroep is en die nageslag van ou Israel verseker is toe die voorvaders hulle toekomstige bruide by putte ontmoet het. Deur middel van die ou Nabye Oosterse ikonografie as hulpwetenskap in die interpretasieproses, is gevind dat die rede vir die sakrale waarde wat aan die waterbronne geheg is, opgesluit is in ou Israel se kosmologie wat hulle met hulle mitologies-gesinde en natuurvererende bure gedeel het. Daarvolgens ontspring fonteine uit die kosmiese onderaardse oeroseaan om lewe en vrugbaarheid te bring aan alles wat lewe. Die beeld het daartoe aanleiding gegee dat fonteine en putte metafories vir vroulike seksualiteit en vrugbaarheid gedien het. Die waterbronne tree ook as draers van hoop op. In verhale oor die wonderbaarlike ontstaan van fonteine in die wildernis deur lewensonderhoud aan die Israetiete tydens hulle woestynomswerwinge te voorsien. Ons kan met sekerheid aanneem dat ou Israel hulle watergate as lokaliteite van integrasie, sin en orde teen die aanslae van die chaosmagte ervaar het. Deur die eeue het die mensdom nagedink oor eksistensiele kwessles soos lewe en dood, vrugbaarheid en steriliteit, die redes vir rampe en oor wat die toekoms inhou. Dit is ten diepste religieuse vrae wat die vervloe bybelskrywers vir hulle tyd en omstandighede aangespreek het deur 'n refigurasie van Palestina se waterbronne. Grondliggend aan hierdie studie as 'n herevaluering van die natuur in die Hebreeuse Bybel om menslike wesens as deel van die natuur op te stel en nie as staande bo die natuur nie. / The dissertation investigates the function of springs and wells in the religion of ancient Israel. The religion of the Hebrew Bible has traditionally been descibed as a historical religion in which Yahweh, the god of Israel, was fundamentally concerned with the salvation of Yahweh's people In history in which the world of nature is of marginal interest. However, it is evident that nature in the form of its groundwater sources played an important role, not only as life giving sources in the arid physical environment of Palestine, but also in their narrative and symbolic worlds. Springs and wells served as cultic centres and sacred places where theophanies took place, kings were crowned, lawsuits conducted, ancestral spirits conjured up and the future progeny of Israel was ensured when patriarchs betrothed their future brides at wells. By means of ancient Near Eastern iconography as an interpretation aid, this study finds the reason for the sacred value attributed to groundwater sources in the cosmology of ancient Israel which she shared with her mythically-minded and nature-worshipping neighbours. Springs were believed to arise from the cosmic subterranean ooean to bring life and fertility to all living things. This image caused springs and wells to serve as metaphor of female sexuality and fertility. They also act as agents of hope in stories of miraculous springs in the desert which provide sustenance during the Israelites' desert wanderings. We can safely conclude that ancient Israel experienced their springs and wells as localities of integration, meaning and order amidst the threatening forces of chaos. Through the ages humankind reflected on existential questions regarding life and death, fertility and sterility, the reasons for disasters and what the future holds. These are profoundly religious questions addressed by the biblical authors for their time and circumstances by implementing a refiguration of the groundwater sources of Palestine. Ultimately this study serves to re-evaluate nature in the Hebrew Bible and to construe human beings not as standing above nature, but as part of nature. / Religious Studies and Arabic / D. Litt. et Phil. (Religious Studies)

When cultures meet, mutual influences and cultural exchanges are unavoidable. Egypt’s contact with Syro-Palestine goes back to at least the Chalcolithic Period. Egypt was a major role player in the region throughout the Bronze Age. The discoveries at Ugarit have placed a lot of emphasis on possible Canaanite influences on the religion of ancient Israel. The purpose of this study is to investigate if cultural exchanges led to Egyptian religious concepts being accepted in Israel and Judah during the period 900-587 B.C.E. (Iron IIB and C). For this reason the iconography on contemporary seals was investigated. Symbols in ancient times, especially amongst illiterate societies, were important instruments in conveying ideas and concepts. The Hebrew Bible abounds with symbolism to illustrate the powers of Yahweh. Egyptian iconography on Hebrew seals, in particular seal amulets, has been regarded by most biblical scholars as mere decorations and the amulets regarded as ‘good luck’ charms. Seal amulets were important instruments of magical ritual in ancient Egypt, where there was no distinction between magic and religion. Biblical prohibitions against magic show that in Israel and Judah, it was regarded as a form of idolatry, thus religious rituals. An important factor to be considered is the influence of Phoenicia on the region during the Period. Close relationships seem to have existed between Phoenicia with the United Kingdom of Israel and later with the northern Kingdom of Israel. An investigation of Phoenician seals from the period revealed that Egyptian religious iconography was used by all levels of Phoenician society. They inter alia used Egyptian imagery to portray their own gods. Seals from Israel and Judah during Iron IIB and C indicate that Egyptian religious iconography was also used on seals by all levels of society in those kingdoms. Israel, due to its close proximity to Phoenicia, probably imported these images via Phoenicia. Judah, due to its isolation, probably got those images directly from Egypt. Some of these images may be ascribed to attempts to portray aspects of Yahweh’s powers. Others convey definite Egyptian religious messages. Egyptian influences on Israelite religion played a larger role than previously accepted. / Biblical Archaeology / D. Litt. et Phil. (Biblical Archaeology)

The bull was a potent symbol of power, strength, and, to a lesser degree, fertility to the peoples of the ancient Near East from the twelfth century until 330 BCE. This symbolism was manifested in several iconographic motifs. These motifs reveal the bull as a manifestation of divine characteristics and as an expression of the power of man, and particularly the authority of the king. The use of these iconographic motifs was not consistent across the entire area of the ancient Near East; some differed in appearance and use in the different areas of the region, and many changed over time even in the same area. In all areas and during all periods the basic core symbolism stayed the same, and the bull was always held in a special respect. / Old Testament and Ancient Near Eastern Studies / M.A. (Ancient Near Eastern Studies)

En 1535, alors que le chantier de l'église paroissiale Notre-Dame des Marais de La Ferté-Bernard est privé de maître-maçon depuis deux ans et que la fabrique vient d'obtenir la promulgation d'indulgences, un nouveau maître-maçon est élu par les habitants fertois. Mathurin Delaborde est chartrain. Maître des maçons des ville et bailliage de Chartres, Mathurin Delaborde est alors le maître-maçon de la clôture de choeur de la cathédrale. A La Ferté-Bernard, l'édifice qu'il découvre est dans l'état suivant : nef, transept et tour-clocher sont achevés depuis plus de trente ans, tandis que le choeur est en cours de construction. Les chapelles nord sont élevées, ainsi que la chapelle axiale qui vient d'être pavée et vitrée. L'ensemble, de facture sobrement flamboyante, reste toutefois non voûté. Trente-quatre ans plus tard, en 1569, alors que la fabrique fait appel à un nouveau maître-maçon pour achever les arcs-boutants, l'édifice est quasiment achevé. Il porte le monogramme MdLB en deux endroits – dans le triforium et dans la tourelle d'escalier qui mène au garde-corps des parties hautes du choeur. Avec ses trois niveaux d'élévation, les voûtes plates de ses chapelles rayonnantes et surtout l'abondant décor sculpté « à l'antique » de ses parois intérieures et extérieures, le choeur de l'église Notre- Dame des Marais de La Ferté-Bernard est une véritable « fenêtre ouverte sur la Renaissance » / In 1535, the building of Notre-Dame des Marais the parish church of La Ferté-Bernard has been deprived of maître-maçon for two years and the fabrique has just obtained an indulgence enactment, when a new maître-maçon is elected by the people of La Ferté, Mathurin Delaborde from the city of Chartres. A city maître des maçons and bailiwick in Chartres, Mathurin Delaborde becomes the maître-maçon of the chancel screen of the cathedral. On his arrival in La Ferté-Bernard, the nave, transept and church tower have been built for over thirty years whereas the choir is in the middle of its construction. The northern chapels are built, as well as the axis chapel which has just been paid for and windowed. Although soberly flamboyant crafted, the structure remains unvaulted. Thirty four years later, in 1569, the structure is almost finished when the people of La Ferté call on a new maître-maçon to finish the flying buttresses. The building bears the MdLB monogram in two different places – on the triforium and on the staircase turret of the choir. With three levels elevation, the voûtes plates of the radiating chapels and especially the great amount of « à l'antique » decoration sculpted on its inner and outer walls, the choir of the church Notre-Dame des Marais in La Ferté-Bernard is a « window opened upon the Renaissance »

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / French textbooks, in particular the Geography ones, are teaching resources that guide teaching practices and substantially contribute to the understanding of the organization of geographical space from the view of different landscapes in the world. The images in this context are the primary documents of iconography. This work analyzes them from the stereotypes that are conveyed about the Brazilian reality. The research approaches a discussion on the epistemological notion of image which is linked to the reality as an external referent. From this viewpoint we discuss whether the pictures represent a true reflection of the Brazilian reality as they can be understood both as presence and substitution of something that is distant from the reader. In other words we have evaluated the limits of the image as a mediator between the real world and what can be read by the students who use it. Therefore, we do not intended to create a hierarchical dualism between true images and false images, but to understand them from the personal intentions of the authors who, in partnership with publishers, define the choice of illustrations and individualized ways of seeing, showing and hiding the world. We have questioned their adaptations and/or inadequacies regarding the Brazilian reality. For that, we use the method of phenomenology to analyze the images of Brazil in France textbooks, published from 1996 to 2011. In parallel we have developed a framework that allows us to describe and then examine the elements considered most relevant in the construction of each image of Brazil. Such procedures showed evidence that the teaching themes that address the Brazilian reality, associated with the subjectivity of the textbooks authors, reverberate in their iconographic positioning. This means that the choice of image format, associated with geographic content requires a strategy to guide the different meanings over Brazil in French textbooks. Thus, we have drawn the main frameworks applied in the iconography of textbooks of that country for presentation and/or enactment of the Brazilian territory. We have found that the image, however, is not spontaneously obtained; it should be understood as an elaboration of reality; it is not reality itself. We finally understand that the way a considerable part of the Brazilian images is portrayed, represented, and repeated at least since the 1990s, seems to contribute, solidify and nurture a unilateral idea about knowledge of Brazil. This refers to an advocated image model that often fits in a context of negativity and generalized conceptions about reality. It is not inappropriate to think that these images show particularized evidence of the Brazilian reality and should be considered as stereotypes. / Os livros didáticos franceses, em específico, os de Geografia, são recursos didáticos que orientam as práticas de ensino e contribuem, substancialmente, com o entendimento da organização do espaço geográfico a partir da visualização de diferentes paisagens do mundo. As imagens fotográficas, nesse contexto, são os documentos primordiais de sua iconografia. Assim, analisamo-las, nesse trabalho, a partir dos estereótipos que veiculam sobre a realidade brasileira. A pesquisa remete, portanto, a uma discussão epistemológica sobre a noção de imagem, articulada a um referente externo, a realidade. Sob esta ótica, questionamos se as imagens representam um reflexo fiel da realidade brasileira, uma vez que podem ser compreendidas, simultaneamente, como presença e sucedâneo de algo que se encontra distante do leitor. Em outras palavras, avaliamos os limites da imagem como mediadora entre o mundo real e a possível leitura da mesma pelos alunos que a utilizam. Não é, pois, intenção criar um dualismo de hierarquização entre imagens verdadeiras e imagens falsas, mas compreendê-las a partir das intencionalidades pessoais dos autores que, em parceria com os editores, definem a escolha das ilustrações e das maneiras particularizadas de ver, mostrar e ocultar o mundo. Interrogamos, assim, as suas adequações e/ou inadequações em relação à realidade brasileira. Para isso, utilizamos o método da Fenomenologia para análise das imagens fotográficas do Brasil nos manuais escolares da França, publicados no período de 1996 a 2011. Paralelamente, elaboramos um quadro que nos permitiu descrever e, em seguida, examinar os elementos considerados mais relevantes na construção de cada imagem do Brasil. Tais procedimentos permitiram constatar que os temas de ensino que abordam a realidade brasileira, associados às subjetividades dos autores dos livros didáticos, reverberam em seu posicionamento iconográfico. Isso significa que a escolha do formato da imagem, em associação com o conteúdo geográfico, pressupõe uma estratégia para orientar as diferentes significações sobre o Brasil nos livros didáticos franceses. Desse modo, traçamos os principais enquadramentos aplicados na iconografia dos manuais escolares desse país para apresentação e/ou encenação do território brasileiro. Verificamos que a imagem, no entanto, não é obtida espontaneamente; ela deve ser entendida como uma elaboração da realidade, não é a realidade em si mesma. Entendemos, por fim, que a maneira como uma considerável parte das imagens brasileiras é retratada, representada e repetida, pelo menos desde a década de 1990, parece contribuir para solidificar e nutrir uma ideia unilateral sobre o conhecimento do Brasil. Isso remete, sem dúvida, a uma imagem-modelo preconizada que se insere, muitas vezes, em um contexto de negatividade e de concepções generalizadas acerca da realidade. Não é desapropriado pensar, enfim, que tais imagens mostram evidências particularizadas da realidade brasileira e devem ser consideradas como estereótipos. / Doutor em Geografia