la fin du Moyen Âge les fleurs sont fréquemment représentées dans les tapisseries, les manuscrits enluminés et les tableaux. L’objectif de l’étude est d’établir qu’il ne s’agit pas d’un simple procédé décoratif. Les fleurs, support naturel de la couleur, constituent un système symbolique par analogie dont la fonction est de guider le spectateur dans sa lecture de l’image. La construction des images en réseaux signifiants avec la flore symbolique accompagne un comportement nouveau, la Devotio Moderna, sous l’influence des ordres Mendiants, notamment les Dominicains. L’objectif est de guider le fidèle lors de ses prières. Les imagiers utilisent également ce système pour représenter les rois français Valois qui souhaitent proclamer leur lien privilégié avec Dieu. L’étude de ce système symbolique, contenu et structure, nous permet de mieux comprendre la mentalité médiévale avec sa façon particulière de penser le monde. / At the end of the Middle Ages flowers are frequent in tapestries, manuscripts and paintings. The aim of this study is to prove they are not just decorative items but that they have their own function in images. These flowers, especially by means of their colours, make up a symbolical system aiming at guiding the reader to understand the inner sense of symbolical images. This special way of composing images is concomitant with a new way of praying God, the Devotio Moderna, under the supervision of preachers, especially the Dominicans. The image-makers also use these new patterns to picture the French Valois kings in order to assert their alleged special relationship with God. The study of this symbolical system, contents and structure, enable us to understand better the particular medieval way of thinking the world.

Au-delà de la littérature édifiante ou critique des XVIème, XVIIème et XVIIIème siècles, l’image mentale des religieuses bénédictines et cisterciennes passe aussi par la production et la diffusion de représentations iconographiques via de nombreux supports. L’étude menée sur ce media visuel a permis de rassembler un corpus de 1160 références regroupées en une base de données exploitable. Son analyse se développe autour de l’affirmation de l’importance du témoignage historique et documentaire de l’iconographie pour la connaissance des modes de vie et de pensées de ces moniales. Le traitement typologique du contexte de production, des commanditaires et destinataires des œuvres définit les enjeux et objectifs de ces représentations. L’iconographie présente toutes les caractéristiques spirituelles et temporelles de la vie monastique féminine avec les différentes problématiques qui font l’actualité du monde régulier post-tridentin. L’étude se penche aussi sur la représentation des grandes figures fondatrices du monachisme féminin, comme sainte Scholastique, les saintes fondatrices d’abbayes médiévales et les fondatrices modernes de congrégations nouvelles. L’iconographie donne à voir un monde monastique féminin puissant et émancipé avec l’évocation de la sainteté féminine et de son lien privilégié à Dieu. Les portraits de supérieures et de religieuses sont des témoins directs d’un pouvoir temporel et spirituel similaire à celui de leurs confrères moines. L’image de la bénédictine et de la cistercienne à l’époque moderne se révèle orientée et biaisée, utilisée à des fins de propagande, mais les religieuses en tirent toujours le meilleur parti pour conforter leur légitimité. / Beyond uplifting or critical literature of 16th, 17th and 18th centuries, the mental image of the Cistercian and Benedictine nuns also involves the production and dissemination of iconographic representations via a variety of media. The study on the visual media brought together a corpus of 1160 references grouped into a usable database. His analysis develops around the affirmation of the importance of the historical and documentary witness of the iconography for the knowledge of the modes of life and thoughts of these nuns. The typological treatment of the context of production, sponsors and recipients of art works defines the stakes and objectives of these representations. Iconography features all the spiritual and temporal of feminine monastic life with the various problems which make the topicality of the post-Tridentine regular world. The study also focuses on the representation of the great founding figures of female monasticism as Saint Scholastica, the Holy founders of medieval abbeys and the modern founders of new congregations. The iconography shows a powerful and emancipated female monastic world with the evocation of feminine Holiness and his relationship to God. Superior and religious portraits are direct witnesses of their temporal and spiritual power similar to that of their fellow monks. The image of the Cistercian and benedictine in modern times turns oriented and biased, used for purposes of propaganda, but the nuns always get the best of that to reinforce their legitimacy.

O tema desta dissertação de mestrado é a controvérsia sobre os direitos civis e políticos das mulheres na França revolucionária , suscitada pela atuação cívica vigorosa das militantes políticas nos seis primeiros anos da Revolução - 1789-1795. Essas mulheres adquiriram uma visibilidade dramática ao participar maciçamente do movimento revolucionário, organizar-se em clubes políticos e exercer na prática alguns dos direitos de cidadania reservados ao sexo masculino. Seus direitos cívicos foram recusados, mas, pela primeira vez o assunto foi debatido e as autoridades tiveram que justificar a exclusão publicamente. O objetivo da pesquisa é estudar como as mulheres do povo conseguiram participar tão ativamente da vida política nacional no período inicial da Revolução e as razões pelas quais foram afastadas da cena pública. Estudarei a questão através das categorias práticas e representações, focalizando a atuação das militantes, e as imagens de mulheres nos espaços públicos e privados. Três grupos femininos emblemáticos serão considerados: as mães republicanas, as militantes políticas e as mulheres-soldados. A militância será analisada em duas vertentes principais: as jornadas revolucionárias começando pela Marcha a Versalhes em 1789 e a atuação de clubes femininos como a Sociedade das Republicanas Revolucionárias. As ativistas foram derrotadas junto com o último levante popular em Prairial do ano III. Razões políticas e culturais explicam porque as mulheres foram mal recebidas na arena política nacional. O capítulo da Iconografia apresenta 37 imagens de alegorias, caricaturas e cenas de acontecimentos da Revolução que ajudam a compreender o comportamento que se esperava das mulheres decentes: a maternidade com a dimensão cívica da educação dos futuros patriotas e a dedicação exclusiva ao lar. A moral republicana exigia que cada um cumprisse o seu papel na família e no corpo político. Era preciso manter a diferenciação das funções dos sexos: as mulheres deviam governar a casa e os homens o país. As militantes queriam ser mulheres livres, armarse, agir com independência , mas a maioria dos homens achava que eram usurpadoras das atribuições masculinas. A iconografia mostra modelos de comportamentos femininos virtuosos: deusas representando a nação porque estavam acima dos conflitos ou mães abnegadas, caridosas e heróicas. As que freqüentavam as tribunas das assembléias se transformavam nas terríveis \"tricoteiras\". As militantes foram toleradas enquanto foram úteis quando fizeram oposição aos jacobinos foram reprimidas em nome dos princípios morais que sustentavam a República. / The subject of this Master\'s thesis is the controversy about civil and political rights of women in revolutionary France, sparked by the vigorous female militancy in the early years of the Revolution 1789-1795. These women became dramatically visible when they massively joined the revolutionary movement, organized in political clubs and exercized some exclusively male citizenship rights. Their political rights of citizenship were denied , but for the first time the issue was debated and government officials had to publicly justify their decision. The objective of this research is to study how working-class women managed to participate so actively in national politics in the initial period of the Revolution and the reasons that led to their being banned from the public scene. I will explore the subject from the perspective of women\'s practices and representations, meaning the militants\' civic actions and women\'s images in the public and private spheres. This paper will focus on three main groups of women: republican mothers, political activists and women soldiers. Their political involvement will be considered from the standpoint of their participation in insurrectionary journées, such as the March to Versailles, and membership in women\'s political clubs, such as the parisian Society of Revolutionary Republicans. The militant citoyennes were defeated in the last popular uprising of Prairial, Year III. Political and cultural factors explain why women\'s intervention in national politics was not welcomed. The chapter on representations discusses a repertoire of 37 alegories , caricatures and revolutionary events that help understand the kind of behaviour expected of decent women: civic motherhood, whose aim was to nurture and educate future patriots and an exclusive devotion to domestic duties. Republican morals required that everyone fulfilled their proper role in the family and in public life. It was necessary to maintain the cultural norms of gender differentiation : women managed the household and men ruled the country. Militants wanted to be \"free women\", that is, bear arms, and act independently , but most men thought that activists were \"stepping out of their sex\" and usurping male roles. The iconography fosters virtuous feminine behaviour: lofty goddesses representing the nation because they stood above conflict; or self-sacrificing, charitable and heroic mothers. The women who regularly attended the Assembly galleries became despicable \"knitters\". Militant women were tolerated while useful but when they became political adversaries, they were repressed in the name of the essential moral principles of the Republic

A presente tese visa analisar e compreender as relações entre os textos e as imagens contidas no livro didático de autoria de Antonio José Borges Hermida Compêndio de História do Brasil, editado pela Companhia Editora Nacional entre os anos de 1962 e 1975, sendo estas relações reveladoras de um discurso de determinado conhecimento histórico. Para este trabalho foi realizado estudo bibliográfico sobre a história da disciplina de História, a cultura escolar e o contexto político para a sustentação das análises de produção, editoração e circulação do livro, em todas as suas 60 edições, como suporte mercadológico, ideológico e cultural. O Compêndio de História do Brasil, de Borges Hermida, foi aqui analisado como um produto industrial e em sua condição de fonte a ser estudada para a compreensão de parte de uma História da Educação e da História do Ensino de História, assim como para entendimento e estudo de uma História do Livro (didático). O livro, como produto de uma indústria cultural, é fruto da intervenção de diversos sujeitos e autores e um elemento material de conceito complexo, devendo ser também concebido como corpo documental histórico; o nome de seu autor, embora este não se faça presente em todas as suas etapas de formação e produção, deve servir como atrativo comercial em uma perspectiva de maiores vendagens. O discurso historiográfico do autor, expresso pelo texto escrito, é ponto crucial da análise, assim como as imagens utilizadas nos diversos contextos. Além do conteúdo histórico divulgado através dos textos e das imagens, também foram objeto de análise as suas características formais representadas pela forma de sua organização, tipografia e editoração, entendidas como partes integrantes do discurso histórico e didático estabelecido pela obra. As análises dos elementos editoriais e historiográficos possibilitaram uma melhor compreensão da constituição dos diálogos entre o texto e as imagens divulgadas pelo livro como um produto material. O Compêndio, por largo período de tempo, foi o difusor de um conhecimento e de determinado discurso histórico expresso em suas páginas através do trabalho de diversos profissionais da área editorial, das imagens que reproduzem o trabalho de dezenas de pintores e desenhistas e, principalmente, através das palavras de seu autor, Antônio José Borges Hermida. / This thesis aims to make an analysis and understanding the relations between texts and the images contained in didactic book written by Antonio Jose Borges Hermida, Compêndio de História do Brasil, published by Companhia Editora Nacional between 1962 and 1975, considering these relations, indicative of a determinate discourse of historic knowledge. To this study a bibliographic study was carried, approaching the ways of History as a school discipline, the school culture and the political context that gives support to the production analysis, publication and circulation of the book, in all these 60 editions, as merchandising, ideological and cultural support. The Compêndio de História do Brasil, by Borges Hermida was analyzed as an industrial product an in his condition of source to be studied to the comprehension of a part of the history of education and of the history of teaching History, as well as to understanding and study of a didactic book study. The book, as an industrial cultural product is fruit from the intervention of several individuals and authors and a material element of complex elements, bringing the necessity to be conceived as an historical documental body; the authors name, although it doesnt appear in all the stages of formation and production, should serve as a commercial appeal in larger sales. The authors historiographical discourse, expressed by the written text, is a crucial point of the analysis, as well the images used in the various contexts. Besides the historical content publicized through the texts and images, also were object of analysis, their formal characteristics represented by their lay out organization, typography and editing, seen as integrant parts of the historical and didactical discourse established by the project. The analysis of editorial and historiographical elements allowed a better comprehension of the establishment of dialogues between the text and the images that were publicized by the book as a material product. The Compendio, for a long time, was a diffuser of knowledge and of a determinate historical discourse expressed in his pages through the work of several professionals of the editorial area, of the images that reproduce the art of dozen of painters and draftsmen and, mainly, through the words of his author, Antonio José Borges Hermida.

A coleção de oito volumes, em comemoração aos 20 anos do início do programa, torna público em sua íntegra os \'Subsídios para o estudo comparado dos artefatos resgatados: referência AF.IR.020, projeto B.C. BYTE, 1995-2015\'. Em 1995, a exposição inédita de onze objetos arqueológicos simultaneamente à divulgação de descobertas recentes de artefatos similares pouco estudados e que permaneciam esquecidos em acervos dos departamentos de arqueologia das universidades, museus e instituições afins, propiciou a elaboração deste projeto para a reavaliação e reestudo extensivo a uma série de peças consideradas de menor relevância, exumadas em seis sítios arqueológicos ao longo de quase 90 anos. O projeto efetuou o resgate de grande parte da documentação histórica para a localização das descobertas destes objetos e a avaliação apurada deles, utilizando tecnologias de última geração. Os novos métodos de identificação possibilitaram a elaboração de novas hipóteses para uma interpretação contextualizada. O programa proporcionou também o reexame dos locais das escavações de cinco sítios arqueológicos onde parte dos referidos objetos encontravam-se depositados. À partir de uma recolha e organização dos dados disponíveis para o trabalho de campo das expedições (prospecção e escavação), a noção pré-existente foi alterada, suscitando novas descobertas, análises e interpretações. / The eight-volume collection, celebrating the twentieth anniversary of the beginnings of the program made public in its entirety through \'Subsidies for the comparative study of the artifacts rescued, reference AF.IR.020: project B.C. BYTE, 1995-2015\'. In 1995, an unprecedented exhibition of eleven archaeological objects simultaneously with the disclosure of recent discoveries of similar and less studied artifacts, remained forgotten in collections of archeology departments of universities, museums and related institutions, which led to the development of this project for review and extensive re-study of a number of considerably less relevant parts exhumed from six archaeological sites for almost ninety years. The project rescued much of the historical documentation on the location of these discovered objects and provided precise evaluation using the latest technology. These new identification methods made possible the development of new hypotheses for its contextualized interpretation. The program also provided the review of five archaeological sites of excavations where some of these objects found themselves deposited. From the collection and organization of the data available for the field work expeditions (prospecting and excavation), its initial image was changed, raising new findings, analyzes and interpretations.

A presente tese visa analisar e compreender as relações entre os textos e as imagens contidas no livro didático de autoria de Antonio José Borges Hermida Compêndio de História do Brasil, editado pela Companhia Editora Nacional entre os anos de 1962 e 1975, sendo estas relações reveladoras de um discurso de determinado conhecimento histórico. Para este trabalho foi realizado estudo bibliográfico sobre a história da disciplina de História, a cultura escolar e o contexto político para a sustentação das análises de produção, editoração e circulação do livro, em todas as suas 60 edições, como suporte mercadológico, ideológico e cultural. O Compêndio de História do Brasil, de Borges Hermida, foi aqui analisado como um produto industrial e em sua condição de fonte a ser estudada para a compreensão de parte de uma História da Educação e da História do Ensino de História, assim como para entendimento e estudo de uma História do Livro (didático). O livro, como produto de uma indústria cultural, é fruto da intervenção de diversos sujeitos e autores e um elemento material de conceito complexo, devendo ser também concebido como corpo documental histórico; o nome de seu autor, embora este não se faça presente em todas as suas etapas de formação e produção, deve servir como atrativo comercial em uma perspectiva de maiores vendagens. O discurso historiográfico do autor, expresso pelo texto escrito, é ponto crucial da análise, assim como as imagens utilizadas nos diversos contextos. Além do conteúdo histórico divulgado através dos textos e das imagens, também foram objeto de análise as suas características formais representadas pela forma de sua organização, tipografia e editoração, entendidas como partes integrantes do discurso histórico e didático estabelecido pela obra. As análises dos elementos editoriais e historiográficos possibilitaram uma melhor compreensão da constituição dos diálogos entre o texto e as imagens divulgadas pelo livro como um produto material. O Compêndio, por largo período de tempo, foi o difusor de um conhecimento e de determinado discurso histórico expresso em suas páginas através do trabalho de diversos profissionais da área editorial, das imagens que reproduzem o trabalho de dezenas de pintores e desenhistas e, principalmente, através das palavras de seu autor, Antônio José Borges Hermida. / This thesis aims to make an analysis and understanding the relations between texts and the images contained in didactic book written by Antonio Jose Borges Hermida, Compêndio de História do Brasil, published by Companhia Editora Nacional between 1962 and 1975, considering these relations, indicative of a determinate discourse of historic knowledge. To this study a bibliographic study was carried, approaching the ways of History as a school discipline, the school culture and the political context that gives support to the production analysis, publication and circulation of the book, in all these 60 editions, as merchandising, ideological and cultural support. The Compêndio de História do Brasil, by Borges Hermida was analyzed as an industrial product an in his condition of source to be studied to the comprehension of a part of the history of education and of the history of teaching History, as well as to understanding and study of a didactic book study. The book, as an industrial cultural product is fruit from the intervention of several individuals and authors and a material element of complex elements, bringing the necessity to be conceived as an historical documental body; the authors name, although it doesnt appear in all the stages of formation and production, should serve as a commercial appeal in larger sales. The authors historiographical discourse, expressed by the written text, is a crucial point of the analysis, as well the images used in the various contexts. Besides the historical content publicized through the texts and images, also were object of analysis, their formal characteristics represented by their lay out organization, typography and editing, seen as integrant parts of the historical and didactical discourse established by the project. The analysis of editorial and historiographical elements allowed a better comprehension of the establishment of dialogues between the text and the images that were publicized by the book as a material product. The Compendio, for a long time, was a diffuser of knowledge and of a determinate historical discourse expressed in his pages through the work of several professionals of the editorial area, of the images that reproduce the art of dozen of painters and draftsmen and, mainly, through the words of his author, Antonio José Borges Hermida.

The Château d'Anet, France was a hunting lodge and familial residence commissioned and built in the years 1547 to 1555 at the behest of Diane de Poitiers, mistress of King Henri II. The architecture of the château incorporates a set of devices cultivated by Diane to establish an association between herself and Diana, the Roman goddess of the Hunt; these were the crescent moon, the bow and arrow, and Diane's own initials. Devices, which were personal marks chosen to distinguish an individual through the expression of some idealized element of character or aspirations, had primarily appeared at the French Renaissance court in jewelry, clothing, or art. Beginning in the late 15th century, the Valois kings Louis XII and François I took the practice a step further by weaving devices into the architectural fabric of their residences, where they appeared in entrances, walls, balustrades, and dormers; while drawing on this precedent, the Château d'Anet is the first example of a château commissioned by a woman that featured a program of personalized architectural decoration specific to her character, interests, and position. In this thesis, I will catalogue and analyze the emblematic architectural decorations that permeate both the exterior and interior of the structure, focusing on those examples embedded in the exterior stonework. This catalogue will, in turn, lead to an examination of the impact of this imagery on the overall experience of the château in the 16th century, and the influence the château may have had on the perception of Diane de Poitiers at court. By layering the qualities of the goddess over her own attributes, she was able to create a persona that meshed Diane with Diana; the skillful utilization of the aspects of the deity's otherworldly nature, such as her beauty, chastity, and mystique, was very useful in a court enamored with novelty and chivalric romance, where Diane's power and social position depended on her ability to retain the king's interest. / text

This dissertation examines a Mosan stone relief of the Virgin and Child Enthroned housed in the Grand Curtius Museum in Liège that has not yet been the subject of detailed analysis. This study focuses on the formal and iconographic aspects of the relief. It discusses the novel image of the Virgin and relates it to developments in medieval art during the late twelfth and the early thirteenth centuries, establishing a date for the relief to that period. / History of Art and Architecture

Cupisnique culture was first identified by Rafael Larco Hoyle in the 1930s through his encounter with an early ceramic style in the Cupisnique Quebrada on the north coast of Peru. Since that time, the ceramic styles, region and time period to which the term ‘Cupisnique’ pertains have remained loosely defined, associated with northern Peru and the Middle Formative Period (1200-900 BCE). The interpretation of Cupisnique culture has further relied on research at the highland site of Chavín de Huántar and a presumed Chavín style horizon. Cupisnique visual materials, however, provide a rich corpus from which to advance analysis of this cultural tradition. In this dissertation, I group the chapters into two parts – background information and substantive material analyses. In Part I, I begin with a concise history of Cupisnique studies, which review permits to establish the objectives and methodology of the investigation. The latter includes archaeological and visual approaches to Cupisnique culture, as well as the geographic, environmental and ecological conditions pertinent to northern Peru. In Part II, I present the results of archaeological fieldwork at the Cumbemayo Canal, near the city of Cajamarca, Peru. Based on the field research, I examine the impact of coastal Cupisnique culture into this north highland region, and I discuss the symbolic role of monumental water management and the creation of a ritualized landscape. The intricate design of the Cumbemayo Canal segues conceptually to the exploration of a larger visual system. Based on a defined corpus of ‘Classic’ Cupisnique stirrup spout bottles, I venture a comprehensive examination of prominent themes, motifs and scenes in Cupisnique iconography. I argue that the latter comprises a reticular visual program that serves to instantiate a complex and developing ideological system. Given the common visual motifs, the tenets of this ideology consist in concepts of capture, sacrifice and fertility, interwoven through a structure of symbolic dualities. In the conclusion, I demonstrate how this proposed Cupisnique ideology conceptually fits with the development of social complexity in northern Peru through and following the Formative Period in the Andes. / text

No description available.