No description available.

Thesis (M.A.)--Catholic Theological Union at Chicago, 1992. / Vita. Includes bibliographical references (leaves 122-127).

Inaug.-Diss.--Kiel.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1971. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

No description available.

Thesis (Ph.D.)--Brown University, 2005. / Vita. Thesis advisor: R. Ross Holloway. Includes bibliographical references (leaves 115-137). Also available online.

No description available.

The Holy Sepulchre in Jerusalem was built by Constantine from 327 to 335. It consisted of a basilica, the Martyrion, and a small edicula over the tomb of Christ, known as the Tegurium. By the end of the fourth century a Rotunda was built over the edicula. This complex was quite unique in Christian architecture from the fourth to the end of seventh centuries but this paper reveals that it was not a popular architectural group to serve as a model for other churches in the Mediterranean basin. Only one building, the Cathedral of Ravenna, built by Ursian and dedicated to the "Resurrection", can be termed a "copy", and it only duplicated certain architectural features from the Martyrion, while the Rotunda was completely ignored. Only three buildings, all rotundas, seemed to have been derived from the Anastasis Rotunda; S. Stefano Rotondo in Rome, SS, Karpos and Polykarpos in Constantinople and the moslem Dome of the Rock in Jerusalem. Although Medieval copies of this building were octagonal in plan, no octagonal copies of the Rotunda were constructed before the moslem invasions in the seventh century. No architectural reproductions of the Tegurium are known but the building may have served as a model for reliquaries. The ninth century complex of S. Stefano (San Sepolcro) in Bologna duplicated the group of buildings at the Holy Sepulchre and, although a number of fifth to eighth century church complexes have buildings grouped in a similar fashion, no copies from the Byzantine period are known. Buildings on the site of Christ's tomb were examined in turn by studying illustrations and descriptions of them. Churches throughout the Mediterranean basin were then compared to the restorations of the buildings in Jerusalem to determine if there were any resemblances. If a building only duplicated a number of architectural features or the dedication from the Holy Sepulchre it was considered to be a derivative. To be a copy, both features had to be evident in the secondary structure. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

This thesis uses the early Latin inscriptions of Sardinia to investigate aspects of culture contact and local responses to new ideas of inscribing on stone after the Roman take-over of Sardinia. Previous traditions may also have had an impact on the inscriptions of the Roman era; in this case, the Nuragic and Punic periods which preceded the Roman conquest. The Latin inscriptions are used to examine the results of the cultural encounters between existing populations and incomers and to see whether the incorporation of previous traditions has led to expressions of a more ‘indigenous’ or even a ‘Romano-Sardo’ identity. Epigraphic material is used typically only as a textual source. Naturally there are some exceptions, such as inscriptions with high quality relief sculpture which have been used to investigate perceived identities or the portrayal of certain aspects of life. However, the majority of inscriptions do not fall into this category and the iconographic aspects of these stones are often very subtle. Therefore, the inscriptions studied in this thesis are treated as material culture and their every detail is considered. To this end the concept of the chaîne opératoire is examined and the various stages in the production of epigraphic material are set out. This thesis further considers to what extent inscriptions can be considered as an aspect of Romanisation and postcolonial theory provides the overarching framework with which culture contact is examined. This concept allows this process to be viewed as a fluid two-way interaction, rather than the static imposition of culture by a dominant power. It also permits the contemplation of such issues as changes or continuity in epigraphic expression and the creation of new identities. The main aim is to get a detailed picture of local responses to the imported Latin epigraphic habit, and to this end the island has been split into smaller sections and relational database of the relevant inscriptions has been created to facilitate analysis. The results of this detailed approached are presented in one chapter that gives an overview of the entire island and three chapters addressing case study areas in more detail. The three study areas clearly demonstrate local differences in epigraphic expression and the merger of Roman elements with local practices that in some cases may have been incorporated to set up a distinct non-Roman identity.

Summary This thesis is an evaluation of Roman light infantry and non-pitched battle combat in the Roman army, from the years 264 BC – AD 235. This study incorporates a thorough etymological assessment of the Latin and Greek vocabulary of light infantry, and how the ancient sources use these terms. Building on this assessment, this thesis then includes a discussion on defining Roman light infantry. From this follows an analysis of the various modes of combat of these troops, including skirmishing, ambushing, small-scale engagements. A ‘face of battle’ approach (after John Keegan) assessing the nature and experience of the various forms of warfare mentioned above is also included.