This inter-disciplinary thesis traces the influence of Greek images of monarchy on Rome, between 323 B. C. and A. D. 14. The first chapter examines the evidence for Greek perceptions of kings, tyrants, good citizens and ideal rulers in the fourth century B. C. The second chapter considers some developments in political theory during the Hellenistic period, and the practice of Hellenistic kingship. The visual media used for representing Hellenistic monarchy are discussed. The first section of the third chapter reviews the evidence for the points of contact between Romans of the Republican era, and the monarchs, artworks and political thought of the Greek world. A second section analyses the evidence both for the evolution of Roman attitudes towards monarchs and monarchy, over this period of interaction, and changes in Roman political and military leadership. The conventional notion that Romans had been consistently hostile to kings since the fall of Tarquinius Superbus is questioned. The increasing resort to proven individuals (e. g. Pompey) for solving domestic and external crises is documented. The final section of this chapter charts developments in the positive representation of Republican leaders in both rhetoric and art, including favourable portrayals of both Caesar and Octavian. It is suggested that the transformation of Roman thought and practice, under Greek influence, facilitated the successful establishment of a monarchical regime after Actium. The creation of the Augustan dynasty is documented in the final chapter. In addition, ideals of leadership, and Augustan ideas about war, peace and empire, are discussed. A chronological treatment of the contemporary (visual and textual) evidence suggests the heterogeneity of Augustus' principate. New identifications are proposed for certain figures in the 'procession friezes' of the Ara Pacis Augustae.

Submitted by ALINE RAFAELA PORTILIO LEMES null (arplemes@gmail.com) on 2016-02-28T23:36:11Z No. of bitstreams: 1 Dissertação - Entre a literatura e a política - cultura e poder na representação do índio em José de Alencar.pdf: 1045609 bytes, checksum: 709687f3fba3ac6db191d4ec7b9ee8f6 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-02-29T16:31:39Z (GMT) No. of bitstreams: 1 lemes_arp_me_assis.pdf: 1045609 bytes, checksum: 709687f3fba3ac6db191d4ec7b9ee8f6 (MD5) / Made available in DSpace on 2016-02-29T16:31:39Z (GMT). No. of bitstreams: 1 lemes_arp_me_assis.pdf: 1045609 bytes, checksum: 709687f3fba3ac6db191d4ec7b9ee8f6 (MD5) Previous issue date: 2016-01-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / No Brasil do século XIX, ao processo de emancipação política seguiu-se um processo de construção de uma memória nacional particular, visando legitimar o novo regime que se estabeleceu. O palco onde se desenvolverão essas questões será a literatura que, por meio do romantismo, seria capaz de expressar a especificidade do Brasil enquanto nação. O índio, associado à natureza, aparece então como um dos principais motivos literários, já que era visto como elemento capaz de expressar a especificidade brasileira. Nesse processo, política e literatura se unem de forma indissociável. Pensando a coerência interna da obra de José de Alencar, nossa proposta é analisar a maneira pela qual ele constrói seus conceitos de literatura e de nacionalidade e de que maneira esses conceitos articulam questões culturais e questões de poder, tendo como base a representação que o autor constrói a respeito do índio em dois romances: O Guarani (1857) e Iracema (1865). / In Brazil at the nineteenth century, the political emancipation process followed by a construction of a particular national memory process to legitimize the new regime that was established. The stage where these issues will be develop the literature, through Romanticism, would be able to express the main Brazil’s characteristics as a nation. The Indian, associated with the nature, appears as a major literary subjects, as it was seen as an element with conditions of expressing the Brazilian specificity. In this construction process, politics and literature come together, in an inseparable way. Thinking about the internal logic of José de Alencar's work, our goal is to analyze the way in which the author builds his literature concepts and nationality and how these concepts articulate cultural issues and issues of power, based on the representation that the author builds about the Indian in two fictional narrative: the Guarani (1857) and Iracema (1865).

This thesis is an ethnography of the global belly dance community with particular reference to the transmission of dance paradigms from Cairo to the international dance community. Key words describing my topic include dance, gender, performance, group dynamics, social norms and resistance, public vs. private, tourism, and globalisation. I hypothesize that social dancing is used in many parts of the world as a space outside ordinary life in which to demonstrate compliance with or to challenge prevailing social paradigms. The examination of dance as a globalised unit of cultural capital is an emerging field. With this in mind I investigate the way this dance is employed in professional, semi-professional, and non-professional settings in Egypt and in other parts of the world, notably North America and Europe. Techniques included interviewing members of the international dance community who engage in dance tourism, travelling from their homes to Egypt or other destinations in order to take dance classes, get costumes, or in other ways seek to have an 'authentic' dance experience. I also explored connections dancers fostered with other members of the dance community both locally and in geographically distant locations by using online blogs, websites, listservs and social networking sites. I conducted the first part of my fieldwork in Cairo following this with fieldwork in belly dance communities in the United States and Britain.