no / Cannibals, burials, vampires, human sacrifice, bog people ¿ throughout history our ancestors have responded to death in numerous ways. The past has left us numerous relics of these encounters between the dead and those they leave behind: accounts of sacrifices in early histories, rituals that have stood the test of time, bodies discovered in caves and bogs, remains revealed by archaeological digs. Through these insights into the past, Tim Taylor pieces together evidence of how our ancestors created their universe and asks how we have dealt with the idea of the end and slowly come to create not only a sense of the afterlife but also the soul.

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My dissertation inserts the incorruptible body into the discussion of image devotion and relic veneration that followed the Council of Trent’s (1545-1563) decrees concerning the use of images, which affirmed Thomas Aquinas’s position that worship is passed from representation to archetype. This is addressed in terms of the image and the relic within the same sacred space, primarily in the context of the chapels of S. Caterina de’ Vigri (1413-1463; canonized 1712) in Bologna and S. Maria Maddalena de’ Pazzi (1566-1607; canonized 1669) in Florence, where there were not only man-made representations of the saint, but also the whole and entire body of the saint herself. Bringing together an array of visual and textual materials including such objects as the presentation of the preserved body, hagiographies, altarpieces, votive images, and popular prints, I analyze the powerful physical presence (praesentia) of the incorruptible body in relation to the saint’s somatic miracles, the visual commemoration of those miracles at the shrine, and the ultimate transportation of this means of access to the divine when portable images moved away from the body. I analyze how and to what extent the presence of the saint was asserted through the intact corpse and through images of the relic body. By focusing on both the presentation of the incorruptible corpse itself and the visual and written representation of the female relic body in a variety of media, this study will analyze the reception of the powerful physical presence of the holy incorruptible body and its representations. I argue that praesentia is signified not only through the display of the relic body, but also through a synthesized emphasis on the incorruptible corpse as prototype, relic, and image.

The goal of the submitted thesis, "The Monument Protection and Buildings", is the presentation of current legislation on protection of cultural monuments, buildings specifically. After an introduction, containing the goals of the work, a brief history of conservation and resources, follow the chapter explaining the basis terms. The next part includes the question of the declaration of buildings as cultural monuments. The following chapter deals with the care of monuments, especially with the obligations of the owners of the cultural monuments to provide a proper care for these buildings, with the consequences of violation of those obligations and penalties according to the State Monument Act. At the end, the process of cancellation of declaration as a cultural monument is presented, and so is the removal of building. The last part describes the legislation on protection of buildings which are not cultural monuments, but they are situated in a protected area.

<p>This paper deals with an object donated by a group of members of the public to the Royal Armoury in Stockholm, Sweden. The donators claimed to own a horse bit that had been used by King Gustav II Adolf's mount in the battle of Lützen, where the King was killed. The bit was a gift to the donators' ancestor, the farmer and politician Petter Jönsson, from the King of Sweden, Oscar I, in the 1850's. In this paper, the donated bit is examined and found unlikely to be the bit used at Lützen. The examination also revealed that the bit now worn by the horse in its display is a prop, included in the group of objects in the 19^th century, and that the original bit probably was lost in a fire in 1648. The examination also raises questions on why this bit was considered a valuable gift, what consequences the gift transaction of the bit had for giver and reviever. It ends with a discussion about the donated bit and the bit in the display, and their roles at the museum in the future.</p>

Denna uppsats är fokuserad på Vrinneviskogens kulturlämningar och kulturmiljöer. Den omfattar även en kulturgeografisk studie över Vrinneviskogen. Det innebär att det geografiska rummet är koncentrerat till en geografisk yta som omfattar hela nuvarande Vrinneviskogen. Syftet med uppsatsen har varit att inventera och dokumentera  kulturlämningar och kulturmiljöer i undersökningsområdet. Jag att har undersökt områdets kulturmiljöer och orsaken till varför kulturgeografiska värden fortfarande är jämförelsevis okända i utredningar och i skötselplaner. Jag har utfört i undersökningsområdet utfört en fältinventering med både nutida och historiska kartor och med en GPS. Resultatet har sedan blivit digitaliserat till ett GIS-skikt i ett dataprogram. Kulturlämningarna och kulturmiljöerna i Vrinneviskogens naturreservat förekommer endast begränsat i skötselplanen över naturreservatet. Det saknades ett tillräckligt underlag och information om områdets kulturmiljöer och kulturlämningar i skötselplanen. Kulturlämningarna och kulturmiljöerna i Vrinneviskogens naturreservat är inte integrerade i skötselplanen, vilket innebär att det historiska landskapet till stora delar förblir okänt och ställt vid sidan av värden för natur och friluftsliv. Fornlämningsregistret innehöll utförlig information om fornlämningar från  bronsåldern och järnåldern i undersökningsområdet. Men fornlämningarna var mest isolerade punkter i landskapet och på kartan. Vrinneviskogens senare historia och kulturmiljöer saknas i till stora delar fornminnesregistret. Det som återstår är ett fragmentariskt kulturlandskap, utan koppling mellan de olika tidperioderna som format 2000-talets landskap i Vrinneviskogen. Vid min fältundersökning hösten och vintern 2009-2010 upptäcktes och registrerades 122 st. nya kulturlämningar. Det historiska kartmaterialet innehöll värdefull information om äldre kulturmiljöer i undersökningsområdet. Genom att studera informationen på häradskartan, de äldre och de yngre ekonomiska kartorna och jämföra den i fält kunde drygt 80 % av ruiner efter torp och backstugor återfinnas i fält. Många av de upptäckta kulturlämningarna hade inte registrerats vid tidigare inventeringar, särskilt de många stenbrotten, torplämningarna, stenmurarna och de fossila åkrarna. Fältinventeringen innebar en avsevärd förändrad bild av kulturlämningarna i undersökningsområdet. Min undersökning visa att Vrinneiskogen utgör ett i värdefullt och intressant landskap i centrala Norrköping. Men det finns samtidigt goda förutsättningar att lyfta fram Vrinneviskogens kulturgeografi och kulturmiljöer för olika målgrupper. Något som positivt skulle bidra med detta är att synliggöra kulturhistorien och dess människor som levt i Vrinneviskogen till nya generationer genom särskilda informationstavlor och skyltar i landskapet samt broschyrer och kartor.

This paper deals with an object donated by a group of members of the public to the Royal Armoury in Stockholm, Sweden. The donators claimed to own a horse bit that had been used by King Gustav II Adolf's mount in the battle of Lützen, where the King was killed. The bit was a gift to the donators' ancestor, the farmer and politician Petter Jönsson, from the King of Sweden, Oscar I, in the 1850's. In this paper, the donated bit is examined and found unlikely to be the bit used at Lützen. The examination also revealed that the bit now worn by the horse in its display is a prop, included in the group of objects in the 19th century, and that the original bit probably was lost in a fire in 1648. The examination also raises questions on why this bit was considered a valuable gift, what consequences the gift transaction of the bit had for giver and reviever. It ends with a discussion about the donated bit and the bit in the display, and their roles at the museum in the future.

Le fragment du corps moulé, le corps qui s’effondre, réduit à une dépouille, la figure qui tend à s’effacer, se regardent comme les bribes d’une mémoire où coexiste un double mouvement : le contact et la séparation, la présence et l’écart. L’empreinte du corps en creux, signale que rien ne sera plus jamais comme avant. Le moulage dit ce qui est. Il dit le « mort » par son empreinte vivante : ce que j’ai moulé, photographié cet « incomparable air de vie » a disparu. Irrémédiablement. Pièces à conviction qui calment la perte, les fragments, le travail parfois sériel conspirent contre l’oubli, attestent d’un passage et d’une présence dont je refuse qu’ils passent, s’effacent. La séparation définitive est insupportable. C’est dans la présence de la figure déposée, devenu fragment de mémoire et dans son absence que se dialectise alors l’inacceptable et devient possible son acceptation. L’impossibilité de ralentir le cycle du temps impose toujours le sentiment d’une urgence. Mon travail est résistance. Il pose un regard mélancolique sur les choses qui changent, passent, nous échappent. Rien ne s’arrête, rien n’est défini de façon satisfaisante. C’est une réalité qui se fait à travers celle qui se défait. Une avancée se noue sur ce qui s’use ou se troue. Faire contrepoids à cette ombre omniprésente. Choisir dans les différentes ouvertures possibles, à travers le cortège des images, des figures, des choses obsédantes et trouver, provisoire, fragile et lacunaire, une réponse. / The fragment of a moulded body, the body which collapses, is reduced to a corpse,the figure which tends to disappear, can be seen like pieces of a memory in which a double movement co-exists : the contact and the separation, the presence and the gap. The print of the body in hollow shows that nothing will never be like before anymore. The moulding says what exists. It says « the dead » by its living print : what I have moulded, photographed, this « incomparable air of life » disappeared. Irredeemably. Exhibits which calm the loss, the fragments, the work in series conspire against oblivion, prove the passage and a presence I refuse them to disappear. The definitive separation is unbearable. It is in the presence of the figure that I exhibit, which has become « fragment of memory » and in its absence that dialectises then in the unacceptable and its acceptance has become possible. The impossibility to slow down the cycle of time always imposes the feeling of urgency. My work is resistance. It poses a melancholic look on the things that change, pass away and that aren’t under control. Nothing stops, nothing is defined in a satisfactory way. It is a reality which is made through the one that unties. An advance ties on what is worn up or what bores a hole. Counterbalancing.this omnipresent shadow. Choosing in the different possible openings throughout a cortege of images, figures, obsessive things and finding a provisional, fragile, incomplete answer.

In this thesis, we focus on the Story of Euphemia and the Goth, a hybrid literary text written in the second half of the fifth century. Since there is no holistic work on the Story, we undertook the task of examining the text itself, as a systematic examination of the Syriac and the Greek versions of the text itself, as well as the last English translation of the Story, by Francis Burkitt in 1913. We focused on the philological features of the Story and tried to interpret them historically using the standard historical-critical method. By focusing on the philological elements of the Story, we aimed to connect the information with the historical context of the period that the Story allegedly describes (late 4th c.) and the period in which it was written (late 5th c.). Our contextual analysis, which is based on philological features, can be divided into three main aspects. The first aspect examines the historical, military and legal elements of the Story. The second focuses on two Syriac terms: the parmûnârâ' and the fixed expression bnay ḥi're'. More precisely, we attempt tried to recreate the profile of the author of the Story by examining the term parmûnârâ,' and we examined the term bnay ḥi're' both contextually and intertextually, arguing that the term designated people of higher social strata if not the nobility. In addition, we also focus on the socio-political conditions of the fifth century, arguing that the term bnay ḥi're' should not be interpreted simply as f r e e but rather as n o b l e, and we support this thesis with internal evidence from the Story, external evidence taken from the larger literary milieu, as well as the works of philologists and orientalists over the last three centuries. The third aspect of our contextual analysis is related to a philological element that had been overlooked by modern scholarship: the fact that the author of the Story calls Euphemia and Sophia qadîšṯâ', i.e. Saints. Focusing on the text, we examine the validity of this hagiographical feature by examining the Syriac liturgical works of the anti-Chalcedonian Syriac Orthodox Church, i.e. the Syriac menologia, edited by François Nau in 1912. Our discoveries prove the attestation of the Story. The two protagonists of the Story were venerated as Saints by the Syriac-speaking Miaphysites. Through this research, we also discovered that the two protagonists were revered as Saints on the same day that the Chalcedonians celebrated the so-called miracle of the relics of Saint Euphemia of Chalcedon. We argue, therefore, that the Story comes from a Miaphysite milieu. These three aspects form the explanatory framework through which, in the future, we aim to develop a holistic interpretation of the literary themes of the Story as well as the historical context that led to its composition.