The principal aim of the thesis has been to examine the development of constructed cult loci from the late Iron Age to the late Roman period in southern Britain, focusing on the differential use of internal space. Following an initial review of the interpretative parameters used in the archaeological identification of constructed cult sites, the evidence for such loci within an Iron Age context was critically re-examined. This has led to the conclusion that not only were such sites very rare and geographically dispersed, but they were confined in most cases to the ultimate pre-Roman and Roman transition periods. It is suggested that this development may have been at least partly induced by an internal increase in societal specialisation and political hierarchy, in addition to external influences from Roman Gaul. Contextual analysis of constructed cult sites has led to the conclusion that, at least within the Roman period, they were integral parts of the political, commercial, social and ideological world of those that surrounded them. Furthermore, their virtual absence from certain areas implies that the concept of constructed sacred space as a whole did generally not find expression outside of those areas more influenced by Romanized ideology and social structure. At the core of the thesis is an analysis of the use of space within a selected number of late Iron Age and Roman period constructed sacred sites. Whilst individual site variation was substantial, there was an occasional degree of regional coherence, in addition to a more ubiquitous homogeneity in some functional and spatial characteristics. Detailed spatial analysis has only been possible on a limited number of sites because of a previous lack of comprehensive excavation. The current study has shown that it is only by analysing in detail the whole of the site, that vital information concerning function and development may be gained.

After a brief survey of the changing definitions of Aquitanica I itself, the conceptual evolution of the 'villa' will be examined; and since a reliance upon toponymy to locate late Roman and early Merovingian estates is central to the debate surrounding their nature and composition, a detailed analysis of its limitations will follow. In the process, several common generalisations about this period will be tested for eastern Aquitaine: the extent of depopulation, land abandonment, Germanic settlements, and the change from a pattern of dispersed to nucleated settlements, from Roman farmsteads to mediaeval agricultural villages, Finally, a brief summary of the 'archaeology' of the late Roman villa in eastern Aquitaine will be compared with that of its Merovingian counterpart; and the overwhelming conclusion reached, that the problem Is due to past shortcomings in archaeological retrieval rather than the transformation of the villa into village, which is probably a late rather than early Merovingian process, and which certainly cannot be demonstrated for late Roman central Gaul.

Marcus Agrippa was the chief supporter of Octavian, the heir of Julius Caesar, in his rise to prominence as the first Roman Emperor Augustus. He also played a central role in the Augustan establishment of the new order of Empire, which replaced the late Republic. Agrippa’s land and sea victories were crucial for the success of Octavian, but it will be argued that his constructions were important instruments of change in this pivotal historical period. Consequently, all Agrippan works are investigated, whether for war or peace, and whether known from material remains or other evidence. Agrippan constructions in the West (Gaul and the Iberian Peninsula) are described in detail, and the others are described in more general terms. Previously, Agrippan constructions have either been included in biographies of Agrippa, and treated generally, or have been studied as particular works with detailed description, but little explanation. Also, constructions in towns with material remains or inscriptions have been extensively studied, but important works outside towns with fewer remains have been largely overlooked. Consequently, previous writers have represented Agrippa as a builder of monuments in towns and there has been little understanding of the nature or purpose of the totality of his works, and no proper account of them.

Orientador: Pedro Paulo Abreu Funari / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-09T12:18:34Z (GMT). No. of bitstreams: 1 Carlan_ClaudioUmpierre_D.pdf: 95461994 bytes, checksum: 6115f0ed8c3c47679be2915a0ca09fff (MD5) Previous issue date: 2007 / Resumo: A partir da análise das características físicas contidas nas moedas dos Imperadores Romanos do século IV, este trabalho propõe realizar um estudo da função da moeda, tanto sobre o ponto de vista material como pagamento das tropas e abastecimento do Império, como também do caráter simbólico: as representações dos govemantes e de sua política administrativa, utilizada com um agente legitimador do poder. Para isso realizamos uma série de identificações iconográficas, através das representações políticas, militares e religiosas existentes nas imagens monetárias do mesmo período. Para isso, além das fontes numismáticas, analisamos as evidências textuais e arqueológicas relativas a Antigüidade Tardia, isto é, da tetrarquia a divisão do Império no final do século IV, cuja característica fundamental é ascensão do cristianismo comoreligião oficial. As fontes aqui utilizadas para o trabalhado fazem parte do acervo existente no Museu Histórico Nacional / RJ. Possuindo o maior espólio de moedas da América Latina, importante coleçãoarqueológicabrasileira, ainda pouco explorada / Abstract: The paper begins aims at studying the Rome History just before Constantine ruled the Empire, considering that Constantine is considered as a direct heir of his four predecessors. The main sources is the coins issued by Diocletian and Constantine, both collections stored at the National Historical Museum at Rio de Janeiro, Brazil. By discussing political issues relating to the Roman worId in the 3rd.c. AD and in the beginning of the 4th c. The paper emphasizes the importance of using a variety of historical sources, such as iconographic, archaeological, and art historical. Using iconographic sources to study a numismatic collection at the National Historical Museum, at Rio de Janeiro, Brazil, the paper aims at studying images as a source for propaganda aiming at justifying imperial rule / Doutorado / Historia Cultural / Doutor em História

This thesis will examine the significance of the defense system that was a result of the Libyan wars against the Romans, Byzantines, and the Vandals. For economic and strategic reasons these nations were involved in long and bitter wars which lasted over six centuries. The policy of the long distance military expeditions, which was the main instrument of the Romans in subduing the natives in the early Empire, had failed to achieve its goals. Thus, the alternative was to erect a network of roads and forts in strategic spots such as water points, commanding hills, along the caravan routes and on the edges of fertile wadis. In fact, neither the roads, which were very well fortified, nor the massive front forts had solved the frontier problems, thus the Romans had no choice other than to leave the frontiers to be guarded by the natives themselves. To this end several civilian settlements (fortified farms) were established on the fertile wadis. "While a mixture of people coexisted in these fortified farms, the archaeological remains show that the prevailing culture belonged to the Libyan natives.

La Provence n’est pas une destination traditionnellement associée avec la peinture allemande. Pourtant, cette région attire les peintres déjà au siècle des Lumières. Les vestiges romains et le souvenir de Pétrarque en font une étape du Grand Tour ainsi que du Kavalierstour. Les artistes allemands, si nombreux à aller en Italie, commencent aussi à remarquer le sud de la France. Les raisons qui les poussent à entreprendre ce voyage sont variées : pour les peintres au XVIIIe siècle, comme Jakob Philipp Hackert, il s’agit d’une escale en route vers l’Italie qui donne déjà un avant-goût de la péninsule. Johann Georg von Dillis et Ludwig Richter se rendent en Provence au début du XIXe siècle dans le cadre d’un voyage princier. Puis, au milieu du siècle, Johann Wilhelm Schirmer choisit consciemment de parcourir le sud de la France et découvre alors une nature différente de celle de l’Italie. Cette étude a pour but d’établir un corpus d’œuvre, permettant à la fois de documenter la présence d’artistes allemands en Provence, mais aussi de dégager les motivations derrière le voyage, et de montrer comment leur perception de la nature provençale évolue du XVIIIe au XIXe siècle. Ce travail propose une analyse de la place de cette région dans l’histoire artistique, culturelle et littéraire et examine les sources littéraires et visuelles dont les artistes allemands avaient pu avoir connaissance. Les différents cas d’artistes étudiés montrent l’évolution du regard artistique allemand sur la Provence et illustrent la difficulté de faire entrer ce territoire dans les canons de l’époque ce qui s’exprime particulièrement dans la peinture allemande. / Provence is not a destination traditionally associated with German painting. Yet, this region has attracted painters from the eighteenth century onwards. Roman remains and the memory of Petrarch make it a stop on the Grand Tour and on the Kavalierstour. German artists, who were going to Italy in large numbers, paid increasing attention to the South of France by the end of the eighteenth century. The reasons that motivated them to undertake such a voyage were varied: for painters such as Jakob Philip Hackert, it is a station on the way to Italy that gives them a foretaste of the peninsula. Johann Georg von Dillis and Ludwig Richter go to the South of France at the beginning of the nineteenth century as part of princely travels. Then, in the middle of the century, Johann Wilhelm Schirmer makes the conscious decision of touring Provence in search of natural scenery different from Italy’s. The present study aims to establish a body of work documenting the presence of German artists in the South of France, and also to identify what motivated the journey, in order to demonstrate how their perception of Provence evolved from the eighteenth to the nineteenth century. The aim is to analyze the place of this region in artistic, cultural and literary history, and to identify the visual and literary sources that German artists could rely on during their voyage. The different case studies serve to demonstrate the evolution of the Germanic artistic gaze on Provence, and to illustrate the difficult entry of this territory into the canons of the period, which is particularly notable in the context of German painting.