The habit of honouring outstanding individuals with statues was common throughout the Roman Empire. Yet after the end of the Severan reign at the beginning of the third century AD, a decrease in honorific statues is generally assumed to have taken place. This thesis aims to evaluate this hypothesis, focusing specifically on the years AD 222-285. The thesis is assessing the contemporaneous imperial remains for the Roman Empire as a whole and the evidence from four exemplary cities that are particularly conspicuous in their statuary production and display, both before and after the time frame under investigation (Leptis Magna, Athens, Ephesus, Aphrodisias). The purpose is to explore the standards, conventions, and limitations of statuary practice in Roman society in a synthetic and comparative analysis and thereby to evaluate its political and social role during a state of internal and external instability, labelled 'the third century crisis'. By providing concrete figures, the practice of the third century can be juxtaposed with both the antecedent and subsequent centuries and this will facilitate a more coherent insight into the overall development and changes in Roman honorific statuary practice. The results suggest that the assumed decline in the number of statuary installations might have to be re-evaluated. It has become apparent that in order to obtain comparable numbers, the inclusion of imperial family members in any statistical evaluation is indispensable, a factor which has previously been disregarded. A gradual decrease cannot be supported and neither can a decrease in the appreciation of honours.

This master thesis called "The media portrait of the Anders Behring Breivik ́s attack in czech press" focuses on events that took place on the 22nd of July 2011, when a norwegian citizen Anders Breivik detonated a bomb in the centre of Oslo and killed 8 people. Then he shot 69 young people on the Utøya island. This thesis shows how these events were presented in the four most read newspapers in the Czech republic which are Aha!, Blesk, Mladá fronta DNES and Právo. The analysis focuses on the period of time between 22nd of July and 22nd of September 2011 and then also on the period from April to August 2012 when the trial took place. This master thesis combines quantitative and qualitative research design and shows that Mladá fronta DNES published the most articles out of all 287. Blesk used the biggest amount of photographs - 2.9 photographs per article. The most used photographs were of the victims and also the photographs of Breivik himself. The most frequent topics covered were of the trial, information about Breivik and memorial events. The qualitative part of the research focuses on used language means and proves that the visual part and the photographs play a very important role on the whole feel and emotions in the article.

A self portrait. With an auto ethnographic study method and my own craft; glass making I examine tacit knowledge. A portrait not only of me, but also the human in need of control. An invite to look at our society and see how the measurable is in charge and positivistic science have the leading position in knowledge production.  I aim for the subjective, the knowledge stored in my body which is passed on through making, in to the glass to be kept.

Procura-se nesse estudo ler os Ensaios de Montaigne, menos em sua dimensão de descrição verdadeira dos casos que são abordados e dos arrazoados que são produzidos, e mais em sua dimensão de produção de efeitos verossímeis e persuasivos; atentos, pois, à intenção de um escritor em fazer crer (fidem facere) mais que em dizer a verdade. Assim, o propósito é o de relacionar o discurso deste autor com uma atividade plenamente ciente dos meios e instrumentos técnicos de produção da persuasão. Não se descarta a questão da veracidade do autorretrato, mas, entende-se que esta consiste em um dos elementos fundamentais por cuja construção verossímil prima o esforço do Ensaísta. Busca-se, pois mostrar que o que o livro nos dá a ler são as múltiplas operações do espírito que integram a maneira de uma persona construída nos convencer de sua coincidência espontânea, veraz e bem sucedida com seu autor. / This thesis investigates Montaignes Essays and the persuasive and verisimilar rhetorical effects that they manage to achieve, rather than consider them as true descriptions of the matters they discuss and the statements they entail. Thus, close attention is paid to Montaignes intention to create belief (fidem facere) rather than to state the truth. Accordingly, this thesis sets out to identify this authors discourse as one that is fully aware of the technical instruments of rhetorical persuasion. Likewise, the veracity of the authors self-portrayal is not ignored, but it is understood as one of the fundamental elements at which the essayists efforts to produce verisimilitude predominate. Therefore, this research intends to show that what one reads in Montaignes Essays are the multiple operations of a mind that compose the manner of a persona that was built to persuade the reader that it coincides spontaneously, truthfully and successfully with the author.

A pesquisa que realizei se concentrou em minha avó materna Akie Sakasegawa Matsuyama e suas famílias: seus pais e irmãos (Sakasegawa) e seu marido e filhos (Matsuyama). Não conheci meu avô Hideo Matsuyama. Talvez este estudo seja a maneira que encontrei de conhecer um pouco de sua história. Concentrei-me principalmente no espólio de Akie Sakasegawa Matsuyama, que compreende cartas, fotos avulsas e álbuns fotográficos, e na coleção fotográfica de sua mãe, Ine Narita Sakasegawa. Conduzi entrevistas não estruturadas, com fotografias, com diversos membros de sua família, nuclear e estendida, no Brasil e no Japão. Através desse material, pude vislumbrar os meios pelos quais as relações familiares foram mantidas após a imigração para o Brasil. O principal intuito do trabalho foi questionar o papel da fotografia nas trocas interpessoais entre as famílias no Japão e no Brasil. E, dessa forma, entender as ligações entre os retratos fotográficos e a noção de identidade que os imigrantes tinham de si mesmos. Por se tratar de um estudo sobre a família, a minha família, tentei utilizar metodologias concernentes à antropologia reflexiva, ou seja, procurei deixar claro que sou eu quem faz as reflexões e escreve sobre elas. Assim, muitos pontos podem dar margens à discórdia, muitas afirmações são escolhas que tive de fazer em função do texto. Uma vez que este estudo se refere à vida íntima de membros de minha família que, em sua maioria, não tive o privilégio de conhecer, boa parte do texto está aberta a outras interpretações. Tentei não impor minha visão demasiadamente, procurei estar aberto o suficiente para ouvir sem preconceitos o que os informantes me comunicaram. Busquei, enfim, seguir os rastros deixados por meus antepassados e ser fiel ao que pude vislumbrar. Este é um trabalho cuja intenção é preservar a memória das histórias e dos afetos compartilhados pelos imigrantes japoneses e suas famílias. Através de materiais permeados por amor e amizade, fotos e cartas, tentei compreender as relações íntimas entre os imigrantes de minha família materna. / This research focused on my maternal grandmother, Akie Sakasegawa Matsuyama, and her families: her parents and siblings (Sakasegawa) and her husband and children (Matsuyama). I did not know my grandfather, Hideo Matsuyama. Maybe this study is a way I found to know a little about his life history. My main focus was on the state of Akie Sakasegawa Matsuyama, encompassing letters, photographs and photographic albums, and on the photographic collection of her mother, Ine Narita Sakasegawa. I conducted several non-structured interviews, using photographs, with members of her family, nuclear and extended, in Brazil and in Japan. All this material helped me to understand the means by which the familial relationships were maintained after the migration to Brazil. The main purpose of this work was to question the roles of photography in the interpersonal exchanges between the families in Japan and in Brazil, and try to figure out the liaisons between photographic portraits and the sense of identity the immigrants had of themselves. Once this is a study about the family my family I felt the need to make use of methodologies within reflexive anthropology. I wanted to make it clear that I´m the one thinking about these issues and writing about them. In this aspect, in many instances, there is room for disagreements; many of the statements I support are choices I had to make in order to write a somewhat coherent text. Because this is a study about the intimate life of members of my family I did not have the chance to meet or interview, a lot of my assumptions are open to interpretation. Nonetheless, I tried not to force my points of view in an exaggerated fashion, I wanted to be open enough to listen without preconceptions what the interviewees told me. Thus, I tried to follow the threads left by my ancestors and be faithfull to everything I could find. The objective of this work is to preserve the memory of the histories and endearments shared by the Japanese immigrants and their families. Using materials that are fulfilled with love and friendship photos and letters I tried to comprehend the intimate relationships between the immigrants and their families.

Esta dissertação tem por objetivo compreender as representações das masculinidades realizadas nas pinturas acadêmicas brasileiras entre os séculos XIX e XX. Buscou-se analisar a vida e obra do crítico de arte e escritor carioca Gonzaga Duque Estrada (1863-1911) para entender o cenário artístico brasileiro no qual as pinturas foram concebidas e como elas foram mediadas para o público. Também pretendeu-se examinar os autorretratos masculinos ao longo da história de modo a determinar uma bacia semântica comum nas representações e trazer a luz a dinâmica entre a percepção de si mesmo, a construção da imagem do homem com as vivências possíveis do gênero masculino. Neste sentido, a partir dos dados coletados, a pesquisa parte para o comentário dos autorretratos de pintores brasileiros, tais como Almeida Júnior (1876-1882) e Pedro Américo (1843-1905), em um esforço de investigar o quanto as pinturas selecionadas para este estudo estavam inseridas em um debate maior que buscava definir a identidade masculina. / This dissertation intends to comprehend the representations of masculinities executed in Brazilian academic paintings between the 19th and 20th centuries. We sought to analyze the life and work of the art critic and writer Gonzaga Duque Estrada (1863-1911), native do Rio de Janeiro, in order do understand the Brazilian artistic scenario in which these paintings were conceived and how they were presented to the public. We also intended to examine the male self-portraits throughout history so that the research could determine a common semantic source in these representations and bring into light the dynamics between the perception of oneself, the construction of the image of man with the possible experiences of the male gender. In this sense, based on collected data, the research comments the self-portraits of Brazilian painters, such as Almeida Júnior (1876-1882) and Pedro Américo (1843-1905), in an attempt to investigate how much the paintings selected for this study were part of a bigger debate that sought to define masculine identity.

Partindo do enorme legado crítico acerca da obra de Camilo Castelo Branco, construído desde Teófilo Braga até a nossa contemporaneidade, o presente estudo tem como objetivo principal olhar a ficção camiliana para além do que de mais evidente há nela: as histórias de amores contrariados, puros e abnegados. Para tanto analisamos os romances Os brilhantes do brasileiro (1869) e Agulha em Palheiro (1863), buscando mostrar de que maneira o autor é capaz de conjugar, nestes exemplares, a moda literária em voga e o retrato da sociedade prosaica que observava em sua realidade imediata, um mundo longe da configuração romântica e idealizada pretendida por parte significativa desta crítica. Para além de abordar as características específicas de cada romance, tais como a estrutura narrativa, a construção de personagens, as temáticas abordadas, entre outras, procuramos, ao final do trabalho, analisar as semelhanças e diferenças entre as duas narrativas, evidenciando assim o dinamismo, a multiplicidade e, principalmente, a complexidade do escritor de São Miguel de Ceide. / Based on the big critical legacy of Camilo Castelo Brancos work, built since Teófilo Braga until the present, this study aims looking at Camilians fiction beyond its obvious contents: thwarted, pure, and self-sacrificing love stories. In order to do so, we have analyzed the novels Os brilhantes do brasileiro (1869) and Agulha em Palheiro (1863), with the objective of showing how the author is able to combine, in these novels, the literary style in vogue at the time and the portrait of the prosaic society that the author observed in his reality immediately, a world which is far away from the romantic and idealized configuration proposed by significant part of this criticism. In addition to addressing the specific characteristics of each novel, such as narrative structure, the construction of characters, the themes addressed, among others, we intend, at the end of this study, to examine the similarities and differences between the two narratives, emphasizing the dynamism, the multiplicity and, most importantly, the complexity of the writer of São Miguel de Ceide.

Partindo do enorme legado crítico acerca da obra de Camilo Castelo Branco, construído desde Teófilo Braga até a nossa contemporaneidade, o presente estudo tem como objetivo principal olhar a ficção camiliana para além do que de mais evidente há nela: as histórias de amores contrariados, puros e abnegados. Para tanto analisamos os romances Os brilhantes do brasileiro (1869) e Agulha em Palheiro (1863), buscando mostrar de que maneira o autor é capaz de conjugar, nestes exemplares, a moda literária em voga e o retrato da sociedade prosaica que observava em sua realidade imediata, um mundo longe da configuração romântica e idealizada pretendida por parte significativa desta crítica. Para além de abordar as características específicas de cada romance, tais como a estrutura narrativa, a construção de personagens, as temáticas abordadas, entre outras, procuramos, ao final do trabalho, analisar as semelhanças e diferenças entre as duas narrativas, evidenciando assim o dinamismo, a multiplicidade e, principalmente, a complexidade do escritor de São Miguel de Ceide. / Based on the big critical legacy of Camilo Castelo Brancos work, built since Teófilo Braga until the present, this study aims looking at Camilians fiction beyond its obvious contents: thwarted, pure, and self-sacrificing love stories. In order to do so, we have analyzed the novels Os brilhantes do brasileiro (1869) and Agulha em Palheiro (1863), with the objective of showing how the author is able to combine, in these novels, the literary style in vogue at the time and the portrait of the prosaic society that the author observed in his reality immediately, a world which is far away from the romantic and idealized configuration proposed by significant part of this criticism. In addition to addressing the specific characteristics of each novel, such as narrative structure, the construction of characters, the themes addressed, among others, we intend, at the end of this study, to examine the similarities and differences between the two narratives, emphasizing the dynamism, the multiplicity and, most importantly, the complexity of the writer of São Miguel de Ceide.

Um dos principais problemas na teoria qualitativa das equações diferenciais em dimensão dois é apresentar, para uma dada família de sistemas diferenciais, uma classificação topológica dos retratos de fase de todos os sistemas dessa família. A proposta deste trabalho é estudar a técnica utilizada na classificação dos retratos de fase globais de sistemas diferenciais polinomiais da forma \'dx SUP dt\' = P(x,y) \'dy SUP dt = Q(x,y) onde P e Q são polinômios nas variáveis x e y e o máximo entre os graus de P e Q é 2. Para esse fim optamos pelo estudo da referência de Cairó e Llibre [5]. Na presente referência os autores obtém a classificação de todos os retratos de fase globais dos sistemas diferenciais polinomiais que possuem uma integral primeira racional, H, de grau 2. Esse estudo foi dividido em duas etapas. Na primeira, caracterizamos a função H através de seus coeficientes. Na segunda, encontramos todos os retratos de fase globais no disco de Poincaré. Para tais sistemas, existem exatamente 18 retratos de fase no disco de Poincaré, exceto pela reversão do sentido de todas as órbitas ou equivalência topológica / One of the main problems in the qualitative theory of 2-dimensional differential equations is, for a concrete family of differential systems, to describe a topological classification of the phase portraits for all the systems in this family. The purpose of this work is to study a technique used in the classification of global phase portraits of the planar polynomial diferential systems or simply quadratic systems of the form \'dx SUP. dt\' = P(x,y) \'dy SUP. dt\' = Q(x,y) where P and Q are real polynomials in x and y the maximum degree of P and Q is 2. Our basic reference is the paper of Cairó and Llibre [5]. In that work the authors give the classification of all global phase portraits of the planar quadratic differential systems having a rational first integral H of degree 2. Our work is divided in two parts. In the first part, we characterize the first integral H through its coeficients. In the second one, we describe all global phase portraits in the Poincaré disk. For such systems, there are exactly 18 different phase portraits in the Poincaré disk, up to a reversal of sense of all orbits or topological equivalence

Tout visage est structuré selon un ordre symétrique. La thèse explore les conséquences de cette spécificité formelle du visage sur la construction du portrait dans le contexte spécifique de la Renaissance. Elle débute par une remise en cause de l’approche neuropsychologique qui fait de la dissymétrie et de la partition du visage dans le portrait la simple expression d’un donné physionomique. À travers une réflexion autour de la symétrie et de la dissymétrie dans l’ordre de la représentation, notre recherche rend compte de l’intérêt de ces catégories esthétiques pour la compréhension des enjeux formels et philosophiques propres à la construction du portrait. Elle révèle également la richesse et la complexité des significations allouées à la symétrie et à la dissymétrie dans le cosmos culturel de la Renaissance, celles-ci allant parfois à contre-courant de nos représentations contemporaines. Une dernière partie de cette recherche est consacrée au symbolisme théologique séculaire distinguant entre le côté droit et le côté gauche du visage, un côté tourné vers le céleste, l’autre vers le terrestre, et à son influence sur l’art du portrait. La démonstration est rythmée par diverses études de cas, parmi lesquelles des analyses approfondies de portrait peints par Jan Van Eyck, Giovanni Bellini, Raphaël et Albrecht Dürer. / Every face is structured in a symmetrical order. This research paper explores the consequences of this formal specificity on the construction of the portrait in the particular context of the European Renaissance. It starts with a critique of the neuropsychological approach that makes the asymmetry and the distinction between the two sides of the face in the portrait the mere expression of a particular physiognomy. Through a reflection on the aesthetic categories of symmetry and asymmetry in the order of representation, the research demonstrates the interest of these concepts for the understanding of the formal and philosophical issues specific to the construction of portraits. It also reveals the richness and complexity of meanings assigned to symmetry and asymmetry in the cultural cosmos of the Renaissance, these ones sometimes going against the grain of contemporary representations. The final section is devoted to the secular theological symbolism distinguishing between the right side and the left side of the face, one side turned to the heavenly, the other to the earthly, and the resulting influence on the art of portraiture. The demonstration is punctuated by various case studies, including an in-depth analysis of portraits painted by Jan Van Eyck, Giovanni Bellini, Raphael and Albrecht Dürer.