À frente de seu tempo e com dons excepcionais, Victor Brecheret trilhou um árduo caminho de sucesso. Mesmo com poucos recursos, nunca desanimou ou deixou de tentar, tendo estudado em diversas escolas de arte, inclusive em Paris, como bolsista. Nascido na Itália, veio para o Brasil quando ainda era criança, e cresceu entre os grandes e renomados nomes da arte. Morou em Roma, onde abriu seu primeiro atelier, mas foi em Paris que elevou e firmou seu estilo. Sua temporada parisiense é recheada pelo aprendizado das três fontes: ênfase ao volume geométrico das esculturas cubistas, ao tratamento sintético da forma de Brancusi e à estilização elegante do Art Déco. Além desses estilos, Brecheret trouxe da Europa os traços do modernismo. Durante toda sua carreira artística, desenvolveu diversos e diferenciados trabalhos, porém, é sempre lembrado por talhar seu cinzel em gigantesco bloco de mármore, dando forma a magníficas e esculturais obras. Seu maior trabalho, o mais reconhecido e citado, é, sem sombra de dúvidas, o Monumento às Bandeiras, na cidade de São Paulo, pelo qual deixou sua marca registrada, eternizando seu nome e firmando sua arte. Brecheret também deixou sua marca em obras tumulares que encantam os olhos e transformam a dor da morte em beleza e suaves lembranças de uma vida plena. Sua principal obra, dentre a arte tumular, é a Musa Impassível, que adornou com graciosidade o túmulo da poetisa Francisca Júlia, por mais de 80 anos (1923-2006) e, desde 2006, está alocada na Pinacoteca do Estado de São Paulo. Criada como uma homenagem póstuma a uma grande mulher, a Musa Impassível é a união da literatura com a arte, da poetisa com o escultor, da dor com a beleza, da morte com a eternidade; é a real certeza de que uma pessoa pode ser eternizada por meio de uma escultura, admirada entre infinitas gerações e lembrada pelas suas conquistas e grandiosidade. / Ahead of his time and exceptional gifts, Victor Brecheret walked a hard path of success. Even with few resources, never discouraged or stopped trying, he studied at several art schools, including in Paris with a scholarship. Born in Italy, he came to Brazil when he was a child and grew up among the great and renowned art names. He lived in Rome, where he opened his first atelier, but it was in Paris that he raised and formed his own style. His Parisian season is filled by learning from three sources: emphasis on geometric volume of cubist sculptures, synthetic treatment of form of Brancusi and the elegant Art Deco styling. In addition to these styles, Brecheret brought from Europe traces of modernism. Throughout his artistic career, he has developed on diversed and differentiated work; however, he is always remembered for his chisel carving in mammoth marble blocks, forming the magnificent and sculptural works. His greatest work, which is the most recognized and quoted, is undoubtedly the Monument to the Flags in the city of São Paulo, and for which he left his trademark, immortalizing his name and establishing his art. Brecheret also left his mark on tomb works. His funerary art is to delight the eyes and transform the pain of death in beauty and soothing memories of a full life. His main work, in the funerary art, is the Impassive Muse, which has been adorning with grace, the tomb of the poet Frances Julia for over 80 years (1923-2006), and since 2006, has being allocated in the Pinacoteca of the State of São Paulo. Created as a posthumous tribute to a great woman, the Impassive Muse is the union of literature with the art, the poet with the sculptor, pain with beauty, death with eternity; it is the real certainty that a person can be immortalized by a sculpture, admired along endless generations, and remembered for its achievements and grandeur.

The afterlife is an important concept in many societies whether they are contemporary or ancient. Egypt and Oaxaca, Mexico are just two of the many cultures that took the time to find ways to ensure a successful transition into the afterlife. Each culture in the world has their own unique way of ensuring this transition. Tomb art is the common element that links the unique cultures of New Kingdom Egypt and Classic Period Oaxaca, Mexico. Each culture's tomb art has its own way of guiding the deceased into the world beyond this one. There are other common elements of the art, such as the idea of appeasement, that link the two civilizations that are thousands of miles apart as well as thousands of years apart. These commonalities can give researchers more insight on what is most important to gain access to the afterlife.

Uppsatsen tar sig – med utgångspunkt i en analys av spelet Tomb Raider (2013) – an frågan om hur karakterisering genomförs inom interaktiva dataspel. Wahlsten väljer att använda sig dels av Sonja K Foss metod för narrativ analys, dels av Ian Bogosts procedurala retorik för att visa hur karaktären Lara Croft konstrueras under loppet av spelet. Dessa två metoder används för att kartlägga verktygen med vilka spelets narrativ presenteras, såväl de interaktiva som de icke-interaktiva. Uppsatsen visar tydligt och med många exempel att det finns en spänning mellan narrativets krav och spelarens intressen som ifrågasätter idén om att interaktiva spel i första hand påverkar genom immersion - tvärt om är spelen uppbyggda på så sätt att spelaren förutsätts dels identifiera sig med huvudkaraktären, dels ta avstånd från och använda denna som ’en virtuell leksak’ under loppet av spelet. Därmed pekar också Wahlsten ut ett tämligen okänt men mycket intressant forskningsområde för retorikvetenskapen. Wahlsten är medveten om att hans val av studieobjekt inte är självklart inom retoriken, men argumenterar väl för behovet av att studier av spel/Virtual Reality är och i synnerhet i framtiden bör vara, ett centralt område inom retorikforskningen / The essay asks the question how characterization in video games is accomplished, with the subject of analysis being the video game Tomb Raider (2013). Wahlsten chooses to use the methodology of Sonja K Foss for the narrative analysis, in addition to Procedural Rhetoric coined by Ian Bogost. These two methodologies are used to map out the tools used to construct the narrative of the game, which includes interactive one as well as non-interactive ones.   The essay clearly shows that there is a definite tension between the demands of the narrative on the player that puts into question the idea of interactive games mainly influencing through immersion. On the contrary, the game is constructed in such a way that the player is expected to identify with the playable character, while also motivating the player to distance itself from the character and use it as a sort of “virtual plaything”. Wahlsten thus highlights a fairly obscure but also highly interesting field of study within the Rhetorical sciences. Wahlsten is aware the object of study is not an obvious one within the field Rhetoric, but argues for the need of studies of games and Virtual Reality, and the importance of them for Rhetorical sciences in the future.

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Le scribe royal de la Tombe Boutéhamon est un personnage thébain de première importance dont les témoignages couvrent les dernières années de la XXe dynastie et les premières de la Troisième Période intermédiaire (de Ramsès XI à Smendès Ier). Fils du scribe de la Tombe Djéhoutymès, Boutéhamon est mentionné dans de nombreuses sources épigraphiques (lettres, graffiti et dipinti de la nécropole thébaine, ostraca, phylactère, étiquette de momie) et archéologiques (vestiges architecturaux à Médinet Habou, sarcophages dispersés, mention possible de son inhumation à Deir el-Medineh). L’examen de cette documentation permet, d’une part, de restituer la carrière de ce haut fonctionnaire dans son temps. D’autre part, elle sert à exprimer de nouveau la chronologie incertaine des règnes des pharaons concernés ainsi que la période dite de « la Renaissance ». / The royal scribe of the Tomb Butehamun is an outstanding Theban character, evidence for whom spans the last years of the 20th dynasty and the first years of the Third Intermediate Period (from Rameses XI to Smendes I). Butehamun was the son of the scribe of the Tomb Djehutymes. He is mentioned in numerous epigraphic (letters, graffiti and dipinti from the Theban necropolis, ostraca, phylactery, mummy label) and archaeological sources (architectural remains at Medinet Habu, dispersed coffins, a possible reference to his burial at Deir el-Medineh). Close examination of this body of documents allows reconstructing the career of this high ranking civil servant within his own time. Furthermore, it serves the reassessment of the uncertain chronology of the relevant pharaohs’ reigns and of the period known as “the Renaissance”.

Depuis les premières publications d’époque coloniale, qui s’attachaient surtout à en démontrer le caractère folklorique et endémique, le culte des saints au Maghreb a fait l’objet de nombreuses études portant tant sur son origine que sur son évolution diachronique. La première phase de son développement qui va du XIIe au XVe siècle est bien connue. Toutefois, cette dévotion s’attache avant tout aux tombes des figures révérées qui n’ont fait l’objet d’aucune étude portant spécifiquement sur leur matérialité. Cette recherche se propose donc de restituer les étapes de construction de pôles de dévotion autour de ces sépultures saintes dont le paroxysme est atteint au XIVe siècle. Elle s’inscrit dans unedémarche d’archéologie du disparu, et s’attache donc à l’analyse des sources écrites pour tenter d’approcher une réalité physique inaccessible autrement.La première approche est formelle. Il s’agit de comprendre quels sont les aménagements opérés sur les tombes de saints et pour quels usages, dans une démarche chronologique. La formation des sanctuaires est ensuite envisagée dans son contexte social, avant de considérer la façon dont ces tombes s’inscrivent dans un espace donné, et participent même d’une écriture symbolique du territoire de la ville.La mise en place de ces pôles de dévotions funéraires n’est cependant pas un phénomène isolé, puisqu’il peut être constaté à l’échelle du dār al-islām. Le Maghreb s’inscrit donc pleinement dans l’histoire de l’architecture religieuse médiévale du monde musulman. / Since the fi rst publications dated from colonial times, which mostly sought to show its folk and endemic character,the cult of saints in North Africa has been the subject of numerous studies both dealing with its origins as itsdiachronic evolution. The fi rst stage of development that goes from the twelfth to the fi fteenth century is well known.However, this worship is committed to the graves of revered fi gures and there have been no studies specifi cally focusingon their materiality. This research then intends to reconstruct the building stages of real poles of devotion around theholy tombs whose climax is reached during the fourteenth century. This approach is in line with archaeology of the lost,and therefore focuses on the analysis of written sources in order to approach a physical reality, otherwise unattainable.The fi rst step is formal. The point is to understand what is erected over the tombs of the saints and for whatpurposes, in a chronological way. The constitution of shrines is subsequently considered in its social context, beforeanalysing how these burials inscribe themselves in a given space, and even participate in a symbolic writing of the city’sterritory.The set up of these funerary poles of devotion is not an isolated phenomenon, since it can be seen across the dāral-Islām. The Maghreb is therefore fully inscribed in the history of medieval religious architecture of the Muslim world.

Le site de Chagar Bazar situé dans la Jezireh syrienne est fouillé conjointement, depuis 1999, par la Direction Générale des Antiquités de Syrie et l'Université de Liège. 165 tombes ordinaires de l'âge du Bronze ancien et moyen ont été découvertes entre 1999 et 2010 et ce sont ces tombes qui sont étudiées dans ma thèse de doctorat. Le nombre relativement élevé de sépultures sur le site ainsi que le soin relatif apporté à leur examen permettent d'avoir à notre disposition un corpus important tant sur la quantité de données récoltées que sur leur qualité. En effet, si des tombes sont souvent mises au jour sur d'autres sites, elles ne font pas toujours l'objet d'une attention particulière de la part des archéologues. Les renseignements fournis par ces fouilles sont de plusieurs ordres : ils concernent principalement les aménagements funéraires, le mobilier déposé dans la sépulture et les ossements exhumés. Leurs analyses nous apporteront des informations, dont certaines inédites, notamment sur les offrandes animales. Une comparaison des tombes de Chagar Bazar (aménagement de la sépulture, matériel funéraire, restes osseux) avec celles de la Jezireh syrienne permet de montrer les convergences et divergences des tombes de Chagar Bazar avec l'ensemble des sépultures mises au jour dans la région L'étude présentée sera donc l'occasion de faire de Chagar Bazar un site de référence pour l'étude des tombes et pratiques funéraires dans la Jezireh au Bronze ancien et moyen. / A joint team of the General Direction of Antiquities of Syria and the University of Liege resumed since 1999 the excavations at Chagar Bazar located in the Syrian Jezireh. Between 1999 and 2010, 165 ordinary graves dating to the early and Middle Bronze Ages are excavated and they are studied in my PhD thesis. Thanks to the important number of excavated graves which were studied with relatively great care in the field, we have at our disposal an significant corpus of data which is relevant as far as the quantity and the quality of the informations are concerned. Indeed the graves are rarely excavated with comparable care and so richly documented in the other sites of the Syrian Jezireh. The excavations yielded many kind of informations, mainly on the funerary structures but also on the funerary deposits as well as on the human and animal bones ; some features are even original and not studied in detail until now elsewhere, as the animal offerings in the graves. The comparison, using all known details, between the rgaves excavated in Chagar Bazar and those discovered in the other sites of the Syrian Jezireh allows to highlight the points of convergence and divergence in the frame of funerary customs in the region. Thanks to the study of this new data, Chagar Bazar should be a reference site for a further investigation of graves and funerary customs in the Jezireh during the Early and Middle Bronze Ages.

Le moulage en terre cuite est un procédé de fabrication qui permet de reproduire mécaniquement des objets, à l’aide de matrices. Aussi, en tant que procédé technique, la coroplathie est un exemple de fabrication et de diffusion d’images en nombre.Ma recherche est centrée sur la construction d’une typologie des statuettes en terre cuite de l’époque hellénistique, et principalement celles qui datent des IIIe et IIe siècles av. n.è. en Italie.Celles-ci se caractérisent par un renouvellement iconographique des figurines génériques, sans attribut, dont les plus emblématiques sont les représentations de femmes drapées, appelées aussi « tanagréennes ». En effet, à partir du milieu du XIXe siècle, avec l’apparition sur le marché de l’art des figurines de Tanagra (vers 1870) et de Myrina (vers 1880), le sujet a commencé à attirer l’attention des amateurs d’antiquités puis des scientifiques. Longtemps collectionnées pour elles-mêmes, ces statuettes ont souvent été désolidarisées de leurs environnements archéologiques. En Italie, c’est en grande partie par des études rétrospectives des statuettes conservées dans les musées qu’on parvient aujourd’hui à reconstituer des assemblages et des contextes de découverte (votif ou funéraire). La documentation ayant servi de matière première à cette thèse est disparate. Elle est constituée de catalogues d’objets et de notices de sites éparses dans lesquelles les statuettes sont souvent sous-exploitées. C’est toute la difficulté de cette démarche : ces figurines en terre cuite, à la fois nombreuses, répétitives et souvent fragmentaires suscitent peu d’engouement ; la dynamique de recherche s’attardant davantage sur des lots d’objets mieux conservés ou identifiés. Dans un certain sens, mon travail tente de revaloriser le multiple tant du point de vue de l’artisanat que des usages de ces statuettes dans leurs matérialités religieuses.Le terrain d’enquête de cette étude est celui de l’Italie hellénistique, indépendamment des contextes culturels (italiques, grecs, étrusques, romains) dans lesquels l’historiographie a parfois eu tendance à enfermer la petite plastique en terre cuite. En dépit de leur nombre et de leur diversité, ou plus exactement en raison de ces facteurs, ces figurines restent assez mal connues.Dans ma démarche, j’ai tenté d’échapper aux classements iconographiques et techniques habituels. Ces types tanagréens, largement constitués de figurines féminines drapées mais aussi de quelques sujets mythologiques (Eros, Aphrodite, Athéna, Hermès…) qui par des jeux d’attributs superposés personnalisent ces figurines, ont été observés et analysés en fonction de leur forme et présentés selon une typologie morphologique. Celle-ci a été conçue dans la perspective de proposer une nouvelle grille de lecture et d’interprétation afin de construire des instruments de recherche mieux à même de s’adapter à ces objets dépourvus d’apparentes significations, enchevêtrés dans une sérialité des formes d’où émergent des singularités. La forme et ses variations sont au cœur du sujet, donnant lieu à des développements sur les principales échelles de production de ces figurines et sur l’interprétation des images qu’elles ont véhiculées en fonction de leur environnement topographique, historique et culturel. / Terracotta casting is a process of manufacturing that allows the mass production of objects with the help of molds. As a technical process, coroplasty is an example of mass production and diffusion of images.My research is focusing on building a typology for terracotta figurines of the Hellenistic era, more specifically the ones dating back to the 3rd and 2nd Centuries BC in Italy. These generic figurines, with no specific characteristics, feature a renewal in statuette iconography. The most emblematic ones usually represent women wrapped in veils, also called Tanagra figurines.Around the middle of the 19th century, with the apparition of figurines from Tanagra (circa 1870) and Myrina (circa 1880) on the art market, the statuettes began to catch the attention of connoisseurs, then scientists. Collected for themselves for a long time, these figurines have often been torn apart from their archeological environment. In Italy, thanks in great part to a retrospective study of the figurines preserved in museums, we are able to re-establish connections with groups and contexts of discoveries (votive or funerary figurines).The materials gathered for the documentation of this thesis are heterogeneous. It consists of artwork catalogues and notes from various sites where the figurines are often underexposed. The main complexity of this research follows thus: the terracotta figurines, both abundant and repetitive, often incomplete, arouse little enthusiasm; all the energy in research usually focuses mostly on the group of objects best preserved or identified. In a way, my work tries to reassert the value of numbers, as much from the point of view of handicraft as from the different religious functions of the figurines.Italy during the Hellenistic era is the field of investigation for this research, irrespective of cultural context (Italic, Greek, Etruscan or Roman) from which sometimes historiography has a tendency to confine small terracotta figures. Despite their number and variety, or rather because of them, these figurines remain largely ignored. My approach tries to break free from the usual iconographic typologies and technical classifications. I tried to observe and analyze the Tanagra figurines – mostly consisting of veiled feminine silhouettes, but also including some mythologicaltopics (Eros, Aphrodite, Athena, Hermes…) personalized through an array of superimposed attributes – taking into account their shape, and presenting them according to a morphological typology. This typology has been created in the prospect of offering a new frame of reference and interpretation, in order to build tools of research better fitted to these figurines, all lacking in apparent meaning, entangled in the serialization of its shapes, from which sometimes uniqueness emerge. The form and its variations are at the heart of the topic, leading to developments on main production scales, or on the interpretation of the images they conveyed depending on their topographical, historical and cultural environment.

The Wine Jars Speak: A text study. Reworked and translated from a Swedish MA thesis, Vinkärlsetiketterna berättar: En textstudie from 2008 in Egyptology, Uppsala University. This paper examines the texts written on shards from wine jars found at El-Amarna, Tutankhamun’s tomb (KV 62) and Deir el-Medina. Information concerning the administration of wine and its production, found in these texts, is examined. Wine was an important element in Egyptian society and a common iconographic motif in tombs at Thebes during New Kingdom. A survey on previous research on the subject is presented. This is followed by analysis of the different reoccurring elements found in the texts. A definition of the standard formulation of the wine jar label texts is given and the minimal level of information needed for the administration of wine production and distribution is identified.  The chapter of the analysis deals with the various types of information given in the label texts, such as date, wine classification, and function. The next chapter presents the words associated with the vineyard, the names of the institutions involved in the production and use of wine, and the place names that identify where wine production took place. The following chapter deals with the titles and personal names of the officials involved in wine production. This study shows that these small texts contribute to an understanding of wine production. They also display continuity in form that bridges the turbulence of the Amarna Period. The earlier examples of these texts do not have an ideological component. It is first with the Ramesside Period, and the more intrusive inclusion of the name of the King, that some ideological intent can be identified.

Denna autoetnografiska studie handlar om genuskonstruktion i PC-spel. Studien bedrivs med feministisk ansats och syftet var att undersöka handlingsutrymmet gällande performativa och subversiva genushandlingar i fyra olika spel. Frågeställningen för denna studie är: Hur uttrycker spelare och spelkaraktärer traditionella och subversiva genushandlingar i relation till den förprogrammerade koden i spel? Fyra spel från olika genrer med enbart kvinnliga protagonister valdes ut; Tomb Raider, Child of Light, Life is Strange och Gone Home. Dessa spel analyserades med hjälp av Butlers teorier gällande genuskonstruktion, och Malabys teorier om spel som en performativ process. Tidigare forskning tar upp kvinnors underrepresentation i spel, spelsexismens utveckling, kvinnliga karaktärers utveckling och transgressive play i online-världen. Under analysen återberättades spelen och forskarens subjektiva upplevelse av dem för att sedan kunna analyseras. De faktorer som togs under beaktning vid analysen var; genusperformativa, subversiva genushandlingar och den heterosexuella matrisen. Resultatet visade att det fanns möjlighet till både genusperformativa och subversiva genushandlingar, samt att man antingen kunde understryka eller ifrågasätta den heterosexuella matrisen, vilket vi visar med hjälp av utvalda delar från spelen. Slutsatsen vi ankommer till är att trots att vi som spelare tillåts att utföra både performativa och subversiva genushandlingar begränsas vi av spelets kodning, och vissa genusuttryck är ofrånkomliga och utförs oberoende av spelaren. I diskussionen talar vi om sexism i spel på en mer allmän nivå, att homosexualitet i någon form förekommer i ¾ av vårt urval vilken kan vara ett bevis på mångfald eller en slump. Vi bemöter också våra egna fördomar gällande urvalet. Som vidare forskning föreslår vi liknande studier men med andra metoder än den autoetnografiska. Vi anser att denna studies samhällsrelevans ligger i hur vi belyser hur spel, som en växande medieform, både begränsar och möjliggör alternativa förståelser för genus. PC-spel är, liksom övrig media, inte immuna mot att reflektera skadliga normer som sexism och behöver därför ges tillbörlig akademisk tyngd.