Dissertation inaugurale en vue de l'obtention du doctorat--Faculté de philosophie--Rheinischen Friedrich-Wilhelms-Universität--Bonn, 1907.

Texte remanié de: Th. de doctorat--Bruxelles--Université libre. / Bibliogr. p. 181-192. Index.

Texte remanié de: Proefschrift--Universiteit van Amsterdam, 1995. / Publ. à l'occasion du centenaire du Stedelijk museum d'Amsterdam. Notes bibliogr. Index.

Texte remanié de: Doct. th.--University of Groningen, 1988.

À propos de ces recherches sur l’héritage du culte des souverains – Séleucides et Attalides – chez les Romains de la fin de la République, nous avons décrit prioritairement le mécanisme favorisant l’adoration cultuelle des humains. En ce qui concerne le statut divin des Romains et des rois, remarquons qu’aucun traité sur la monarchie hellénistique n’a été intégralement conservé. En l’absence de traités théoriques complets, c’est l’iconographie officielle, notamment dans la sculpture, la numismatique et la glyptique, ainsi que les décrets dont on a conservé la trace épigraphique qui nous renseignent sur l’idéologie royale adoptée en grande partie par les Romains en Asie. Ainsi, je ne parlerai que du statut des Romains en Asie et plus particulièrement de celui des grands généraux qui succédaient aux Séleucides et aux Attalides. Différentes sources d’inspiration influencèrent notamment l’adoration et le culte des Romains et l’utilisation du potentiel sacré d’Alexandre légitima leur pouvoir charismatique absolu. De plus, nous insisterons sur l’aspect religieux du phénomène car les auteurs modernes n’évoquent, en général, que son aspect politique et ils le considèrent surtout comme un moyen de gouvernement. Entre autres, nous étudierons l’impact de ce culte des humains en Asie et nous tenterons de reconstruire et de préciser la mentalité religieuse des communautés de culture grecque qui divinisaient de simples mortels. Effectivement, en Asie placés au-dessus de l’humanité, des Imperatores et des Romains héritèrent du culte des souverains séleucides et attalides. Honorées comme des puissances supérieures, d’illustres personnes pouvaient être vénérées car la culture romaine et les croyances orientales qui influençaient l’organisation sociale, admettaient la nature divine des gouvernants. / In order to research the heritage of the cult to the Seleucid and Attalid sovereigns among the Romans of the late republic, we have first described the very mechanism that brought to the worship of human beings. Regarding the Romans and their king’s divine status, we must notice that no treaty about the Hellenistic monarchies has been entirely kept. Lacking any completely preserved theoretical treaty, we are mostly informed by the remaining official iconography, especially the numismatic and glyptic cultures, as well as the decrees of which were preserved an epigraphic trace, showing us the royal ideology adopted by a great part of the Romans of Asia. Therefore, we will only discuss here the status of the Romans of Asia, in particular of the Great Generals who followed the Seleucids and Attalids. Various sources of inspiration influenced them, especially the worships and cults of the Romans, and the use of the sacred potential of Alexander-the-Great, which legitimized their absolute charismatic power. Furthermore, we will insist on the religious aspect of this phenomenon, as modern historians and authors usually only evoke the political aspect and observe it more as a governing media. Among other things, we will study the impact of this kind of cult on the mid-Asian inhabitants, and we will try to recreate in a precise way the religious mentality of the Greek cultured community, which deified even simple mortals. In fact, in Asia, some Romans and Imperators were raised above humanity, inheriting the cult to the Seleucids and Attalids. Honored as superior powers, some famous personalities could be venerated, as the influent roman culture and the oriental beliefs admitted the divine nature of the rulers.

The object of the present study is to analyse and interpret Hardy's achievement in the field of tragedy. Critics have generally recognised the importance of his vast output of plays in the development of French drama in the seventeenth century, while denigrating the literary merit of his works. The only full-scale study of this dramatist, Rigal's Alexandre Hardy et le théâtre francais à la fin du XVIe siècle et au commencement du XVIIe siècle, is devoted largely to a consideration of his life and of theatrical conditions at this time, to a comparison of his plays with those of his precursors and followers, and to an examination of source material. The present study compares the plays one with another to determine what features they have in common, attempting to arrive thereby at Hardy's conception of the structure and function of tragedy. The text followed is that of Stengel's re-edition. The plays are analysed under the headings of plot and action, theme, and character. The first chapter studies Hardy's use of stage spectacle, presented action and reported action, and shows that, contrary to popular misconception, he does not indulge in gratuitous or excessive horror and violence on the stage. Rather he presents a situation in which the tragic hero is offered a choice of courses of action, the outcome of which will be fortunate or unfortunate according to the course chosen. The typical pattern of the action of a tragedy by Hardy is, therefore, a rising and falling, or falling and rising motion about a central scene of conflict. Sometimes this pattern is seen in the life of a single hero, sometimes the contrasting fortunes of two characters are presented. In the second chapter the moral principles of the protagonists are examined to determine the basic theme of the tragedies, which is found to be broadly political. Hardy presents a number of types of king, ranging from the tyrant to the perfect monarch, and renders this traditional ideological contrast in a series of discussions of the problems of kingship arising from a particular dramatic situation. Justice, clemency, the rule of law and service to the state are the guiding principles of the good king. A second, and more original aspect of this political theme, that of legitimacy and the right of conquest, is found in some of the tragedies. The third chapter shows that Hardy presents dynamic heroes who strive to attain an ideal of personal gloire. Some heroes fail to arrive at this ideal because they succumb to their passions at a crucial moment; others acquire personal fulfilment only to become aware of a greater sense of service to others. A moral dilemma arises from the conflict between the ideal of personal honour and that of the king's duty to the state. The latter is achieved only by self-abnegation, and one may establish a hierarchy of heroes, ranging from Hérode, in whom subjection to the passions leads to destruction of the personality, to Cirus, the embodiment of self-sufficiency. In the conclusion to this study the moral framework of Hardy's tragedies is shown to lie in the self-sufficiency and will to perfection of the hero who recognises only honour and justice as immutable principles external to himself. It is a conception of tragedy which includes not only degradation and despair, but also optimism and the exaltation of the human spirit. Plot summaries of Hardy's ten tragedies are given in an appendix. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

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Th. doct.--Musicologie--Paris-Sorbonne, 2002. / Catalogue des oeuvres d'A. Guilmant p. 601-729. Sources et bibliogr. p. 737-756. Index.

Thesis (Ph. D.)--University of Washington, 1982. / Vita. Bibliography: leaves [334]-359.

Texte remanié de: Dissertation--Fachbereich Geisteswissenschaften--Universität Duisburg-Essen, 2005. / Notes bibliogr.