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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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L'image de Clovis dans le royaume de France entre 1250 et 1550 / The image of Clovis in the Kingdom of France between 1200 and 1500Mouré, Pauline 14 December 2018 (has links)
Jusqu'à la fin du XIIe siècle, la vie de Clovis, roi mérovingien et premier roi chrétien qui a régné sur le royaume franc sûrement à partir de 481 et jusqu'à sa mort, le 27 novembre 511, ne paraît avoir été que rarement transposée en images. À partir de 1200, en revanche, l'iconographie figurant le souverain mérovingien se développe, diffusée de plus en plus largement dans le royaume de France. Cette évolution traduit un changement qui s'opère dans l'intérêt porté à Clovis durant les trois derniers siècles du Moyen Âge. Afin de saisir la teneur de ce changement, la présente étude se propose d'analyser l'importance octroyée à l'image de Clovis dans le royaume de France entre 1200 et 1500. Pour ce faire, l'examen de l'iconographie clodovéenne encore connue a été effectué. Celui-ci permet d'abord, grâce à l'évaluation de l'abondance et de la propagation de l'imagerie clodovéenne dans le royaume, de rendre compte de l'importance de la diffusion de l'image du roi et de cerner l'étendue et la diversité du public auquel celle-ci s'adressait. Cet examen permet ensuite d'analyser les modalités de la mise en images de l'histoire du souverain, renseignant sur les variations du discours diffusé par l'iconographie. Enfin, l'étude de la signification des images et de leur fonction permet, à une époque où se forme ce que Colette Beaune nomme le « sentiment national » et où l'histoire du royaume est traversée par un des conflits majeurs de la période, la guerre de Cent Ans, de comprendre les raisons du développement de l'imagerie figurant Clovis et des variations de la place conférée au roi dans le discours iconographique diffusé, entre 1200 et 1500, dans le royaume de France. / Until the end of the 12th century, the life of Clovis, a Merovingian king and the first Christian king of the Frankish kingdom, who reigned from about the year 481 until his death on November 27, 511, seems to have been rarely depicted in images. From 1200 onwards, however, iconography picturing the Merovingian king expanded, spreading more and more widely in the kingdom of France. This evolution reflects a change in the interest accorded to Clovis over the last three centuries of the Middle Ages. In order to grasp the substance of this change, this study analyzes the importance attributed to the image of Clovis in the kingdom of France between 1200 et 1500. To this end, an examination of known Clodovian iconography has been conducted. First, this evaluation of the quantity and spread of Clodovian imagery in the kingdom allows us to determine the magnitude of the dissemination of the king’s image as well as the scope and diversity of the public to which it was addressed. This examination then allows us to analyze the modalities of depicting the sovereign’s history, based on variations in the message spread by the iconography. Finally, the study of the meaning of the images and of their function yields – at a time when what Colette Beaune calls the “national sentiment” is forming and when the kingdom encounters one of the major conflicts of the period, the Hundred Years War – an understanding of the reasons for the development of the imagery depicting Clovis and for the variations in the place accorded to the king in the iconographic discourse spread between 1200 and 1500 in the kingdom of France.
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Diadem och identitet : En studie kring identiteter i kejsarinnan Josephines pärl- och kamédiadem / Diadem and Identity : A Study on Identities in Empress Josephine's Pearl and Cameo Diademaf Klinteberg, Kristina January 2020 (has links)
This paper, on the identities shown in one of the cameos in Empress Josephine’s pearl and cameo diadem, has first of all focused on the mythological characters, and thereafter raised the question if these are to be seen as an allegory for people from the time. The process of identi-fication has followed the three levels in Panofsky’s method for analysing art, where the first and second levels consist of already known material from the Bernadotte Library, Royal Palace in Stockholm and the jeweller house of Chaumet (former Nitot et Fils) in Paris. To decipher both the mythological individuals and the possible allegories, that is the third level, the iconology itself, the thoughts and methods of Göran Hermerén on the rise and fall of allegories along with Leora Auslander’s solutions using visuals comparisons, when no written material is available, have provided the academic framework for the study. When comparing the cameo with pieces of art from the time, the subject fits the description of the Roman mythology’s love goddess Venus and her son Cupid, the lovechild fathered by Mars. Moving on to allegories, well-known material shows that Emperor Napoleon was keen to be portrayed as the god of war Mars and Empress Josephine as Venus. A portrait of special interest to the study, a rather private painting by Parent from 1807, which is probably still unknown to most people, shows how Josephine is depicted with a recently deceased grandchild, a young boy how was also the nephew of Napoleon’s, a close relative to them both, and in the line of succession to the throne, while Napoleon still was Emperor. This picture has an expression which is close to the one of Venus and Cupid, and it is also made to look like a cameo. These portraits were known at the time when Napoleon gave the diadem to Josephine in 1809. Among portraits from the Napoleonic era, there has earlier only been one known painting, even if in two examples, where the diadem is shown. It is a miniature of Empress Josephine, a work from her final period at Malmaison, 1814. However, another miniature picturing the daughter Hortense in the very same piece of jewellery, from 1812, has now become known. In both these examples, the depicted cameo has a hight measuring only millimetres, why a discussion on the execution and the rendering has to be done with restraint. But in the daughter´s portrait there is a certain attempt to show the outlines of the central cameo that differs from the later painting of the Empress. This may be an indication of how much more important it was for the daughter to relay the picture of her mother and the memory of her son, in 1812, than it was for Josephine in 1814, after the divorce, probably after the fall of Napoleon too, when she was no longer his Venus, and there was no longer a throne for any of her grandsons to inherit. Therefore, in short, the chosen methods give the answer that the mythology depicted is a scene of Venus and her son Cupid, and the allegorical interpretation of Venus is the Empress herself. The child in shape of Cupid here, may well be read as one of her daughter’s sons, at the time a much longed-for heir to the throne of Napoleon I.
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Semiotics as a medium to convey the philosophy and psychology of evil in the Xitsonga translation of MacbethNdove, Mkhancane Daniel 06 1900 (has links)
This thesis publicly displays the veracity of witchcraft and superstitious fables, which, many people believe to be irrational in nature. In this analysis, semiotics has been paraded in various versions from chapter to chapter-in order to illustrate the miscellaneous interpretations. The backbone of the investigation focuses on the philosophy and psychology of evil, a theoretical belief that is laid down by practical paradigms at the edge of each chapter.
The point of departure of this investigation emanates from the Shakespearean literary work, Macbeth, which is popularly known for its inclusion of the witches in its illustration of the Scottish kingship. Therefore this thesis has adopted the practices of the witches and from there came out with what is commonly practiced by the Vatsonga people. Scotland, England, Germany and France of the 15th and 16th centuries were the countries best known as the most uncouthed centres for witchcraft and superstitions. Therefore leading stories from these European countries have made this project feasible.
The study has leaked many of the unfounded stories about witchcraft and superstitions that were thought of as extraordinarily great but made real in this work. It has gone as far as windswept the kingship rites, coronation, the powers of the divine bones upon the anointed king, ritual ceremonies, causes of prosperity and failure, tales about stars, ghosts, reptiles, zombies and those hideous deeds that are not socially acceptable such as digging up of children's graves, convulsions, calling for rain, punishment meted out for a witch, prevention of adultery, changing oneself to a crocodile, rat, snake and many more stories. / African Languages / D. Litt. et Phil. (African Languages)
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Semiotics as a medium to convey the philosophy and psychology of evil in the Xitsonga translation of MacbethNdove, Mkhancane Daniel 06 1900 (has links)
This thesis publicly displays the veracity of witchcraft and superstitious fables, which, many people believe to be irrational in nature. In this analysis, semiotics has been paraded in various versions from chapter to chapter-in order to illustrate the miscellaneous interpretations. The backbone of the investigation focuses on the philosophy and psychology of evil, a theoretical belief that is laid down by practical paradigms at the edge of each chapter.
The point of departure of this investigation emanates from the Shakespearean literary work, Macbeth, which is popularly known for its inclusion of the witches in its illustration of the Scottish kingship. Therefore this thesis has adopted the practices of the witches and from there came out with what is commonly practiced by the Vatsonga people. Scotland, England, Germany and France of the 15th and 16th centuries were the countries best known as the most uncouthed centres for witchcraft and superstitions. Therefore leading stories from these European countries have made this project feasible.
The study has leaked many of the unfounded stories about witchcraft and superstitions that were thought of as extraordinarily great but made real in this work. It has gone as far as windswept the kingship rites, coronation, the powers of the divine bones upon the anointed king, ritual ceremonies, causes of prosperity and failure, tales about stars, ghosts, reptiles, zombies and those hideous deeds that are not socially acceptable such as digging up of children's graves, convulsions, calling for rain, punishment meted out for a witch, prevention of adultery, changing oneself to a crocodile, rat, snake and many more stories. / African Languages / D. Litt. et Phil. (African Languages)
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Křivoklátská archa / Křivoklát AltarpieceČepeláková, Hana January 2012 (has links)
The Diploma thesis "Křivoklát Altarpiece" tries to process the monographical issues of a late gothic altarpiece retable. The altar has survived as a part of stylistically uniform area of Křivoklát's chapel. Author primarily studies this work of an outstanding quality in the context of the second half of the 15th century of the Central European artistic product. The work is compared with the artistic works of the same type. In addition to that the author tries to clarify iconographic issues of the altarpiece which are often mentioned in specialized literature. The Diploma thesis mainly focuses on the altar's sculpture decoration with the goal to clarify its stylistic origins and the time of its creation. Křivoklát Altarpiece represents one of the most important works coming out of Prague's Jagellonian court.
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Ett diadem och dess ikonografi : En studie av kejsarinnan Josephines pärl- och kamédiadem i porträtt mellan 1812 och 2010 / A Diadem and its Iconography : A Study of Empress Josephine’s Pearl and Cameo Diadem in Portraits between 1812 and 2010af Klinteberg, Kristina January 2021 (has links)
The main purpose of this study of a pearl and cameo diadem, given by Napoleon to his first wife Josephine in 1809, is to follow its representation in portraiture from Paris in 1812 to Stockholm in 2010, and explore how the iconography develops during these 200 years. From the earlier years, the diadem is found only in miniatures, then after coming to the new royal family in Sweden, the Bernadottes, it is given a role of an heirloom representing history and families in grand paintings, arriving to the present well-known wedding hairpiece, covered by modern media, where the diadem is more of a crown than the open, forehead-covering piece of fashion jewellery it was during the Napoleonic era in France. The portraits from 1812, 1814, 1836, 1837, 1877, 1976, 2000/2003 and 2010 also portray a development of the female role model of its time. Just like the hair piece attains an iconography which comprises not only the highest dress codes but also a possibility of status transformation for the people involved in ceremony, the role of the country’s First Lady is about to change into a higher, more egalitarian position of present days.
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The Pleiadic Age of Stuart Poesie: Restoration Uranography, Dryden's Judicial Astrology, and the Fate of Anne KilligrewBrown, Morgan Alexander 30 April 2010 (has links)
The following Thesis is a survey of seventeenth-century uranography, with specific focus on the use of the Pleiades and Charles's Wain by English poets and pageant writers as astrological ciphers for the Stuart dynasty (1603-1649; 1660-1688). I then use that survey to address the problem of irony in John Dryden's 1685 Pindaric elegy, "To the Pious Memory of Mrs. Anne Killigrew," since the longstanding notion of what the Pleiades signify in Dryden's ode is problematic from an astronomical and astrological perspective. In his elegiac ode, Dryden translates a young female artist to the Pleiades to actuate her apotheosis, not for the sake of mere fulsome hypberbole, but in such a way that Anne (b. 1660-d. 1685) signifies for the reign of Charles II (1660-1685) in her Pleiadic catasterism. The political underpinnings of Killigrew's apotheosis reduce the probability that Dryden's hyperbole reserves pejorative ironic potential.
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