Thesis (doctoral)--Uppsala, 1857. / Includes bibliographical references.

Thesis--Dibrugarh University, 1969. / Added t.p. in English. Includes bibliographical references (p. [9-13] (last group)) and index.

Thesis--Marburg/Lahn. / Includes bibliographical references (p. 405-425).

This thesis focuses on the mosaic scenes of Roman era, especially on the gods and other mythological figures associated with water. The thesis is divided into 10 chapters. The first chapter is dedicated to the mythology of gods and characters and their brief iconographic characterization. Other chapters are divided by the areas that were under domination of Roman Empire. Each of these chapters has identical structure. The text deals with the mosaics and motifs of these areas in general. Then there are described subsequently collected examples of mosaics. On the basis of the description and characteristics is the last chapter sub-section dealing with similarities and comparison. The penultimate chapter focuses on a mosaic in terms of several aspects: production, technology, workshops, location, different techniques, signatures and trademarks. The conclusions that result from surveyed sample mosaics are summarized at the end of thesis. It is especially focused on the motifs and characters. Keywords Iconography, mosaics, Roman art, deities

Thesis--Munich. / Bibliography: p. 216-220.

Les divinités vénérées par les Aztèques dans le Mexique central étaient nombreuses et complexes. Afin de mieux comprendre ces entités, les chercheurs ont adopté différentes approches dans leurs études au cours des dernières décennies, mais la matérialité des parures divines est restée un sujet peu exploré. Malgré l’importance que l’on reconnaît aux attributs, aucune étude ne s’est intéressée de manière globale et systématique aux matériaux qui constituaient les dieux et à leurs significations. Pourtant, ces derniers étaient au fondement des divinités qui incarnaient notamment des manifestations naturelles et se matérialisaient dans le monde des hommes au moyen de formes physiques constituées de matériaux prélevés dans la nature. Elles pouvaient alors être représentées ou bien personnifiées par des statues ou des hommes revêtant les parures de ces entités. L’objectif de cette thèse est de proposer une méthode d’analyse des divinités d’un point de vue emic, fondée sur le déchiffrement de leurs parures et donc sur l’étude systématique des éléments naturels utilisés ou symbolisés dans celles-ci. En décomposant les parures de Tlaloc et de Huitzilopochtli, ce travail met en évidence les significations des matériaux en rapport avec les formes qu’ils prenaient (c’est-à-dire les attributs portés) et les supports corporels des dieux, ceci afin de restituer ce que représentaient ces deux entités pour les Aztèques et comprendre les variations qui affectaient leurs parures d’un contexte à un autre. Apparaît une conception de ces dieux parfois différente de celle que l’on pouvait en avoir, héritée des religieux et des conquérants espagnols. / The deities honored by the Aztecs of Central Mexico were numerous and complex. In order to better understand these entities, Mesoamericanists have addressed this topic from different approaches over the past decades, but the materiality of the gods’ costumes has remained a little-explored subject. Despite the fact that the importance of the attributes is acknowledged by scholars, no study to this date has ever proposed a global and systematic analysis of the materials that composed the deities and of their meanings. However, they were a central part of the deities, given that most of them embodied natural phenomena and showed themselves in the world of men by means of physical forms made of materials taken from nature. In that case, they could be represented or personified by men who wore the costumes of these entities. The contribution of my dissertation is based on the development of a methodology to study the deities from an emic perspective and decipher the meaning of their costumes, which implies a systematic analysis of the natural elements they used or symbolized. By decomposing the costumes of Tlaloc and Huitzilopochtli, this work emphasizes the meanings of the natural elements in relation to the forms they took (i.e. the attributes worn) and the gods’ bodies, in order to understand what these two entities represented for the Aztecs and why their costumes could vary depending on the context. What comes to light is a conception of Tlaloc and Huitzilopochtli that can be different from the one we had, inherited from the Spanish missionaries and conquerors.

O objetivo dessa pesquisa é analisar e compreender quais os papéis dos agentes não humanos em narrativas genealógicas, históricas e cosmológicas mixtecas produzidas no final do período pré-hispânico e colonial inicial, sobretudo daquelas figuras consideradas como deidades pelos estudiosos desses manuscritos. Para alcançar esse objetivo foram analisadas, as supostas deidades e suas ações em quatro códices mixtecos: Bodley, Selden, Vindobonense e Zouche Nuttall, manuscritos pictoglíficos produzidos a mando de elites indígenas mixtecas. Os agentes envolvidos nessas histórias podem ser base para a compreensão do que seriam as concepções de história e poder político para essas elites mixtecas, pois a produção das narrativas contidas nos códices mesoamericanos estava intimamente ligada à influência e à justificativa de domínio político das elites indígenas. / This research aims to analyze and to comprehend the role of no human agents in the mixtec genealogical, historical, and cosmological narratives produced in the late pre-hispanic and early colonial period, more precisely those characters considered as deities by the specialists in the study of these manuscripts. To achieve this objective, the supposed deities and their actions will be analyzed in four mixtec codices: Bodley, Selden, Vindobonense and Zouche Nuttall, pictoglyphic manuscripts produced at behest of mixtec indigenous elites. The agents involved in these histories could be the basis to comprehend what would be the conceptions of history and political power to these elites, since the production of the narratives encloused in the mesoamerican codices were closely linked to the influence and justification of political domain of the indigenous elites.

Thesis (B.A.)--Haverford College Dept. of Classics, 1992. / Includes bibliographical references.

The subject matter for this research is the representation of femininities and masculinities in Roman art with particular reference to that of Roman Britain. The study focuses on the visual presentation of gender for specific deities, personifications and figural images in funerary art; this includes concepts of sexuality that in some cases become entwined with the study of gender. I have endeavoured to demonstrate how socially constructed values add to the understandings of gender and Roman art. The first chapter concentrates on Roman concepts relating to masculinities and femininities, detailing how these are portrayed in visual culture. This entails the identification of gender markers in various forms including clothing (for example the toga and stola), jewellery (such as the bulla) and distinct objects (for instance, military paraphernalia, weaving combs and spinning equipment). Following this broad introduction to gender in Roman art, the study then centres on specific deities, commencing with Venus and Mars, then Diana and Apollo, and Minerva and Hercules - each one has a particular gender ascription. I examine these in terms of visual representation and how their specific femininities and masculinities were presented. Personifications and figural funerary art, respectively, are the following and final chapters of the research. The former deals with the use of personifications in Roman art and the latter with patronage and presentation of figural tombstones and inscriptions. Both chapters observe these issues with preference towards the demonstration of gender allocation and any undertones implicated.

O objetivo dessa pesquisa é analisar e compreender quais os papéis dos agentes não humanos em narrativas genealógicas, históricas e cosmológicas mixtecas produzidas no final do período pré-hispânico e colonial inicial, sobretudo daquelas figuras consideradas como deidades pelos estudiosos desses manuscritos. Para alcançar esse objetivo foram analisadas, as supostas deidades e suas ações em quatro códices mixtecos: Bodley, Selden, Vindobonense e Zouche Nuttall, manuscritos pictoglíficos produzidos a mando de elites indígenas mixtecas. Os agentes envolvidos nessas histórias podem ser base para a compreensão do que seriam as concepções de história e poder político para essas elites mixtecas, pois a produção das narrativas contidas nos códices mesoamericanos estava intimamente ligada à influência e à justificativa de domínio político das elites indígenas. / This research aims to analyze and to comprehend the role of no human agents in the mixtec genealogical, historical, and cosmological narratives produced in the late pre-hispanic and early colonial period, more precisely those characters considered as deities by the specialists in the study of these manuscripts. To achieve this objective, the supposed deities and their actions will be analyzed in four mixtec codices: Bodley, Selden, Vindobonense and Zouche Nuttall, pictoglyphic manuscripts produced at behest of mixtec indigenous elites. The agents involved in these histories could be the basis to comprehend what would be the conceptions of history and political power to these elites, since the production of the narratives encloused in the mesoamerican codices were closely linked to the influence and justification of political domain of the indigenous elites.