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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-08-23T12:17:08Z No. of bitstreams: 1 Raquel Vaccari de Lima.pdf: 4955435 bytes, checksum: 82147240fb6a98c85f7133b087f2ec1c (MD5) / Made available in DSpace on 2016-08-23T12:17:08Z (GMT). No. of bitstreams: 1 Raquel Vaccari de Lima.pdf: 4955435 bytes, checksum: 82147240fb6a98c85f7133b087f2ec1c (MD5) Previous issue date: 2016-03-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present thesis discusses the form in which the discourses of epitaphs, in a socio-historically constructed Christian context, deny the finitude of spiritual life and thus promote an idealized image of the deceased in order to eternalize him in the social memory and to extol, as a practice of a religious habitus, a posthumous life in “Eternity”. In the light of this, we have set as an overall goal to analyze the epitaph discourse genre and its socio-historical conditions of production. We have started off with the hypothesis that the Christian man, aware of his death, comforts himself with the certainty of eternal life and yearns to preserve his memory in his social group. The belief in death as a passage to another life perpetuates in the discourse of epitaphs, whose scenography assists the human being to enter “Eternity” and to list the biographical virtues of the deceased, thus legitimizing the perpetuation of his memory. We have adopted the theoretical-methodological framework of Discourse Analysis, especially the categories: discourse genre, scenography, interdiscourse and discursive ethos, proposed by Dominique Maingueneau. To deal with the considerations about death and epitaphs, we have fallen back upon aspects of approaches from Anthropology, Philosophy, Theology and Psychoanalysis. The analyses undertaken in the present research have pointed to, in the workings of the discourses in epitaphs, the crossing of the discursive fields of death, religiosity, literature and history. We have also discovered that the scenographies that engender the discourses of epitaphs range from the promotion of a posthumous life to biography, in which the exemplary behavior of the deceased is extolled. Finally, the research has pointed out to the fact that the discursive ethos of the enunciator corresponds to the positive image of the good Christian / Esta tese trata da forma como os discursos dos epitáfios, num contexto cristão sócio-historicamente constituído, negam a finitude da vida espiritual e promovem uma imagem exemplar do morto a fim de eternizá-lo na memória social e exaltar, como prática de um habitus religioso, uma vida póstuma na “Eternidade”. O objetivo geral é analisar os gêneros de discurso epitáfio e suas condições sócio-históricas de produção. Partimos da hipótese segundo a qual o homem cristão, consciente de sua morte, consola-se com a certeza da vida eterna e anseia por manter viva sua lembrança em seu grupo social. A crença na morte como passagem para outra vida perpetua-se no discurso dos epitáfios, cuja cenografia auxilia o ser humano a ingressar na “Eternidade” e a biografar as virtudes do falecido, legitimando a perpetuação de sua memória. Adotamos o aparato teórico-metodológico da Análise do Discurso, principalmente as categorias: gênero de discurso, cenografia, interdiscurso e ethos discursivo, propostas por Dominique Maingueneau. Para as considerações acerca da morte e dos epitáfios, recorremos a aspectos de abordagens da Antropologia, da Filosofia, da Teologia e da Psicanálise. As análises empreendidas nesta pesquisa apontaram, no funcionamento dos discursos dos epitáfios, o cruzamento de campos discursivos da morte, da religiosidade, do literário e o da história. Constatamos, ainda, que as cenografias que engendram os discursos dos epitáfios variam de forma ora de promoção de uma vida póstuma, ora biográfica, exaltando as condutas exemplares do morto. E, por fim, a pesquisa constatou que o ethos discursivo do enunciador é correlato à imagem positiva do bom cristão

Grave markers reflect a wealth of information and collectively epitomize society's historic, social, and economic patterns over time. Despite an abundance of cemetery research in other parts of the country, little research has been undertaken to evaluate grave marker attributes in Florida. The purpose of this research was to determine how grave marker attributes have changed over time in north-central, central, and southeast Florida. Data were collected from ten cemeteries in five counties in Florida, representing the grave markers of over 1,100 individuals. Data collection involved visiting each cemetery, photographing markers, and cataloging grave marker attributes. Attributes analyzed included marker type, marker material, epitaphs, iconographic images, memorial photographs, footstones, and kerbs. A number of important trends were noted. Marker material exhibited the clearest example of a temporal trend, shifting over time from 73% marble to 73% granite. Marker type varied greatly from upright and flat ground markers to a variety of customized markers and vaults. Cultural differences were also noted with in-ground vaults dominating traditionally black cemeteries. There were clear differences in marker style between affluent and less affluent cemeteries, with numerous hand-cast cement markers observed in less prosperous areas. Furthermore, beginning in the early 1980's there is an increase in customized laser engraved markers. Overall, Florida's cemeteries offer a rich history of the state's mortuary practices and further research should be conducted to preserve this history.

Le présent travail a pour objet l’étude des appels aux passants en Égypte ancienne depuis sa naissance durant la IVe dynastie jusqu’à la fin de la période pharaonique. Il s’agit ainsi de déterminer l’identité de cette formule sur trois millénaires, selon deux axes principaux : historique et phraséologique. Un premier point, « Interpeller les vivants », est consacré à la caractérisation des contextes dans lesquels les appels interviennent à travers le temps. On y dresse un panorama par périodes, en évoquant les catégories sociales qui recourent à cette inscription et les lieux de découvertes. La prise en compte des données issues de l’archéologie permet alors de présenter la mise en scène accompagnant le discours. Dans le cadre de la prise de parole du défunt, la rhétorique de l’appel s’étend à l’ensemble du support mémoriel et le decorum est au service de la capatio benevolentiae. La deuxième partie, « Commémorer sur trois millénaires », se propose d’extraire et d’évaluer la part d’historicité à l’œuvre dans la formule. La phraséologie mobilisée dans les appels est d’abord interrogée du point de vue du Sitz im Leben puis en termes d’actions rituelles attendues. Le déroulement des rites envers les défunts fait finalement l’objet d’une proposition de reconstitution se basant sur le contenu des appels. En dernier lieu, « L’appel, expression d’une société solidaire », met en avant la part idéologique de la formule. Par sa composition et les idées véhiculées, l’appel constitue un relais majeur de la Maât sociale, établissant un pont entre les générations, par-delà vie et mort. Les mécanismes humains et l’aspect dogmatique de la formule expliquent son succès et sa longévité. / This Dissertation deals with the so-called “Appeal to the Living Ones” in Ancient Egypt since its beginning during the Fourth Dynasty until the end of the Pharaonic period. The identity of this formula will be sought over three millennia, in two main directions : History and Phrasæology.The first section “ Calling to the Living Ones ” will be devoted to the identification of contexts in which the appeals took place over time. It will provide an overview of the formula sorted by eras, referring to social groups who used it and its places of discovery.The archæological data will help us to survey the staging of the speech of the deceased. It seems indeed that the rhetoric of the appeals extends to the entire memorial. Furthermore, the decorum is involved in the capatio benevolentiae.In the second section, “ Commemorating over three millennia ”, we will extract and prospect the role of historicity at work in the formula. Phrasæology used in the appeals is first examined from the point of view of the Sitz im Leben. Then, we will analyse the ritual actions expected. Finally, we will try to rebuild the ritual sequences towards the dead, based on informations contained in the formula.The last section, “ The appeal, staging of a cohesive society ”, will highlight the ideological part of the formula. The appeal deals mainly with social Maat. It establishes a bridge between generations, beyond life and death. The success and the longevity of the formula seems to be connected to both mundane and ideologic preoccupations.

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Contemporary scholarship has seen increasing interest in the study of elegy. The present work attempts to elevate and expand discussions of death and survival beyond the ambit of elegy to a more genre-inclusive and ethically sensitive survey of Romantic posthumous life writings. Combining an ethic of remembrance founded on mutual fulfilment and reciprocal care with the Romantic tendency to hybridise different genres of mourning and commemoration, the study re- conceives 'posthumous life' as the 'inexhaustible' product of endless collaboration between the dead, the dying and the living. This thesis looks to the philosophical meditations of Francis Bacon, John Locke and Emmanuel Levinas for an ethical framework of human protection, fulfilment and preservation. In an effort to locate the origin of posthumous life writing, the first chapter examines the philosophical context in which different genres and media of commemoration emerged in the eighteenth century. Accordingly, it will commence with a survey of Enlightenment attitudes toward posthumous sympathy and the threat of death. The second part of the chapter turns to the tangled histories of epitaph, biography, portraiture, sepulchre and elegy in the writings of Samuel Johnson, Henry Kett, Vicesimus Knox, William Godwin and William Wordsworth. The Romantic culture of mourning and commemoration inherits the intellectual and generic legacies of the Enlightenment. Hence, Chapter Two will try to uncover the complex generic and formal crossovers between epitaph, extempore, effusion, elegy and biography in Wordsworth's 'Extempore Effusion upon the Death of James Hogg' (1835-7) and his 'Epitaph' (1835-7) for Charles Lamb. However, the chapter also recognises the ethical repercussions of Wordsworth's inadequate, even mortifying, treatment of a fellow woman writer in his otherwise successful expression of ethical remembrance. To address the problem of gender in Romantic memorialisation, Chapter Three will take a close look at Letitia Elizabeth Landon' s reply to Wordsworth's incompetent defence of Felicia Hemans. Mediating the ambitions and anxieties of her subject, as well as her public image and private pain, 'Felicia Hemans' (1838) is an audacious composite of autograph, epitaph, elegy, corrective biography and visual portraiture. The two closing chapters respond to Thomas Carlyle's outspoken confidence in 'Portraits and Letters' as indispensable aids to biographies. Chapter Four identifies a tentative connection between the aesthetic of visual portraiture and the ethic of life writing. To demonstrate the convergence of both artistic and humane principles, this cross-media analysis will first evaluate Sir Joshua Reynolds's memoirs of his deceased friends. Then, it will compare Wordsworth's and Hemans's verse reflections on the commemorative power and limitation of iconography. The last chapter assesses the role of private correspondence in the continuation of familiar relation and reciprocal support. Landon's dramatic enactment of a 'feminine Robinson Crusoe' in her letters from Africa urges the unbroken offering of service and remembrance to a fallen friend through posthumous correspondence. The concluding section will consider the ethical implications for the belated memorials and services furnished by friends and colleagues in the wake of her death.

L’épitaphe est porteuse de valeurs, au premier chef identitaires et mémorielles. L’espace étudié, l’Aquitaine Seconde et la Novempopulanie aux IVe-VIIIe s. se montre, en raison d’une romanité marquée, d’un christianisme naissant et des migrations wisigothiques et franques, un terrain de jeu idéal pour discuter les identités en termes de transformations, crises en encore constructions. Reste à savoir comment les inscriptions funéraires prennent part au débat, ce qu’elles révèlent, ou non, de ces bouleversements. Or nos documents n’amènent pas si simplement dans le champ de l’histoire évènementielle ni même dans celui d’une histoire de la christianisation. Les limites des sources (datation, dispersion, laconisme) conduisent au glissement des questionnements : ne pas s’arrêter à ce que l’épitaphe dit mais réfléchir à ses manipulations. Il s’agit, en évaluant les identités transmises, en estimant la portée mémorielle de l’épitaphe, de s’interroger sur les facteurs qui poussent une part de la société du Sud-Ouest gaulois à recourir à l’écrit lapidaire. Avant d’assumer une fonction, l’épitaphe relève d’une intention, déterminée en partie par un environnement, social et culturel, peut-Être par des habitudes. Ainsi pris, le tournant invite à une autre approche des documents, celle des pratiques, des gestes, des publics et in fine celle de la culture (des cultures) qui les produit. Ce travail, fondé sur un recueil des inscriptions des régions étudiées, défend une vision globale de l’objet épigraphique, vision qui repose sur des regards tant archéologique qu’historique qui convergent vers une question : le choix de l’épitaphe et ses usages entre Loire et Pyrénées, aux IVe-VIIIe s. / The epitaph carries values of identity and memories. The regions under study, the Aquitaine Seconde and the Novempopulanie between the IVth and VIIIth c., are a perfect playground to discuss the transformation, crisis and construction of identities. Romanitas, the emergence to christianism as well Frankish and Wisigothic migrations also play important parts in this context. The underlying question is to determine to what extent funerary inscriptions can be relevant to this debate, if they reveal, or not, these changes. Our epigraphic documents do not necessarily refer to evental history nor do they evoke clearly the christianisation of territory. However the approximate dating of these sources, their scattering and their terseness, encourage us to go beyond the script itself and rather to consider its usage. In other words, the aim is to evaluate identities which are passed and their remembrance value to understand what are the factors that have fostered the choice of the epitaph by a part of the society of the south west Gallia. Prior to assuming informative and commemorative roles, the epitaph is firstly a cultural and social practice, probably motivated by habits. This perspective calls for a different approach of the epitaph, which focuses on the environment, culture and practices that produce it. This work, based on a corpus of the inscriptions of Aquitaine Seconde and Novempopulanie, defend a global vision of the epigraphic object, since its creation to its reception by different audiences. This perception being on both historical and archeological point of views, animated by a common theme: the choice and the uses of the epitaph between Loire and Pyrenees from the IVth and VIIIth c.

The present thesis investigates the music and career of Jeffrey Lewis (born 1942). The thesis is broadly divided into three sections. First is an account of the composer’s life, told mainly through an overview of his works, but also through a sketch of his early years in South Wales, his studies in Cardiff, Darmstadt, Kraków and Paris, his academic career in Leeds and Bangor, and his subsequent early retirement from academia. There follows a more detailed study of six works from the period 1978 – 1985, during which certain features of Lewis’s musical language came to the fore, perhaps most notably a very individual and instantly recognisable use of modal language. After an Epilogue, the thesis concludes with an Appendix in the form of a Catalogue in which all Lewis’s known compositions are listed, together with details of performances, broadcasts and recordings. Lewis’s music often plays with our temporal expectations; the close interrelationship between texture, structure, harmony and melody, and its effect upon our perception of the passage of time, are explored in the main analyses. These are conducted partly by means of comparison with other works by Lewis or his contemporaries. Memoria is examined in relation to a similarly tranquil score, Naaotwá Lalá, by Giles Swayne. The following chapter discusses the extra-musical inspiration for Epitaph for Abelard and Heloise, whose relationship to Tableau is then explored in the next. The difficulties of creating a large-scale structure that unifies the work’s various harmonic elements are also investigated. The analysis of Carmen Paschale considers it in relation to Lewis’s other choral music, whilst the final analytical chapter compares and contrasts two three-movement works, the Piano Trio and the Fantasy for solo piano. Lewis’s melodic writing in the Piano Trio is discussed in relation to that of James MacMillan, and the origins of the first movement of Fantasy in Oliver Knussen’s Sonya’s Lullaby are explored. In the Epilogue, the possible reasons for Lewis’s current neglect are explored, various influences on Lewis’s musical thinking are laid out, and his achievements are assessed.