Dès la loi impériale du 23 Prairial an XII (12 juin1804) qui impose l’obligation d’inhumation pour tous au cimetière, la sculpture se met au service du portrait du défunt, dans cet espace si particulier qui tient à la fois du cadre privé et du cadre public. Héritier d’une tradition jusqu’alors réservée aux nobles et au roi, le portrait funéraire s’affiche dans une iconographie qui oscille entre symbolique et réalisme des traits physiques; le militaire est honoré comme héros tandis que le curé est vénéré par les paroissiens. S’inscrivant dans la mode de la statuomanie galopante des années 1880, les cimetières lorrains rejoignent la volonté publique d’honorer ses Grands Hommes, à une époque où la « Petite Patrie », la Lorraine, rencontre la « Grande Patrie », la France, où des artistes connus et parfois moins connus mettent leur savoir-faire et leur notoriété au service de portraits de notables. Le portrait funéraire connaît alors son âge d’or. Alors que le cimetière moderne se construit peu à peu grâce à son organisation parcellaire, les familles éprouvent très rapidement le besoin impérieux de matérialiser, sur ces concessions familiales, le souvenir des traits de leur défunt et le portrait sculpté leur en offre la possibilité et le voilà qui quitte l’intimité des salons pour être installé soit sur la stèle de la tombe familiale. C’est ainsi que l’époux éploré se souvient du visage de sa chère épouse, que des parents effondrés peuvent se consoler d’avoir perdu un petit ange en lui substituant un autre visage, plutôt idéalisé, ou mieux la figure d’un autre ange, plus solide car en marbre et plus protecteur. Peu à peu, le cimetière se pare d’un peuple de statues que viennent compléter quelques motifs professionnels, rares toutefois. La personnalisation de la tombe reste toutefois très discrète, la douleur contenue. La sculpture funéraire, et le portrait en particulier, se mettent au service de l’expression de sentiments filiaux ou conjugaux, réservés jusqu’alors à l’intimité, mais traduisent un élitisme que la législation du 23 prairial an XII ne souhaitait pas. Pendant la période 1880-1930, les commanditaires des portraits funéraires bénéficient d’une offre élargie de produits notamment grâce à l’essor de la photographie et au procédé de vitrification. Sans concurrencer le portrait sculpté porté principalement par le médaillon de bronze et la ronde-bosse, le vitrail photographique permet de promouvoir le souvenir du défunt dans un écrin luxueux, où, pour la première fois, la présence de la couleur fait animer ces visages et les rend presque vivants. Mais, c’est un luxe que peu de familles peuvent s’offrir. Alors, le médaillon photographique sur plaque émaillée, plus modeste, permet à une clientèle moins fortunée d’accéder au portrait funéraire au cimetière. Après 1930, alors que chapelle et vitrail disparaissent des allées du cimetière, le médaillon peut définitivement prendre place sur les sépultures. Très vite, c’est un succès assuré qui ne se dément pas, aujourd’hui encore. La période de 1940 à nos jours est de loin la plus riche en portraits funéraires et ce grâce à des techniques bien maîtrisées, celle de la photographie sur médaillon de porcelaine et celle de la gravure mécanique ou artistique, grâce également à de nouveaux supports que sont les plaques funéraires, les urnes, les vases. Et il n’est pas rare qu’une famille ait recours à des techniques différentes pour chacun de ses défunts. La façon de présenter le défunt a également évolué ; le modèle de studio photographique cède la place à un modèle présenté « au naturel », c’est-à-dire issu de l’album photographique familial et de nouveaux symboles montrent le défunt sous des aspects plus personnels. Désormais, le portrait funéraire du défunt au cimetière n’est plus seulement un visage mais c’est aussi un sportif, un chasseur, un motard, un professionnel, un amoureux des bêtes, un amateur de pétanque / From the imperial law of 23 Prairial year XII (June 12, 1804) which imposes the burial obligation for all in the cemetery, the sculpture puts itself at the service of the portrait of the deceased, in this very special space which is at the same time of the private frame and the public setting. Heir to a tradition hitherto booked with noble and to the king, the funerary portrait is displayed in an iconography which oscillates between symbolic system and realism of the physical features; the soldier is honored as hero while the priest is venerated by the parishioners. Falling under the fashion of the “statuomanie galopante” years 1880, the Lorraine cemeteries join the public will to honour its Great men, at one time when the “Small Fatherland”, Lorraine, meets the “Great Fatherland”, France, where known artists and sometimes less known put their know-how and their notoriety at the service of portraits the notable ones. The funerary portrait knows its golden age then. Whereas the modern cemetery is built little by little thanks to its compartmental organization, the families test the imperative need very quickly to materialize, on these family concessions, the memory of the features of their late and the carved portrait give of it them the opportunity and here it is which leaves the intimacy of the living rooms to be installed either on the family stele of the tomb. Thus the tearful husband remembers the face his dear wife, that ploughed up parents can comfort themselves to have lost a little angel in him substituent another face, rather idealized, or best the figure of another angel, more solid because out of marble and more protective. Little by little, the cemetery is avoided of people of statues which some professional reasons come to supplement, rare however. The personalization of the tomb remains however very discrete, the pain contained. The funerary sculpture, and the portrait in particular, are put at the service of the expression of subsidiary or marital feelings, hitherto booked with the intimacy, but translate an elitism which the legislation 23 Prairial An XII did not wish. For the period 1880-1930, the silent partners of the funerary portraits profit from a widened offer of products in particular thanks to rise of the photography and with the process of vitrification. Without competing with the carved portrait carried mainly by the bronze medallion and the sculpture in the round, the photographic stained glass makes it possible to promote the memory of late in a luxurious house, where, for the first time, the presence of the color makes animate these faces and makes them almost alive. But, it is a luxury which few families can offer. Then, the photographic medallion on enamelled plate, more modest, makes it possible to less fortunate customers to reach the funerary portrait with the cemetery. After 1930, whereas vault and stained glass disappear from the alleys of the cemetery, the medallion can definitively take seat on the burials. Very quickly, these is a assured success which is not contradicted, still today. The period of 1940 to our days is by far richest in funerary portraits and this thanks to techniques controlled well, that of photography on porcelain medallion and that of mechanical or artistic engraving, grace also to new supports which are the funerary plates, the ballot boxes, vases. And it is not rare that a family resorts to different techniques for each one of her late. The way of presenting the late one also evolved; the photographic model of studio gives way to a model presented “to the naturalness”, i.e. resulting from the family photographic album and new symbols show the late one under more personal aspects. From now on, the funerary portrait of late with the cemetery is not only any more one face but it is also a sportsman, a hunter, a motorcyclist, a professional, in love with the animals, an amateur of game of bowls.

No description available.

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.

Por se tratar de um gênero flexível, o epigrama pode ser analisado em conjunto ou sozinho, propiciando diferentes recortes e abordagens metodológicas. Estudos acerca do epigrama fúnebre geralmente analisam os poemas de acordo com temas afins focando nos mortos: guerreiros mortos, mulheres mortas no parto, mortos no mar dentre outros. No entanto, uma abordagem dos epigramas fúnebres com visão descentralizada do morto permite investigação mais ampla de outros temas. Desse modo, a presente tese partiu dos estudos de Giuseppe Giangrande, Francis Cairns e Alexander Sens sobre epigramas fúnebres que lançam mão de elementos simposiais no intuito de analisar a função de tais elemento e verificar de que maneira os simposiais presentes nos epigramas fúnebres se perpetuam ou se modificam. Para tanto, foram selecionados epigramas do livro VII da Antologia Grega que possuem léxico simposial e fúnebre e, a partir dos identificados, foram configurados três grupos: 1) os dedicados ao poeta Anacreonte, 2) os dedicados às mulheres bêbadas e 3) os dedicados aos homens bêbados. Nos epigramas dedicados a Anacreonte, pode-se constatar que os elementos simposiais resgatam sua poesia e a filiam aos epigramatistas por meio da transformação do espaço funerário e das relações entre o transeunte-leitor e o poeta. Nos poemas dedicados às mulheres bêbadas, o consumo do vinho e o enterramento próximo aos locais de produção dele ressaltam a mobilidade das anciãs, o distanciamento de seus familiares e o caráter cômico das mortas por conta da caracterização da bebedeira. Por fim, nos epigramas fúnebres dedicados aos homens bêbados, evidenciam-se a moderação e a imoderação diante do consumo de vinho. Em alguns, a moderação está alinhada ao conceito poético de composição. Em outros, o excesso de vinho causa acidentes retratados com tom cômico e que advertem o transeunte-leitor a não cometer os mesmos erros. Outro grupo de epigramas se vale das referências simposiais para criar enigmas ao transeunte-leitor. O último, por sua vez, é composto por epitáfios para filósofos mortos por bebedeira. Evidencia-se aqui a tensão entre a moderação e os ensinamentos filosóficos, permeados pelos tons anedótico e cômico. Sugere-se, portanto, que a presença de elementos simposiais adquire função distinta de acordo com o grupo de mortos. Isto posto, observa-se que os epigramas do corpus de diferentes séculos lançam mão de simposiais que passam a ganhar nuances distintas. Isso permite afirmar que os epigramas fúnebres com elementos simposiais perpetuam a tensão criativa entre a tradição e a inovação, conceitos debatidos por Marco Fantuzzi e Richard Hunter, para além do período helenístico. / Because it is a flexible genre, the epigram can be analyzed in groups or alone. It provides researchers with different possibilities of epigram grouping and methodological approaches. Studies on funerary epigram frequently analyze the poems according to related themes focusing on the dead: dead warriors, women dead in childbirth, dead in the sea among others. However, an approach to funerary epigrams which does not focus on the dead allows a broader investigation of other themes. Thus, the present thesis was based on the studies of Giuseppe Giangrande, Francis Cairns and Alexander Sens on funerary epigrams that use sympotic elements in order to analyze the function of such elements and to verify how the sympotic found in funerary epigrams continue being used of if they suffer modifications. In order to do so, we selected epigrams from Book VII of The Greek Anthology that display sympotic and funerary lexicon and, departing from the , three groups of epigrams were identified: 1) those dedicated to the poet Anacreon, 2) those dedicated to drunk women and 3) those dedicated to drunk men. In epigrams dedicated to Anacreon, sympotic elements recover his poetry and connect it to the epigrammatists by means of the transformation of the funeral space and the relationship between the passerby and the poet. In poems dedicated to drunken women, the consumption of wine and their burial near places of wine production emphasize the mobility of old women, their distancing from their relatives and the comic character of the dead women due to the characterization of their drunkenness. Finally, in the funerary epigrams dedicated to drunken men, moderation and immoderation are evident. In some, moderation is aligned with poetic composition. In others, the excess of wine causes accidents portrayed with comic tone. These epigrams warn the passerby not to make the same mistakes as the dead they commemorate. Another group of epigrams uses sympotic references to create charades to the passerby. The last group, in turn, is composed by epitaphs for philosophers killed by drunkenness. Here we see the tension between moderation and philosophical teachings permeated by the anecdotal and comic tone. It is suggested, therefore, that the presence of sympotic elements acquires a different function according to the group of dead. Thus, it is observed that, although the epigrams were composed in different centuries, the portrayed gain different nuances, which allows us to conclude that funerary epigrams with sympotic elements also reflect the creative tension between tradition and innovation, as debated by Marco Fantuzzi and Richard Hunter.

Les lits funéraires de l’époque romaine sont issus d’une tradition ancienne dont les origines, au-delà des Grecs, remontent aux périodes historiques les plus reculées, en Égypte et au Proche-Orient. Depuis le XIXe siècle, les fouilles ont livré de nombreux vestiges chronologiquement situés pour la plupart entre le IIe s. av. et le IIe s. ap. J.-C. ; ils font écho à ceux découverts en contextes domestiques, certes moins nombreux, mais dont l’étude autorise des comparaisons intéressantes et une meilleure compréhension du sujet. La grande variété des modèles répertoriés m’a donc conduit à l’élaboration d’une typologie détaillée, incluant les formes les plus anciennes jusqu’à celles de la période romaine. Les publications consultées ont fait évoluer de manière significative notre connaissance des lits ornés de bronze et ceux rehaussés de décorations en os sculpté. En revanche, les attestations de lits en ivoire demeurent extrêmement rares, que ce soit en Italie ou dans l’ensemble du monde romain. La découverte à Cumes des restes de trois exemplaires, dont les décorations étaient sculptées en ce matériau précieux, constitue par conséquent un témoignage essentiel et de premier ordre. Les fragments étaient mélangés aux ossements des défunts et contenus dans des urnes, elles-mêmes déposées au sein d’importants mausolées. La remarquable qualité de facture et la grande finesse d’exécution, bien visibles sur certaines pièces conservées malgré la destruction engendrée par la crémation, ainsi que les thèmes iconographiques mis en scène, attestent des intentions ostentatoires des propriétaires, soucieux de montrer aux vivants leur statut social, leur richesse et leur vertu. La mise en contexte de ces trois lits et leur étude approfondie, au regard des occurrences connues, a permis pour chacun d’entre eux d’aboutir à une proposition de restitution graphique, préambule indispensable à une analyse iconographique et iconologique. Les résultats obtenus, mis en regard des mausolées dans lesquels ils furent découverts, ont conduit à une compréhension plus précise de la place prépondérante qu’occupaient ces lits dans le cérémonial des funérailles. / The funerary beds of the Roman period come from an ancient tradition, whose origins, beyond the Greeks, can be traced to the earliest historical periods, in Egypt and in the Near East. Since the 19th century, excavations have produced many vestiges, most of them dating back to between the 2nd C. BC up to the 2nd C. AD ; they echo pieces found in domestic contexts which, though less numerous, allow interesting comparisons and a better understanding of the topic. The large variety of the identified models led me to develop a detailed typology of these forms, from the most ancient ones up to those of the Roman period. The consulted publications significantly changed our knowledge of the beds adorned with bronze as well as those adorned with bone carvings. By contrast, instances of ivory beds are extremely rare, whether it be in Italy or in the whole Roman world. Thus, the discovery at Cumae of the vestiges of three ivory beds, adorned with this precious material, serves as essential and unique testimony. The fragments were mixed with the bones of the deceased and placed in urns, themselves located in important mausoleums. Their remarkable quality and meticulous workmanship, clearly visible upon some pieces, which survived the destruction caused by the cremation, as well as the iconographic staged patterns, testify to the conspicuous intentions of their owners, anxious to show their social status, their wealth and their virtues to the living. The contextualization and close study of these three beds, along with a comparison with the known examples, led for each of them to an attempt at a graphic restoration, as a prerequisite for an iconographical and iconological analysis. The achieved results, correlated with the mausoleums where they were found, led to a much more precise understanding of those beds and of the prominent position they enjoyed at the funeral ceremony.

Por meio da análise das máscaras funerárias do Egito Romano procuramos discutir algumas questões relevantes sobre a sociedade egípcia de então. A principal delas é a criação de uma elite local de origem “grega" pelo governo romano e seu papel na propagação de elementos de origem grega e romana no meio cultural egípcio, os quais podem ser observados nas características faciais e no tipo de vestimenta retratados nas máscaras funerárias. Estas formas artísticas variavam cronológica e geograficamente, conforme as particularidades regionais e o interesse da elite dominante aliada ao Império Romano. Nesta complexa rede de relações sociais, as crenças funerárias do Egito Romano mantêm a tradição que remonta ao período faraônico. A máscara pode ser considerada tanto como uma salvaguarda da memória social do morto, o qual preserva assim seu status social, como seu duplo e substituto mágico no Além. / Through the analysis of burial masks of Roman Egypt we discuss some relevant issues bearing on the Egyptian society of those times. Prominent among them is the creation of a local elite of “Greek"origin by the Roman government, and its role in the propagation of elements of Greek and Roman origin in the Egyptian cultural milieu, which can be observed in the facial characteristics and in the garments portrayed in the burial masks. These artistic forms varied chronologically and geographically, according to the regional particularities and the interest of the dominant elite, allied to the Roman Empire. In this complex network of social relationships the funerary beliefs of the Roman Egypt mantain the tradition which reaches back to the pharaonic period. The mask may be considered as much as a safeguard of the social memory of the dead, which, in this way, preserves his social status, as well as his double one and magic substitute in the Beyond.

Les pratiques funéraires sont, dans l’aire maya, étroitement associées aux ensembles résidentiels. La proximité entre les vivants et les morts y est donc maximale, l’espace quotidien étant tout à la fois un lieu d’habitat et un espace funéraire. Cela soulève un certain nombre de questions quant à la relation entre ces individus défunts et leurs descendants, interrogations encore renforcées par l’important degré de sélection qui semble s’exercer à l’endroit des morts. Les Groupes résidentiels sont, pour ces derniers, des lieux dont l’accès est restreint par un certain nombre de paramètres dont le plus important est sans nul doute le statut - situation complexité par l’existence de nombreuses nuances régionales.La présente étude comprend en premier lieu une discussion générale autour de la question des morts dans l’habitat, augmentée d’une discussion méthodologique approfondie concernant la fouille. Elle se poursuit avec la présentation des résultats de la fouille intensive de l’unité 5N6 de Naachtun (Guatemala), qui illustre concrètement le propos développé précédemment. Enfin, les données de différents sites sont confrontées pour mettre en évidence schémas récurrents et différences, puis discutées à la lumière de quelques exemples ethnographiques. / In the Maya area, funerary practices are tightly linked to residential spaces. The proximity between the living and the dead is, therefore, at its apex. This situation raises a number of questions regarding the relationship between these defunct and their living heirs, inter-rogations reinforced by the high selectivity that seems to affect the sample. The residential Groups appear to be restricted areas for the dead, places that only a selected few can access according to different parameters. Amongst these, status is certainly the most prominent. It is further complexified by the existence of regional variations.This study opens with a general approach that deals with the practice of burying the dead within the house, complete with an extensive methodological discussion. A presentation of the excavation results from Naachtun’s Unit 5N6 (Guatemala) follows to illustrate the foregoing. Finally, data from several sites are statistically compared to show similarities and differencies, then discussed in light of several ethnographical studies.

Por se tratar de um gênero flexível, o epigrama pode ser analisado em conjunto ou sozinho, propiciando diferentes recortes e abordagens metodológicas. Estudos acerca do epigrama fúnebre geralmente analisam os poemas de acordo com temas afins focando nos mortos: guerreiros mortos, mulheres mortas no parto, mortos no mar dentre outros. No entanto, uma abordagem dos epigramas fúnebres com visão descentralizada do morto permite investigação mais ampla de outros temas. Desse modo, a presente tese partiu dos estudos de Giuseppe Giangrande, Francis Cairns e Alexander Sens sobre epigramas fúnebres que lançam mão de elementos simposiais no intuito de analisar a função de tais elemento e verificar de que maneira os simposiais presentes nos epigramas fúnebres se perpetuam ou se modificam. Para tanto, foram selecionados epigramas do livro VII da Antologia Grega que possuem léxico simposial e fúnebre e, a partir dos identificados, foram configurados três grupos: 1) os dedicados ao poeta Anacreonte, 2) os dedicados às mulheres bêbadas e 3) os dedicados aos homens bêbados. Nos epigramas dedicados a Anacreonte, pode-se constatar que os elementos simposiais resgatam sua poesia e a filiam aos epigramatistas por meio da transformação do espaço funerário e das relações entre o transeunte-leitor e o poeta. Nos poemas dedicados às mulheres bêbadas, o consumo do vinho e o enterramento próximo aos locais de produção dele ressaltam a mobilidade das anciãs, o distanciamento de seus familiares e o caráter cômico das mortas por conta da caracterização da bebedeira. Por fim, nos epigramas fúnebres dedicados aos homens bêbados, evidenciam-se a moderação e a imoderação diante do consumo de vinho. Em alguns, a moderação está alinhada ao conceito poético de composição. Em outros, o excesso de vinho causa acidentes retratados com tom cômico e que advertem o transeunte-leitor a não cometer os mesmos erros. Outro grupo de epigramas se vale das referências simposiais para criar enigmas ao transeunte-leitor. O último, por sua vez, é composto por epitáfios para filósofos mortos por bebedeira. Evidencia-se aqui a tensão entre a moderação e os ensinamentos filosóficos, permeados pelos tons anedótico e cômico. Sugere-se, portanto, que a presença de elementos simposiais adquire função distinta de acordo com o grupo de mortos. Isto posto, observa-se que os epigramas do corpus de diferentes séculos lançam mão de simposiais que passam a ganhar nuances distintas. Isso permite afirmar que os epigramas fúnebres com elementos simposiais perpetuam a tensão criativa entre a tradição e a inovação, conceitos debatidos por Marco Fantuzzi e Richard Hunter, para além do período helenístico. / Because it is a flexible genre, the epigram can be analyzed in groups or alone. It provides researchers with different possibilities of epigram grouping and methodological approaches. Studies on funerary epigram frequently analyze the poems according to related themes focusing on the dead: dead warriors, women dead in childbirth, dead in the sea among others. However, an approach to funerary epigrams which does not focus on the dead allows a broader investigation of other themes. Thus, the present thesis was based on the studies of Giuseppe Giangrande, Francis Cairns and Alexander Sens on funerary epigrams that use sympotic elements in order to analyze the function of such elements and to verify how the sympotic found in funerary epigrams continue being used of if they suffer modifications. In order to do so, we selected epigrams from Book VII of The Greek Anthology that display sympotic and funerary lexicon and, departing from the , three groups of epigrams were identified: 1) those dedicated to the poet Anacreon, 2) those dedicated to drunk women and 3) those dedicated to drunk men. In epigrams dedicated to Anacreon, sympotic elements recover his poetry and connect it to the epigrammatists by means of the transformation of the funeral space and the relationship between the passerby and the poet. In poems dedicated to drunken women, the consumption of wine and their burial near places of wine production emphasize the mobility of old women, their distancing from their relatives and the comic character of the dead women due to the characterization of their drunkenness. Finally, in the funerary epigrams dedicated to drunken men, moderation and immoderation are evident. In some, moderation is aligned with poetic composition. In others, the excess of wine causes accidents portrayed with comic tone. These epigrams warn the passerby not to make the same mistakes as the dead they commemorate. Another group of epigrams uses sympotic references to create charades to the passerby. The last group, in turn, is composed by epitaphs for philosophers killed by drunkenness. Here we see the tension between moderation and philosophical teachings permeated by the anecdotal and comic tone. It is suggested, therefore, that the presence of sympotic elements acquires a different function according to the group of dead. Thus, it is observed that, although the epigrams were composed in different centuries, the portrayed gain different nuances, which allows us to conclude that funerary epigrams with sympotic elements also reflect the creative tension between tradition and innovation, as debated by Marco Fantuzzi and Richard Hunter.

Ma recherche de doctorat propose d’examiner en parallèle l’existence possible de “signes de royauté“ présents en Italie méridionale dans les territoires de la Campanie, du Samnium, de la Lucanie (Basilicate) et de la Messapie (Pouilles). Le choix de telles zones d'intérêt est motivé par la présence de groupes indigènes cohabitant avec lesnouvelles réalités grecques, à savoir les colonies de la Grande Grèce. Bien conscient du grand problème historique (par exemple le manque de sources écrites indigènes sur ce thème) et archéologique (quels sont effectivement les signes pour identifier une royauté d’acception grecque et/ou comment les distinguer de ceux liés au monde indigène ? ), le présent sujet s’est formé en partant d’une idée et d’une volonté de Pierre Charlier : analyser et étudier les témoignages archéologiques de ces manifestations de pouvoir qui pouvaient être reconnues comme des signes de royautés, en les plaçant dans un contexte historique précis, riche de sources d’origine grecque mais pauvre du point de vue indigène. Son travail, “La Royauté en Grèce avant Alexandre”, en analysant un contexte social divers sur un arc chronologique ample, a été le point de départ de cette recherche, qui avait pour objectif de compléter ce panorama géographique, en incluant l’Italie du sud et la Grande Grèce. Au cours de l’enquête et sur la base des données recueillies dans les différentes zones géographiques prises en considération, il est apparu que les sources littéraires et autre productions de nature indigène pouvant se référer explicitement une royauté indigène manquent presque totalement et que les uniques attestations d’un point de vue historique sont donc d’origine grecque. / My research aims to examine from the archaeological record organization of power elites indigenous ee of what we might call "signs of royalty" present in Southern Italy in the territories which the Campania, the Sannio, the Lucania (Basilicata ) and essapia (Apulia). Well aware of the great historical problem (for example, the almost total lack of indigenous written sources on the subject) and archaeological (which are actually signs to identify a royalty of meaning Greek and / or how to distinguish them from those rather linked to indigenous world) the This argument has gone thus forming from an idea and the will of Pierre Carlier to analyze and document the archaeological evidence of these manifestations of power that could be recognized as signs of royalty setting them in a specific historical period rich sources of Greek origin but poor in terms of indigenous. His work "The royauté en Grèce avant Alexandre", while analyzing a different social context in a wider span, was the starting point for this research that his intention was to go to complete the geographic landscape also including the south Italy and Magna Grecia. In the remainder of the work, and with the acquisition of the data collected from the various geographical areas considered, we have realized the almost total absence to date of inscriptions, literary sources and whatnot matrix indigenous can refer explicitly to a indigenous royalty, the only statements of fact these elements from a historical point of view, as we shall see, are only of Greek origin.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-04-10T13:57:09Z No. of bitstreams: 1 Celso de Andrade.pdf: 2485803 bytes, checksum: bf20d696c5897d3c3dbb319e5571df61 (MD5) / Made available in DSpace on 2017-04-10T13:57:11Z (GMT). No. of bitstreams: 1 Celso de Andrade.pdf: 2485803 bytes, checksum: bf20d696c5897d3c3dbb319e5571df61 (MD5) Previous issue date: 2017-03-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The objective of this dissertation is to analyze, through funerary expressions, the urban development of the São Paulo city, between the eighteenth and nineteenth centuries, a period in which sociopolitical and cultural measures were institutionalized to respond to the daily needs of paulistanos. With the increase of the population in the city and its expansion beyond its imagined limits, it became essential to implement public resources that would meet the urban space structuring needs. The spatial and strategic location of the São Paulo city, which allowed its development within a basic mercantile system, also attracted an impoverished population devoid of its origins, adventurers seeking enrichment a horde that was associated with the malt of the land, black linings and escapes that could not be absorbed as wage labor, women of bad life, among other miserable ones. Among the public facilities needed for the urban structuring to attend to the funeral demands of those excluded from the order, the first public cemetery was created, which together with the space of the force, the pillory and Santa Casa de Misericórdia, led to the formation of the scaffold of the death in São Paulo. From this first public necropolis survives, among the skyscrapers, in a dead end, the Chapel of the Afflicted. The small and humble hermitage whose patron saint, Nossa Senhora dos Aflitos, is the consoler of those who wait for nothing, keeps several testimonies, both material and immaterial, that remind us of the process of segregation and social stigmatization resulting from the economic development of the São Paulo city / A presente dissertação busca analisar, por meio das expressões funerárias, o desenvolvimento urbano da cidade de São Paulo, entre os séculos XVIII e XIX, período no qual foram institucionalizadas medidas sociopolíticas e culturais para responder às necessidades cotidianas dos paulistas. Com o aumento da população na cidade e sua expansão para além dos seus limites imaginados, tornou-se imprescindível a implantação de equipamentos públicos que atendesse a necessidade de estruturação do espaço urbano. A localização espacial e estratégica da urbe paulista que permitiu seu desenvolvimento dentro de um sistema basicamente mercantil, também atraiu uma população empobrecida destituída de suas raízes, aventureiros em busca de enriquecimento, a horda que se associava à malta da terra, negros forros e fugidos que não conseguiam ser absorvidos como mão de obra assalariada, mulheres de má vida, entre outros miseráveis. Entre os alguns equipamentos públicos necessários para estruturação urbana e para o atendimento das demandas funerárias destes excluídos da ordem, foi criado o primeiro cemitério público, que em conjunto ao espaço da forca, o pelourinho e a Santa Casa de Misericórdia levou a formação do patíbulo da morte em São Paulo. Desta primeira necrópole pública sobrevive entre os arranha-céus, em um beco sem saída, a Capela dos Aflitos. A pequena e humilde ermida que tem por padroeira Nossa Senhora dos Aflitos consoladora dos que nada mais esperam, guarda diversos testemunhos, materiais e imateriais, que remetem à memória do processo de segregação e estigmatização social resultado do desenvolvimento econômico paulista