abstract: La Santa Muerte is a folk saint depicted as a female Grim Reaper in Mexico and the Southwestern United States. The Grim Reaper, as an iconic representation of death, was derived from the Angel of Death found in pseudepigrapha and apocalyptic writings of Jewish and early Christian writers. The Angel of Death arose from images and practices in pre-Christian Europe and throughout the Mediterranean region. Images taken from Revelation were used to console the survivors of the Black Death in Western Europe and produced a material culture that taught the Christian notion of dying well. The combination of the scythe (used in the eschatological harvest), the black cowl (worn by medieval priests and monks officiating at funerals), and the skeleton (as the physical body of the deceased) are a series of apocalyptic Christian referents that form a metonymical composite referred to as the Grim Reaper. In medieval Iberian Dances of Death, the Grim Reaper was depicted as female, an unyielding social leveler, and an important participant in the Last Judgment. Personalized Death became associated with healing, renewal, magic, and binding, as apocalyptic Christianity blended with the Christian cult of the saints and the Virgin Mary during the Reconquista and the colonization of Mesoamerica. Utilizing secondary historical sources, metonymy, and iconology this Master of Arts thesis posits that the La Santa Muerte image resulted from a long historical interaction of Greek, Roman, Jewish, Visogothic, Islamic, and Christian death imagery leading up to the colonization of Mesoamerica. / Dissertation/Thesis / Masters Thesis Religious Studies 2014

abstract: The purpose of this dissertation is to investigate the materiality of a unique text, Random House and The Illustrated Modern Library’s 1946 Don Quixote, illustrated by Catalonian painter Salvador Dalí. It analyzes Dalí’s classical trajectory, how Dalí and the text were received in mid-twentieth century North America, and how they both fit into the print history of illustrated editions of Don Quixote. Each is revealed to be unique in comparison with the history of the genre due to the publishing house’s utilization of Dalí’s high-quality illustrations in a small-sized text. Lavish illustrations traditionally have been reserved for larger, collectible editions. The contemporary material significance of the 1946 edition is revealed by examining organizations, people, and circumstances that were necessary for its production in the United States, and by contextualizing the text’s reception by North American popular culture, high art echelons, and art critics. The overarching history of illustrated editions of Don Quixote is examined, comparing Dalí and his illustrations with important thematic and methodological benchmarks set by illustrators within this 400-year period, especially regarding renderings of reality and fantasy. Analyses of the first three watercolor illustrations of Dalí’s 1946 Don Quixote reveal how the painter forms mythological imagery and composes the quixotic dichotomy of reality and fantasy through the metaphoric gaze of an inanimate figure representing the protagonist. Dalí at times renders the “real” Don Quixote as incapacitated, omitting from his illustrations universalized iconography utilized in previous centuries achieved by rendering Don Quixote’s perspective, gaze, and heroic interpretation of events. In these three illustrations, Dalí forms Don Quixote as a deflated figure based in burla (mockery) and engaño (self-deception) by negating Don Quixote’s gaze within the compositions, without compromising the painter’s trademark surrealist style. The text therefore challenges the genre’s print history while Dalí challenges French and German Romantic illustrators’ universalized iconography that traditionally highlights the nobility of the knight errant. By focalizing fantastic madness as interacting with burlesque reality, Dalí creates a new episteme within the genre of illustrated editions of Don Quixote, establishing his unique niche as an illustrator in this genre. / Dissertation/Thesis / Doctoral Dissertation Spanish 2017

Percebendo o importante papel da iconografia na atualidade, tanto na sociedade como na educação, e considerando a restrição visual dos alunos com deficiência visual, esta pesquisa propõe analisar as práticas pedagógicas de professores de História da educação básica no que tange ao uso da imagem iconográfica com alunos cegos. Neste trabalho, considera-se a iconografia não só como recurso de representação do tempo passado, mas também como documentação histórica, material pedagógico fundamental para a produção do conhecimento histórico e desenvolvimento do raciocínio crítico sobre a História. A pesquisa foi desenvolvida tendo como base teóricos que se alinham às áreas de Educação Especial, Ensino de História e Artes, tais como: Amiralian (1997), Aumont (1995), Ballestero-alvarez (2002), Barbosa (1998; 1999), Barthes (1984), Benjamin (1955), Bittencourt (1993; 1998; 2001; 2004; 2011), Brun (1991), Bueno (2011), Burke (2004), Calazans (2014), Candau (2010), Cerri (2010), Chartier (1988), Couchot (1993), Dondis (2007), Fonseca (2006), Fonseca e Siman (2001), Joly (2007), Knauss (2006), Kossoy (1980; 1989), Lowenfeld (1971), Masini (1994; 2012; 2013), Maud (1996), Merleau-Ponty (1999), Molina (2007), Moreira e Câmara (2010), Nobrega (2008), Ott (1999), Panofsky (2014), Profeta (2007), Reily (2004), Rossi (2006), Saliba (1999; 2001), Sardelich (2006), Sarraf (2014), Siman (2004), Snyder (2007) e Soler (1999). Inicialmente, foi feita uma pesquisa histórica sobre o ensino de História no Imperial Instituto dos Meninos Cegos, educandário do século XIX que fundou as bases para o ensino da pessoa com deficiência visual no Brasil, com destaque para os usos da imagem no ensino. Posteriormente, houve uma reflexão sobre as possibilidades envolvendo a leitura de imagens no campo do ensino de História e as teorias que envolvem a abordagem multissensorial de ensino para cegos, sob as concepções de corpo e percepção em MerleauPonty (1999). Essa pesquisa, de abordagem qualitativa, além da revisão bibliográfica realizada, compreende também, uma pesquisa de campo que permitiu conhecer práticas pedagógicas de professores de História com uso da iconografia, com foco para alunos do 7º ano do ensino fundamental. A pesquisa de campo foi realizada com base em observações em sala de aula e entrevistas semiestruturadas com os professores de História e do Atendimento Educacional Especializado que lecionam para alunos cegos matriculados no 7º ano do ensino fundamental de duas escolas da rede pública municipal de São Paulo. Além disso, houve também uma intervenção pedagógica inclusiva, em parceria com os professores de História das escolas, que envolveu o uso e a análise da iconografia como fonte documental e recurso didático para a disciplina. Os dados coletados foram analisados seguindo o referencial teórico de Bardin (2009). Procura-se, por fim, refletir e apontar possibilidades de ensino de História pautadas em uma abordagem multissensorial e fundamentadas na fenomenologia de MerleauPonty (1999), que permitam ao aluno com deficiência visual desenvolver uma análise mais completa da iconografia. / Realizing the important role of iconography nowadays, both in society and education, and considering the visual restriction of students with visual impairment, this research aims to analyze the pedagogical practices of History teachers from elementary school regarding the use of iconographic images in blind students education. In this paper, it is considered that iconography is not only a resource for the representation of the past, but it is also a historical documentation, basic pedagogical material for the production of historical knowledge and the development of critical thinking about History. The research was based on theoretical frameworks that align to particular areas of Education, History Teaching and Arts, such as: Amiralian (1997), Aumont (1995), Ballestero-alvarez (2002), Barbosa (1998; 1999), Barthes (1984), Benjamin (1955), Bittencourt (1993; 1998; 2001; 2004; 2011), Brun (1991), Bueno (2011), Burke (2004), Calazans (2014), Candau (2010), Cerri (2010), Chartier (1988), Couchot (1993), Dondis (2007), Fonseca (2006), Fonseca e Siman (2001), Joly (2007), Knauss (2006), Kossoy (1980; 1989), Lowenfeld (1971), Masini (1994; 2012; 2013), Maud (1996), Merleau-Ponty (1999), Molina (2007), Moreira e Câmara (2010), Nobrega (2008), Ott (1999), Panofsky (2014), Profeta (2007), Reily (2004), Rossi (2006), Saliba (1999; 2001), Sardelich (2006), Sarraf (2014), Siman (2004), Snyder (2007) e Soler (1999). Initially, a historical research about the History teaching was done at the Imperial Instituto dos Meninos Cegos, a nineteenth century school that founded the bases in Brazil for teaching people with visual impairment, focusing on the use of images for teaching. Subsequently, there was a reflection about the possibilities involving the image lecture in the History teaching area and the theories that involve the multisensorial approach of teaching to blind students, under the conceptions of body and perception in Merleau-Ponty (1999). Besides the bibliographic review, this research has a qualitative approach and also includes a field research that allowed us to know pedagogical practices with the use of iconography by History teachers who teach students of the 7th year of elementary school. The field research was based on classroom observations and semi-structured interviews with History teachers and teachers from the Atendimento Educacional Especializado that give classes to blind students enrolled in the 7th year of elementary school in two public schools from São Paulo. In addition, there was also an inclusive pedagogical intervention, in partnership with the History teachers of these schools, which involved the use and analysis of iconography as a historical documentation and didactic resource for the subject. The collected data were analyzed by using the theoretical frameworks of Bardin (2009). Finally, this work aims to reflect and point out possibilities of History teaching guided in a multisensory approach and based on the phenomenology of Merleau-Ponty (1999), which allow students with visual impairments to develop a better analysis of iconography.

La fin du Moyen Âge est le théâtre de l'apparition et de la diffusion d'images singulières : celles d'hommes et de femmes intégralement couverts de poils. Attribut de l'homme sauvage, mais également de personnages ensauvagés et notamment d'ermites et de saints, le corps velu fait figure de véritable motif iconographique aux deux derniers siècles du Moyen Âge. Cette thèse, s'appuyant sur la méthode de l'analyse sérielle et s'inscrivant dans les problématiques de l'anthropologie historique, propose l'étude du motif à travers un corpus de 940 images. Il s'agit de comprendre à travers une collection représentative de sources (tendant à l'exhaustivité), comment le corps velu, à priori laid et bestial, est associé à la fin de la période à un ensemble de personnages tout à fait positifs, voire admirables. Une première partie, organisée autour du rapport entre texte et image, cherche à définir clairement les rapports entre l'iconographie du motif et les représentations littéraires et carnavalesques de l'homme sauvage. La question des emprunts mutuels entre la culture courtoise et la culture dite « folklorique » sous-Tend ce premier temps de l'analyse. Y sont également abordées les pratiques médiévales de la pilosité et la place occupée par le poil et la nudité dans l'art de cette période. Dans une seconde partie sont étudiés les éléments constitutifs de « l'être sauvage ». La relation entre le corps velu, le bestial et le démoniaque est abordée à travers l'iconographie d'Ésaü, de Merlin et d'Ursus, le roi mythique des Belges. La réflexion sur le rapport entre l'homme, la bête et l'espace sauvage est ensuite déplacée dans le champ des représentations de l'Orient, et dans celui de l'érotique courtoise faisant du sauvage une antithèse du chevalier. En dernier lieu, la troisième partie s'intéresse à la conception dynamique de la sauvagerie à travers le concept « d'ensauvagement ». L'analyse de la villosité comme conséquence du recours à la forêt permet de comparer l'iconographie de l'homme sauvage et celle des ermites et des pénitentes velus. L'excès de poil, davantage qu'un attribut bestial et dégradant, y apparaît alors très largement comme une manifestation du merveilleux ou du miraculeux. Parce qu'il n'altère pas le corps humain, il fait tour à tour figure de défaut d'humanité (laideur, animalité) ou de surplus héroïque (force, détachement du corps ou résistance à la souffrance). En conclusion, ce travail met en valeur le rôle de l'aristocratie dans la promotion de la figure de l'homme sauvage, qui constitue un moyen pour cette dernière d'affirmer son contrôle symbolique sur l'espace forestier. Le succès du personnage, également porté par le renouveau de l'érémitisme, entretien un rapport étroit avec celui d'autres figures comme les ermites velus, emblématiques du recours à la forêt et du renoncement au monde. Ces derniers trouvent une traduction iconographique particulière à travers les images de Marie-Madeleine, dont la diffusion dans l'espace germanique s'explique en partie par l'influence de la mystique rhénane. / The end of the Middle Ages saw the apparition and diffusion of rather peculiar images: those of men and women entirely covered in hair. An attribute of the wild man, but also of individuals who took to the wild -Notably hermits and saints, the hirsute body became a veritable iconographic motif during the final two centuries of the Middle Ages. Adopting the methodology of serial analysis and drawing on the approach of historical anthropology, this thesis examines this motif through a body of 940 images. Drawing upon a representative collection of sources (verging on the exhaustive), the central research question is how the haircovered body, a priori ugly and bestial, came to be associated at the end of this period with a series of positive, at times revered, figures. Part one addresses the relation between text and image. It aims to clearly define the relationships between the iconography of the motif on the one hand, and literary and carnivalesque representations of the wild man on the other. The question of mutual borrowings between courtly culture and ‘folkloric' culture is central to this analysis. Medieval practices with regard to hairiness, and the place that hair and nudity occupied in the art of the period, will also be considered. Part two addresses those elements which constituted the ‘wild being'. The relationship between the hair-Covered body, the bestial, and the demonic are explored through the iconography of Ésaü, Merlin and the mythical Belgian king Ursus. This reflection on the interstices of man, beast and wild spaces then shifts to representations of the Orient, and to a courtly eroticism in which the savage was the antithesis of the chivalrous knight. Finally, Part three considers the constitution of wildness over time, drawing upon the concept of ‘ensauvagement'. Analyzing villosity as a consequence of recourse to the forest points to a comparison between the iconography of the wild man and that of hair-Covered hermits and penitents. An excess of hair, rather than being a bestial or debased condition, is thus transformed into a manifestation of the marvellous or miraculous. Because it does not alter the human body itself, it is by turns perceived as a lack of humanity (ugliness, animality) or as a heroic supplement (strength, detachment from the corporal, or resistance to suffering). In conclusion, this study underlines the role of the aristocracy in the promotion of the figure of the wild man, which offered a means of asserting symbolic control over forested spaces. The success of this figure, also assisted by the renewal of eremitism, is closely related to that of others, such as the hirsute hermit, similarly emblematic of an embrace of the forest and withdrawal from the world. These themes find particular iconographic expression in images of Marie-Madeleine, the diffusion of which across the Germanic lands can partly be explained by the influence of Rhinish mysticism.

Made available in DSpace on 2014-06-11T19:22:28Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-04-18Bitstream added on 2014-06-13T19:07:57Z : No. of bitstreams: 1 bernardo_hc_me_ia.pdf: 1271100 bytes, checksum: 787e33b25fef0c883188ab5733ff59f5 (MD5) / Universidade Estadual Paulista (UNESP) / The main objective of this research is the analysis of the work Café of 1935 by Cândido Portinari, as well as their preparatory studies. During the construction of this research project realized the need to insert the derivations of the work dating from 1934 – 1938 of Café, these works introduced in preparatory drawings, panels and frescoes, each within the context of social history in the painter Portinari in the 30’s. These parties have completed the importance of the whole and vice versa, in view of the dialectical relations of the subject and object which resulted in the creation of the artistic object through the social context that influenced the development of the artist.Contributed to the preparation of the content of this survey the history of blacks and immigrants in the coffee culture in the direct relationship of these characters with the work, because it is through them that Portinari demonstrated a social concern.Another important aspect is the iconography and sociological aspects of art Portinari pointing to the field of understanding the meaning work, the national and universal historical events that permeated Café and modernism in and outside of Brazil and its social repercussions.In the field of Gestalt theory, the search will be contemplated with the interpretation noting the contents of Café shape while reading ability / O objetivo principal dessa pesquisa é a análise da obra Café de 1935 de Cândido Portinari, bem como seus estudos preparatórios. Durante a construção deste projeto de pesquisa percebi a necessidade de inserir as derivações da obra que datam de 1934 – 1938 de Café, obras estas introduzidas em desenhos preparatórios, painéis e afrescos, cada uma dentro do contexto histórico social do pintor Portinari marcados na década de trinta. Essas partes completaram a importância do todo e vice-versa, tendo em vista as relações dialéticas do sujeito e objeto que implicaram na criação do objeto artístico por meio do contexto social que influenciaram a elaboração do artista. Contribuíram para a elaboração do conteúdo desta pesquisa a história dos negros e imigrantes na cultura do café, na relação direta destes personagens com a obra, pois são por meio deles que Portinari demonstrou uma preocupação social. Outro aspecto relevante é a iconografia e aspectos sociológicos da arte Portinari que apontam para o campo do entendimento do significado da obra, os acontecimentos históricos universais e nacionais que permearam Café e o modernismo dentro e fora do Brasil e suas repercussões sociais. No campo da teoria da Gestalt, a pesquisa será contemplada com a interpretação de Café ressaltando os conteúdos da forma enquanto possibilidade de leitura

Les relations des sociétés préhistoriques à leur environnement constituent un aspect essentiel à leur compréhension. Cet engagement envers le monde s’exprime au travers des pratiques rituelles qui en dévoilent des accès autrement inaccessibles. Les Alpes centrales du IIIe millénaire av.n.è., insérées dans une Europe en mutation (traction animale et métallurgie du cuivre), ont livré un nombre considérable d’artefacts cognitifs. Stèles, blocs d’effondrement et parois gravés s’associent, au sein de sites cérémoniels à des dépôts de pierres aux formes allusives et lithologies particulières, à des dépôts d’objets, ainsi qu’aux résidus de l’activité métallurgique. L’iconographie gravée associe images d’objets nouveaux (poignards et haches en cuivre, hallebardes en silex ou en cuivre, objets textiles), d’ornements corporels, d’action aratoire et d’un nombre considérable de figurations animales. Les usages de la pierre, du métal, de l’araire et les interactions entretenues avec les espèces animales offrent différents canaux d’investigation des relations au monde des communautés chalcolithiques centre-alpines.L’objectif énoncé nécessite l’usage d’une analyse structurale des images seule à même de révéler des articulations essentielles des systèmes graphiques dont certains aspects sont ensuite interrogés à la lumière d’autres données archéologiques. L’image qui résulte de cette étude est celle de communautés pour lesquelles l’environnement ne semble pas constituer une réalité objectivée mais apparaît partie prenante des réalités sociales. / The study of interactions between prehistoric human societies and their environments is a key area of research. This engagement with the world is expressed through ritual practices that provide access to otherwise inaccessible aspects of human culture. The Central Alps of the third millennium BC, situated within a European context that was undergoing important changes (animal traction and copper metallurgy) produced a significant number of cognitive artifacts. On ceremonial sites, engraved steles, rock faces and erratic blocs were associated with deposits of stones with allusive forms and specific lithologies together with objects. Some of these ceremonial site have also produced residues of the metallurgical activity.The engraved iconography combines images of new objects (copper daggers and axes, flint or copper halberds, textiles), body ornaments, plouging, and a considerable number of animal figures. The use of stone, metal, ploughs, and interactions with animals offer different means to access to relationships between alpine chalcolithic communities and their environment.The cited goal requires the use of a structural analysis of the images in order to reveal the essential aspects of the graphic systems. The Results are then compared with other archaeological data. The picture resulting from this study reveals communities in which the environment does not seem to be an objectified reality but an element that intersects with social realities.

Orientador: Percival Tirapeli / Banca: Claudete Ribeiro / Banca: Márcio da Graça / Resumo: O objetivo principal dessa pesquisa é a análise da obra Café de 1935 de Cândido Portinari, bem como seus estudos preparatórios. Durante a construção deste projeto de pesquisa percebi a necessidade de inserir as derivações da obra que datam de 1934 - 1938 de Café, obras estas introduzidas em desenhos preparatórios, painéis e afrescos, cada uma dentro do contexto histórico social do pintor Portinari marcados na década de trinta. Essas partes completaram a importância do todo e vice-versa, tendo em vista as relações dialéticas do sujeito e objeto que implicaram na criação do objeto artístico por meio do contexto social que influenciaram a elaboração do artista. Contribuíram para a elaboração do conteúdo desta pesquisa a história dos negros e imigrantes na cultura do café, na relação direta destes personagens com a obra, pois são por meio deles que Portinari demonstrou uma preocupação social. Outro aspecto relevante é a iconografia e aspectos sociológicos da arte Portinari que apontam para o campo do entendimento do significado da obra, os acontecimentos históricos universais e nacionais que permearam Café e o modernismo dentro e fora do Brasil e suas repercussões sociais. No campo da teoria da Gestalt, a pesquisa será contemplada com a interpretação de Café ressaltando os conteúdos da forma enquanto possibilidade de leitura / Abstract:The main objective of this research is the analysis of the work Café of 1935 by Cândido Portinari, as well as their preparatory studies. During the construction of this research project realized the need to insert the derivations of the work dating from 1934 - 1938 of Café, these works introduced in preparatory drawings, panels and frescoes, each within the context of social history in the painter Portinari in the 30's. These parties have completed the importance of the whole and vice versa, in view of the dialectical relations of the subject and object which resulted in the creation of the artistic object through the social context that influenced the development of the artist.Contributed to the preparation of the content of this survey the history of blacks and immigrants in the coffee culture in the direct relationship of these characters with the work, because it is through them that Portinari demonstrated a social concern.Another important aspect is the iconography and sociological aspects of art Portinari pointing to the field of understanding the meaning work, the national and universal historical events that permeated Café and modernism in and outside of Brazil and its social repercussions.In the field of Gestalt theory, the search will be contemplated with the interpretation noting the contents of Café shape while reading ability / Mestre

Tiwanaku Iconography in South Central Andean Snuffing ParaphernaliaThis work presents an analysis of Tiwanaku iconography depicted on snuffing equipment, referring to other media when appropriate. This hallucinogenic equipment facilitates a basic study of Tiwanaku's iconographic configuration because of its specific function, duration and widespread distribution. The snuffing kit consists of a distinct set of implements: a small rectangular tray, a snuffing tube, a small spoon, and leather pouches that functioned as snuff powder containers. I have documented 84 snuff trays and 23 snuffing tubes with Tiwanaku iconography. Their geographical distribution is noted and the major themes represented are discussed. This is followed by an analysis of the components of the iconographic system, a discussion of the different structural schemes and variations in thematic emphasis. / En este trabajo se presenta un análisis de la iconografía tiwanaku en los equipos de inhalar polvos psicoactivos, con referencia a la escultura lítica, textiles y cerámica. Estos equipos permiten un estudio inicial de la configuración iconográfica tiwanaku debido a su función específica y a su amplia distribución geográfica y temporal. El ajuar inhalatorio consiste de una tableta rectangular, un tubo, una cucharilla y una bolsa de cuero como recipiente para los polvos. El autor ha documentado 84 tabletas y 23 tubos con este tipo de iconografía. Se discuten los temas representados, sus variaciones y componentes, y distribución geográfica.

This paper presents and discusses the results of recent investigations carried out by the Ánimas Altas Archaeological Program, in the Ica department, southern Peru. A particular emphasis is put on the excavations conducted at a frieze-decorated building. The analysis of the material culture registered in this building, particularly of the icons depicted on the friezes, not only offers some interpretations regarding Paracas symbology and cosmovision but also sheds lights on critical aspects related to identity as well as the territorial dynamics of the Paracas social formations from the lower section of the Ica valley. Furthermore, imagery depicted on friezes support the idea that social interactions promoted by the Paracas were not limited to the adjacent highland. Even more, potential links with the north and central coast from remote timesneed to be further investigated. The stylistic and technological variations registered at the «Building of Friezes» – which are not diachronically manifested, can reveal diverse phenomena such as the occupation of the territory by several groups that gave shape to socio-political identities in Late Paracas times. The comparison between the data obtained from the excavation at the «Building of Frizes» and other Paracas sites´will allow Paracas scholars to formulate interpretations and hypotheses about both the political and cultural spaces of the ancient Paracas. / En este artículo, se presentan y se discuten los resultados de las recientes investigaciones llevadas a cabo en el marco del Programa Arqueológico Ánimas Altas, Ica, Perú. Se enfatizan las excavaciones realizadas en un edificio decorado con frisos. El análisis de la cultura material de este edificio —en particular, de los íconos plasmados en los frisos— ofrece algunas interpretaciones no solamente respecto a la simbología y cosmovisión paracas; también, arroja luces sobre aspectos relacionados con dinámicas identitarias y territoriales de las formaciones sociales paracas en el valle bajo de Ica. Los íconos plasmados en los frisos apoyan la idea según la cual las interacciones de los paracas no se limitaron a la sierra adyacente. Más aún, existen nexos con la costa norte y central desde épocas remotas que quedan por investigar. Las variacionesestilísticas y tecnológicas observadas en el Edificio de los Frisos —que no se manifiestan en diacronía— pueden revelar varios fenómenos, entre ellos, la ocupación del territorio por varios grupos que formaron entidades sociopolíticas en la época Paracas Tardío. Las comparaciones entre los datos proporcionados por las excavaciones del Edificio de los Frisos con los de otros sitios permitirán formular interpretaciones e hipótesis sobre el espacio político y cultural de los paracas.

Cette thèse porte sur la signification du paon et du phénix dans des contextes cultuels et funéraires, autour du Bassin méditerranéen entre le IVe et le XIIe siècle. L’étude est basée sur un corpus de 490 documents dans lesquels apparaissent un ou plusieurs paons, mis en parallèle avec 68 témoignages figurés du phénix. Ces oiseaux ont été mis en image de différentes manières et selon différents contextes, aussi bien sur des pièces de monnaie, des fresques catacombales, des sarcophages, des décors mosaïqués (pavements, coupoles, absides, …), des manuscrits ou bien encore sur des clôtures de chœur. L’observation des documents révèle que des liens ont été tissés entre les deux oiseaux associés tous deux à l’idée de renaissance bien avant le IVe siècle. En effet, la notion de renaissance est transversale dans l’étude de la figuration du paon et du phénix entre Antiquité et Moyen Âge, et entre paganisme et christianisme. Les premières références à ces deux oiseaux, connues dans les textes et l’iconographie antiques, ont été analysées afin de réfléchir sur l’imaginaire construit autour du paon et du phénix, liés aux rythmes cycliques, à la mort et à la résurrection. La fonction du paon comme psychopompe et plus largement comme intermédiaire entre terre et ciel et entre l’humain et le divin, s’affirme progressivement. Entre le IIIe et le IVe siècle, le paon et le phénix entrent dans le répertoire visuel funéraire des premiers chrétiens et commencent à être mis en relation avec la conception du baptême comme une renaissance. Entre le IVe et le VIe siècle, ils sont introduits dans l’espace ecclésial et resserrent leurs liens avec le Christ et le baptisé. Les deux oiseaux offrent au fidèle un espoir de salut en témoignant du triomphe du Christ sur la mort et en annonçant la résurrection des Élus. Entre le VIIe et le IXe siècle, la figuration du paon est notamment étudiée sur des clôtures de chœur et d’autres éléments de décors sculptés, en lien avec le rituel eucharistique, avec l’idée de passage entre charnel et spirituel. Le corpus réuni met en évidence le rôle du paon comme gardien du seuil, d’un point de vue matériel et spirituel. La présence récurrente du paon et du phénix entre le VIe et le IXe siècle dans des espaces ecclésiaux romains est également mise en perspective vis-à-vis des réalisations papales et selon des enjeux liés à la mémoire des saints et de l’Église. L’étude s’ouvre au XIIe siècle avec le décor monumental de Saint-Clément à Rome comme un témoignage charnière dans la signification du paon. / This dissertation deals with the meaning of the peacock and the phoenix within contexts of worship and funerary contexts in the Mediterranean area, between the IVth and the XIIth centuries. The study is based on an iconographic documentation meeting 490 items of the peacock and 68 items of the phoenix. These birds were imaged in various ways as well as coins, paintings of catacombs, sarcophagi, mosaics (pavements, domes, apses, …), manuscripts, and even chancel screens. The analysis of the documentation indicates that links were weaved between both birds associated with the idea of revival long before the IVth century. The idea of revival, indeed, is a cross-cutting concept in the study of the iconography of the peacock and the phoenix between Antiquity and Middle Ages, between paganism and christianity. The first references to the these birds in the antique texts and the iconography are studied in order to reflect on the imagination about the peacock and the phoenix, both associated with cyclic rhythms, death and resurrection. The peacock was seen as a psychopomp, more generally like an intermediary between earth and sky, as well as between the human and the divine. Between the IIIth and the IVth centuries, the peacock and the phoenix were inserted into the funerary iconography of the first Christians and begin to be linked with the conception of the baptism as a revival. Between the IVth and the VIth centuries, they were inserted into the ecclesial space and they tightened their links with the Christ and the baptized. The peacock and the phoenix offer to the believer a hope of being healed. They show the triumph of the Risen Christ and announce the resurrection of the dead at the end of days. Between the VIIth and the IXth centuries, the iconography of the peacock is studied in particular on chancel screens and on the other sculptures linked with the eucharistic rite and with the idea of a connection between caro and spiritus. The documentation highlights the role of the peacock as the guard of the threshold, from a material and spiritual point of view. The recurring presence of these birds between the VIth and the IXth centuries in Roman ecclesial spaces was also put in perspective towards the papal realizations and according to stakes strongly bound to the memory of the saints and the Church. The study opens to the XIIth century with San Clement’s monumental decoration in Rome as a pivotal testimony in the evolution of the meaning of the peacock.