Esta pesquisa é sobre um tipo específico de cerâmica grega, denominada \"meliana\". Tem como pano de fundo o rico período orientalizante das regiões que atualmente chamamos Grécia e Turquia. A partir de um vaso grego específico, uma ânfora monumental cicládica, a Ânfora de Apolo, elabora-se uma análise iconográfica com o que foi pintado em sua superfície. A ânfora é o eixo do trabalho e será através dela que outros vasos \"melianos\" serão analisados. Ela é da segunda metade do século VII a.C., sendo parte do acervo do Museu Nacional de Atenas. Este estudo procura as características que definem o tipo cicládico \"meliano\", assim como, observando os limites desta dissertação, faz uma análise de sua distribuição geográfica. O corpus de referência para a pesquisa é composto pela ânfora eixo citada e por outros vasos \"melianos\" cicládicos provenientes de uma fossa de purificação da ilha cicládica Renéia. A análise iconográfica busca relações e comparações dos elementos pintados nos vasos de Renéia com o vaso principal, a Ânfora de Apolo. São estudadas as ações figuradas, as personagens divinas, bestiais e humanas que fazem parte da ação, além dos outros preenchimentos da cerâmica \"meliana\". Também são importantes as fontes textuais especificadas no trabalho que segue. / This study is about a particular kind of Greek vase pottery, called -Melian?, and has the Orientalizing Greek world as background. Beginning with an special one, the -Melian? Cycladic Apollo´s Amphora, the work is supported by an iconographic view with attention to all paintings in this vase. The Apollo´s Amphora is the axle of this master dissertation. It is an amphora from the second half of 7th century B.C. that is located today in the National Museum of Athens. So, the fundamental qualities that identify the -Melian? pottery is the aim, and not just this, but also her geographical distribution. The main corpus is compound by the Apollo´s Amphora and others Cycladic´s -Melian? vases that were found in the Purification Trench on Rheneia. We are looking for contacts and relations in common with Greece and Mesopotamia that could reflect in the elaboration of paintings, elaboration of images. These images figured actions, show characters, and a kind of epithets. They are gods, heroes, animals, mans and lotus´s flowers, trees, spirals, all together sharing the same space, the same superficie. It\'s about one special vase, and a delimited corpus. We know the limits of what can be sure and what is just an exercise of interpretation. The focus is the -Melian? Apollo´s Amphora. As important as the pottery are the textual references in the Greek literature and poetry like Homer and the others that belong to the main text.

Este trabalho buscou analisar a iconografia e morfologia da cerâmica ritual produzida na Costa Norte peruana durante o Período Intermediário Tardio e o Horizonte Tardio, com o objetivo de identificar personagens aqui denominados \"figuras de poder\". O corpus da análise incluiu coleções pertencentes a diversas instituições museológicas brasileiras e estrangeiras. Os primeiros contatos com as coleções arqueológicas e as classificações usualmente adotadas nos museus com base nos referenciais teóricos histórico culturalistas evidenciaram uma aparente ruptura na produção cerâmica no Período Tardio, com o advento da hegemonia Incaica. No século XV a cerâmica produzida nos Andes apresenta um relativo declínio de artefatos que expressam a simbologia dos cultos ancestrais vinculada às representações do poder político, quando comparada aos períodos anteriores. Tomando como referência estudos aprofundados da história política dos domínios Chimú e Inca nos Andes Centrais, bem como a correlação dos artefatos cerâmicos estudados, buscamos entender como as mudanças observadas na composição e iconografia dos conjuntos cerâmicos observados está correlacionada com a organização das estruturas de poder respaldadas na cosmovisão de seus respectivos contextos políticos de produção. A redução do número de figuras de poder representadas na cerâmica produzida sob a égide do domínio Inca na Costa Norte, bem como a permanência de certos atributos identificados como expressão das particularidades da cosmovisão dos povos daquela região, sugerem que os Incas enfrentaram a necessidade de criar ferramentas de legitimação do poder centralizado em Cusco, diante do extenso território subjugado. / This study sought to analyze the iconography and morphology of ritual pottery produced in the Peruvian North Coast during the Late Intermediate Period and the Late Horizon, with the goal of identifying characters here referred to as \"figures of power.\" The body of the analysis included collections of several Brazilian and foreign institutions. The first contacts with the archaeological collections and classifications usually adopted in the museums based on theoretical historical-cultural references showed an apparent rupture in ceramic production in the Late Period, with the advent of Inca hegemony. In the 15th century, the ceramics produced in the Andes presents a relative decline of artifacts that express the symbolism of ancient cults linked to representations of political power, when compared to prior periods. We seek to understand how the observed changes in the composition and iconography of ceramic sets observed is correlated with the organization of power structures supported on worldview of their respective political contexts of production. We based on deep studies of the political history of the Chimú and Inca domains in the Central Andes and the correlation of the studied ceramic artifacts. We noted the reduction in the number of power figures represented on pottery produced under the aegis of Inca rule on the North Coast, in addition to the permanence of certain attributes identified as an expression of the particularities of the worldview of people from that region. Those suggest that the Incas have faced the need to create tools of legitimation of the centralized power of Cusco, in the face of the extended subjugated territory.

Des origines de l'Histoire au lieu commun qu'il est aujourd'hui devenu, le mythe de l'Âge d'Or occupe une place singulière dans l'imaginaire collectif. Sans héros ni intrigue, synonyme d'une existence idéalisée, d'un état de plénitude, tout à la fois ancré dans le passé et l'avenir, il fournit à la littérature, à la poésie, à la philosophie, la possibilité de maintes réflexions sur l'humaine condition. Pourtant, dans le domaine des arts figurés, rares en sont les expressions avant les premiers soubresauts de la pensée moderne. La Renaissance – dont la dénomination même prend alors tout son sens – s'attachera à fixer des codes iconographiques toujours en vigueur. Les représentations d'une humanité insouciante, s'égayant par la nature ou festoyant, n'en recèlent pas moins toute la richesse de leurs pendants littéraires, de Virgile et d'Ovide notamment. Ainsi, l'Âge d'Or mis en images, sous couvert d'apparente simplicité, renvoie à des significations souvent mêlées qui ont trait à la politique, à la religion et à la morale. Considérées dans la sphère européenne, entre le XVème et le XVIIIème siècle, ces interprétations révèlent cependant des approches quelque peu différentes, qui reflètent peut-être des dissensions plus profondes. / From the origins of history to the commonplaces it has become today, the myth of the Golden Age takes up a peculiar place in the collective psyche. Without a hero or a plot ; synonymous with an idealized life and a plenitude state, deep-rooted in the past and the future at the same time, it provides literature, poetry and philosophy with umpteen thoughts about the Human Condition. Yet in the field of the figurative arts, the expressions of the first starts of the modern thought are scarce. The Renaissance – whose very denomination make sense then – will pay a particular attention to set iconographic codes which are still in force. The representations of a cheering up or entertaining careless mankind show all the richness of their literary counterparts, from Virgil to Ovid in particular. Thus, under the cover of a conspicuous easiness, the pictured Golden Age send back to often mixed significations wich refer to politicics, religion and morals. However, if considered in the European sphere between 15th and the 18th century, these interpretations show some slightly different approaches which may reflect some deeper dissentions.

A la fin du Moyen Age l’historiographie normande connaît un nouvel essor par la rédaction dans la seconde moitié du XIVe siècle de la Grande Chronique de Normandie. Le texte relate l’histoire du duché de Normandie et du monde anglo-Normand entre 911 et 1204. En 911 le chef viking Rollon recevait du roi de France Charles le Simple le territoire de Neustrie contre promesse de défendre ses frontières et de se convertir au catholicisme. Les Normands feront croître leur territoire au-Delà des limites de la Manche, initiant ainsi une nouvelle dynastie royale en Angleterre. La Normandie sera rattachée en 1204 à la couronne française de Philippe Auguste. Tardivement mis en image au XVe siècle, le texte sera illustré de scènes typologiques, traditionnellement utilisées dans les chroniques médiévales. Puis, se développerons des images plus complexes et narratives. Le but étant toujours la mise en exergue de la dynastie anglo-Normande. Produits durant ou juste après la guerre de Cent Ans, les manuscrits s’inscrivent dans un contexte tout à fait singulier. L’histoire normande sera utilisée à des fins politiques pour servir les prétentions des belligérants ou pour éduquer le lectorat médiéval. Largement diffusée dans le nord de la France l’illustration des manuscrits a permis la mise en place d’une tradition iconographique relative à la dynastie anglo-Normande dans trois grands centres artistiques : la Normandie, Paris et les Flandres. Enfin, le texte sera remanié et continué afin de poursuivre l’histoire normande jusqu’aux temps présents de la production. La Grande Chronique de Normandie a survécu à l’apparition de l’imprimerie tout en perdant toutefois sa récente tradition iconographique / In the late Middle Ages, the writting of the GCN gave to the norman historiography a new growth in the second half of the 14th century. The text dealt with the history of the duchy of Normandy and the anglo-Norman world from 911 to 1204. In 911, the Viking chief Rollo received the territory of Neustrie from Charles the Simple, king of France, in exchange of the promise to defend the border and to become catholic. The Normans increased there territory over the Channel, thus they started a new dynasty in England. The Normandy has been attached to the french crown under the reign of Philippe Auguste. At a late stage, the text of the GCN has been illuminated with typologic scenes, traditionnaly used in medieval chronicals. Moreover, images became more and more complicated and narrative as well, whose purpose was still the highlighting ofthe anglo-Norman dynasty. The context of the making of the manuscripts is very specific in so far as they have been made during or shortly after the One Hundred Year War. The norman history will be used for the political interest of the belligerants as well as to educate the medieval readership. Widely spread in Nothern France, the illuminated manuscripts permitted the settlement of an iconographic tradition related to the anglo-Norman dynasty in three great artistic centres : the Nomandy, Paris and Flanders. Finally, the text has been changed and increased in order to go on the norman history till now. The GCN managed to go through the period of printing, therefore it lost its new iocnography recently gained.

« Lisez l’histoire et le tableau » : telle est l’invitation formulée par Poussin à l’adresse d’un de ses commanditaires, etqui d’une certaine manière consacre d’emblée le bien-fondé d’une approche iconologique de ses oeuvres. Et l’artisted’affirmer ailleurs que « la nouveauté dans la peinture ne consiste pas surtout dans un sujet non encore vu, mais dans labonne et nouvelle disposition et expression, et [qu’] ainsi de commun et vieux, le sujet devient singulier et neuf ».S’agissant cependant de la part cruciale de l’inspiration de ce peintre savant que représente la transposition des auteursclassiques, nous avons constaté que ses modalités n’avaient guère retenu l’attention de la critique. Nous avons donctenté de saisir, pour reprendre les mots de Poussin, ce qui fait la nouveauté et la singularité de la manière dont il traite sesapports littéraires. Il est ainsi apparu que le parti qu’il en tire, bien moins illustratif que d’ordre herméneutique, exige uneparticipation active du spectateur, en l’occurrence invité à déceler dans ses tableaux les rapports secrets qui s’y trouvent suggérés entre plusieurs passages d’une même oeuvre, voire entre le texte ancien apparemment figuré et tel autre, le cas échéant d’un auteur cette fois moderne. Une telle conception de sa pratique culmine dans le recours à un dispositif tout aussi ignoré de la critique, alors qu’il apparaît on ne peut plus caractéristique de l’art de Poussin : l’équivoque visuelle. Nous y percevons en dernier recours l’héritage du tableau à énigme cher aux collèges jésuites, et par là l’une des nombreuses marques que contient son oeuvre de la culture propre aux membres de la Compagnie. / « Read the story and the painting »: this invitation, sent by Poussin to one of his patrons, grounds the iconological approach of his works. The artist asserted elsewhere that « newness in painting does not consist mostly in a yet unrepresented subject, but in a proper and new dispositio and elocutio, thus turning the common and the old into the singular and new ». Still, little sustained critical attention has been paid to the actual ways in which Poussin made use and transposed the Ancient authors from which this erudite painter drew a large of share of his inspiration. We have therefore tried to recover what, according to Poussin himself, constitutes the newness, the singularity of his way of transposing the literary material. It appears that, rather than producing an illustration, Poussin’s word relied on a hermeneutic mode of engagement, calling upon the viewer to decipher in the paintings the secret relationships drawn between a plurality of a literary work’s loci, or between the Ancient source text ostensibly figured in the painting and another, eventually modern one. Such a conception of his practice is epitomized in Poussin’s characteristic use of a critically neglected device : the visual equivoque. We mayrecognize in its use the trace of a genre, that of the enigma painting, dear to the culture of Jesuit colleges, and anothermark of their influence on Poussin’s oeuvre.

Le médicament est un objet social qui est au coeur de diverses relations matérielles et symboliques. Pour connaitre les formes d’opinions et de savoirs qui lui sont associés au sein de la population française, nous avons mobilisé le cadre théorique des représentations sociales. En raison de la propagation massive des images dans les nouveaux médiums de communication, nous avons choisi d’aborder les différentes recherches qui constituent ce travail de thèse sous l’angle de la perspective iconographique. A ce titre, nos investigations s’articulent autour de deux axes : Le premier axe (N=946) s’intéresse à l’implication de l’imagerie mentale dans la formation de la représentation sociale du médicament. Les trois recherches réalisées en ce sens nous permettront de constater le caractère collectif de l’imagerie mentale, encourageant ainsi la recherche sur les images. Le second axe (N=615) se focalise quant à lui sur les processus mobilisés par les individus quand il s’agit de sélectionner, mémoriser et comprendre des images relatives à des associations prototypiques de la représentation sociale du médicament. Les résultats obtenus suggèrent le développement d’une méthodologie avec les images. Dans leur ensemble, les travaux invitent le lecteur d’une part, à considérer l’importance des représentations sociales dans l’exercice de décryptage des images visuelles, d’autre part, à approfondir l’iconographie dans la perspective méthodologique de la théorie des représentations sociales. / The medicine is a social object that is at the heart of many material and symbolic relationships. In order to know the opinions and knowledge associated with it within the French population, we mobilized the theoretical framework of social representations. Due to the massive spread of images in new mediums of communication, we chose to limit the research that constitutes this PhD in the iconographic perspective. As such, our investigations revolve around two axes: The first axis (N = 946) is concerned with the involvement of the mental imagery in the formation of social representation of the medicine. The three investigations carried out with this focus allowed us to observe the collective nature of mental imagery, encouraging research on the images. The second axis (N = 615) focuses in the processes mobilized by individuals when it comes to selecting, memorizing and understanding the images associated with the prototypical words of the social representation of the medicine. The results suggest the development of a methodology with the images. As a whole, the investigations invite the reader on one hand, to consider the importance of social representations in the deciphering of visual images, on the other hand to dig deeper in the iconography of the methodological perspective of the theory of social representations.

This thesis discusses depictions of stories from Homer's Odyssey to ancient art. The thesis is divided into ten chapters. The first chapter is devoted to Homer and the Odyssey, where closely acquainted with Homer's perception of the person and his iconography, as well as a focus on the importance and value of his literary work. In the second chapter I try bringing different perspectives of researchers on locations of Odysseus's journey, which also briefly introduces Odysseu's stops in connection with the story. The following chapters focus on individual stories and becoming familiar with their iconography in connection with the literary pattern. I realize the extent to which individual scenes were shown from the perspective of chronological and geographical, eventually on what types of artistic monuments (vase painting, reliefs and sculpture, murals, mosaics, etc.). Together I am trying to explain the reasons for eventual higher frequency of certain themes. Keywords Homer, Odysseus, iconography, Greek Art, Etruscan Art, Roman Art

(in English) The work deals with the latest development in a period of Roman coinage, which stands off the general interest. The purpose of this work is to define and describe the motives used on Roman coins in the early period defined at the beginning of the government of Valentinian I in 364 and coinage reform of Anastasius I in 498; to classify the individual image groups and explain their importance in terms of state propaganda. The work also notes the relationship between the coin images and legends; use of mint marks as a part of the image content, and describes the relationships among the coin images and contemporary sociopolitical phenomena and events. An important part of the work will be integration of the field of late Roman coins into historical context. The aim will be to determine how the late Roman coins in character were based on previous coinage and then on the contrary how they influenced Byzantine coins.

This dissertation examines the iconographical motif of the Apollonian triad in Attic art of the sixth and fifth centuries BC. Attic vase paintings constitute the chief evidence for this study, but other evidence, such as inscriptions, literary sources, sculptures and coins is considered, as well. My thesis focus on scenes without a clear mythological context, where the triad appears alone or accompanied by other, mostly, divine figures, and on what messages or information these images of the Apollonian triad convey. This study contributes to the ongoing discussion of the iconography and iconology of Attic vases, which enriches our understanding of Athenian socio-political and religious life and of Greek culture, more generally.

The antics of Helen of Sparta, famous both for her beauty and her adultery, have fascinated ancient and modern audiences alike. The subjects of her abduction from Sparta and recovery from Troy are explored in various ancient discourses. This study investigates the iconography of Attic vase-paintings, c. 550-350 BCE, that show (or have been identified as depicting) these two events in the life of Helen. My approach seeks to investigate their subtexts or metanarratives of emotion through a rigorous methodology. This process first involves engaging in a close reading of the vase scenes in order to identify their visual language, especially their emotional vocabulary. The second process contextualises the vases in the society that produced and used them. By reading them in their original context of production and reception, one can extrapolate a range of meanings these scenes could have had for their original audience. In doing this, there are two main goals: to establish which emotions are pertinent to the ancient audience in these two episodes (emotional content), and how emotions – in essence invisible – are communicated in the vase images (emotional language). Applying this methodology to the scenes yields significant results. The identification of the most typically emotional indicators includes the following: gesture; stance; gaze; clothing, physical attributes and icons; divinities and personifications; and contextual icons or information. The emotional content that emerges includes, in particular, the emotion of eros – its potentially destabalising and emasculating consequences – and the appropriateness of orgē and revenge. Another significant result is in relation to the traditional identification of the scenes. While most of the traditional identifications of Helen’s recovery stand firm, the opposite is true for the abduction. My rejection of the majority of images identified as Helen’s abduction by traditional scholarship is necessary due to a lack of evidence – inscriptional or iconographic – and the marked incongruity of these depictions with their context. These results demonstrate the merits of a solid methodology that takes the language of images seriously, as well as the social, political and ideological context in which the vases were produced and viewed.