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Uppsatsen undersöker St. Sebastians ikonografiska koppling till homosexualitet. Syftet är att undersöka den ikonografiska förändring som sker när St. Sebastian går från att vara en kristen martyr i sakrala sammanhang, till att i sekulära sammanhang symbolisera den homosexuella identiteten. Francesco Vezzolis verk Selfie Sebastian analyseras därför för att se hur St. Sebastians homoerotiska arv kan spåras i en samtida kontext. Uppsatsen antar ett genealogiskt perspektiv och tillvägagångssätt, när uppsatsens frågor poserade i nuet försöker besvaras. För att med hjälp av kontextualisering försöka hitta och rama in sammanhang, relevanta för uppsatsens syfte och frågeställningar. På grund av syftets och frågeställningarnas natur involveras ikonografisk analys. Uppsatsens frågeställningar är: ”Vilka diskursiva, historiska och kulturella brytningar eller skiftningar kan identifieras i övergången av St. Sebastians ikonografiska bild från religiös martyr till symbol för homosexualitet?” och ”Vilka aspekter av St. Sebastians homoerotiska arv kan spåras i Francesco Vezzolis Selfie Sebastian?”. Frågor som uppsatsens tre analyskapitel försöker svara på. Det första analyserar St. Sebastians historia och ikonografiska utveckling. Det andra analyser St. Sebastians ikonografiska koppling till eroticism och homoeroticism. Martyrdomens symboliska och metaforiska koppling till feminiserad maskulinitet, homoerotiskt begär och sadomasochism. En fördjupad analys av pilens symboliska och metaforiska betydelse, och helgonets myts koppling till den homosexuella identiteten. Det tredje analyserar Vezzolis verk Selfie Sebastian i utställningen Musei delle Lacrime, och dess koppling till den homosexuella identiteten. Resultaten identifierar följande brytpunkter: Pilens intåg i St. Sebastians ikonografi, ett skifte till ett större fokus på helgonets martyrdom. Renässansens klassiserande, där ikonografin blir mer erotiskt laddad, ett skifte som tillåter symbolisk och metaforisk koppling till homosexualitet. 1800-talets sekelskifte, när martyren skiftar till att bli en subkulturell markör för icke-normativa begär och homosexualitet. Gällande Vezzolis Selfie Sebastian konstateras att verket framhäver och förstärker flera aspekter av St. Sebastians homoerotiska arv, och visar hur St. Sebastian kan ses som en symbol för den homosexuella identiteten och en gayikon idag. / The essay examines St. Sebastian's iconographic connection to homosexuality. The aim is to examine the iconographic change that occurs when St. Sebastian goes from being a Christian martyr in sacred contexts, to symbolizing a homosexual identity in secular contexts. Francesco Vezzoli's work Selfie Sebastian is therefore analyzed to see how St. Sebastian's homoerotic heritage can be traced in a contemporary context. To answer the essay's questions posed in the present, the essay adopts a genealogical perspective and approach. Combined with contextualization, the essay tries to find and frame contexts relevant to the purpose and questions of the essay. Due to the nature of the essays aim and questions, iconographic analysis is also being used to some degree. The essay's questions are: "What discursive, historical and cultural breaks or shifts can be identified in the transition of St. Sebastian's iconographic image from religious martyr to symbol of homosexuality?" and "What aspects of St. Sebastian's homoerotic heritage can be traced in Francesco Vezzoli's Selfie Sebastian?". The essay's three main analytical chapters tries to answer these questions. The first analyzes St. Sebastian's history and iconographic development. The second analyzes St. Sebastian's iconographic connection to eroticism and homoeroticism. The Martyrdom's symbolic and metaphorical connection to feminized masculinity, homoerotic desire and sadomasochism. An in-depth analysis of the symbolic and metaphorical meaning of the arrow, and the connection of the myth of the saint to the homosexual identity. The third analyzes Vezzoli's work Selfie Sebastian in the exhibition Musei delle Lacrime, and its connection to the homosexual identity. The results identify the following breaking points: the entry of the arrow into the iconography of St. Sebastian, a shift to a greater focus on the martyrdom of the saint. The classicism of the Renaissance, where the iconography becomes more erotically charged, a shift that allows a symbolic and metaphorical connection to homosexuality, and the turn of the 19th century, a shift where the martyr becomes a subcultural marker of non-normative desires and homosexuality. Regarding Vezzoli' s Selfie Sebastian, it is clear that the work highlights and reinforces several aspects of St. Sebastian's homoerotic heritage, and shows how St. Sebastian can be seen as a symbol of the homosexual identity and a gay icon today.

Cette étude cherche à appréhender la place qu’avaient occupée les Conflits et les Amours mythiques dans la mosaïque de l’Afrique Proconsulaire au Bas-Empire (fin du IIIème - début du Vème siècle). Aussi, savoir la nature des sujets, les modalités d’assimilation figurative, l’évolution des concepts, ainsi que les rapports qu’auraient eus les mosaïstes ou les commanditaires avec une culture considérée comme étrangère. Pour chaque mosaïque sont mis en évidence les apports respectifs de l’iconographie et de la littérature. Les composantes structurelles et conjoncturelles de chaque image, à savoir le cadre de l’action, les personnages, les modèles et les formules iconographiques, ainsi que les modalités de mise en scène, sont examinés de plus prés. s’interrogeant sur l’insistance des empreints, l’interchangeabilité entre thèmes, nous remettons en question des idées devenues avec le temps comme des dogmes, telle la totale dépendance de la mosaïque de l’Afrique Proconsulaire aux tendances artistiques de l’époque et son incapacité à se détacher de l’hégémonie des arts dits majeurs, et nous montrons que les mosaïstes africains ne sont pas de simples imitateurs, mais de véritables novateurs. D’autres approches sont nécessaires pour mettre nos mosaïques dans leurs contextes architecturaux et décoratifs d’origines. Ceci permettant d’aborder les problématiques liées aux relations sémantiques, vise à connaître les modalités d’insertions utilisées dans le reste de l’Empire, mais aussi de s’interroger sur la validité de certaines idées, comme l’existence d’une codification régissant les scènes représentées et les contextes architecturaux.Enfin le replacement de la mosaïque, et à l’intérieur d’une production artistique englobant toutes les autres disciplines, et la prise en considération de toutes les particularités, géographiques, historiques, sociales et culturelles de l’Afrique romaine au Bas-Empire, montre qu’il est difficile, voire impossible, de mesurer le rapport exact entre fonction administrative, statut financier et niveau culturel des commanditaires. Au lieu de continuer de parler de l’existence d’une même et une seul culture élitiste à laquelle adhère tous les aristocrates de l’Empire, il serait nécessaire de surpasser certains a priori et parler de diversités et de différences que de ressemblances. / The object of this thesis is the review of the conflicts and mythological love endeavors depicted in the Africa Proconsularis mosaics in the Late Antiquity period. In the meantime, one of the main aims is the study of the subject of the mosaics, the manners of the figurative assimilation, the evolution of the concept, and also the relation between the mosaic makers and a culture considered as a foreign one.For each mosaic are highlighted the respective contributions of the iconography and literature. The structural and conjectural components of each image, meaning the setting of the actions, the characters, the models and the iconographic formulas, and the methods of the production are examined more narrowly; questioning the insistence of imprints, interchange- ability between subjects. We are putting into question theories which has become over time as a dogma, such as the total dependence of the mosaic of Africa Proconsularis to the artistic trends of the time and the inability to separate from the hegemony of the arts alias the major; and we will try to demonstrate that the African mosaic makers were not mere imitators, but truly innovators.Moreover, other approaches are needed to put the mosaics within their architectural and decorative context. These approaches will allow addressing issues related to semantic relations, aiming to find out the modality of the insertion in the rest of the Empire, but also to investigate the validity of certain theories, such as the existence of a codification as a regulator linking the scenes presented and the architectural contexts.Finally, the replacement of the mosaic, in the artistic production encompassing all the other disciplines, taking into consideration all the geographical, historical, social particularities, and the cultural aspects of Roman Africa during the Late Antiquity, which give evidence that it is difficult or impossible to measure the exact relationship between administrative function, financial status and cultural level of the elite sponsors. Instead of, continuing to discuss about the existence of only an elitist culture that adheres to all the aristocracy of the Empire, it would need to exceed some a priori and talk about diversity and differences rather than only similarities.

La presente ricerca si concentra sul gruppo dei santi martiri nell’affresco del Giudizio Universale dipinto da Michelangelo Buonarroti per la parete d’altare della Cappella Sistina. Il gruppo riveste un ruolo importante nella composizione sia per quanto concerne l’inedita iconografia e rilevanza nel contesto dell’Ultimo Giudizio sia per ciò che riguarda i significati dell’affresco. La presente indagine si propone attraverso una ricostruzione della committenza papale dell’opera, divisa tra Clemente VII e Paolo III, di contestualizzare la presenza dei martiri nell’iconografia del Giudizio ponendola a confronto con la tradizione figurativa precedente e relazionando, infine, il tema del martirio ai protagonisti di questa commissione, nel più ampio quadro della Chiesa del XVI secolo. / This research focuses on the martyrs’ group depicted by Michelangelo Buonarroti in the Sistine Chapel’s Last Judgment. This group has an important role in the composition thanks to its new iconography in the Last Judgment subject and to its significance in the meaning of the fresco. This thesis, reconsidering the papal patronage of pope Clement VII and Paul III, wants to underline martyrs’ role in Last Judgment iconography, comparing it with the previous figurative tradition and to relate the theme of martyrdom with the protagonists of this artistic commission into the wider context of sixteenth century Church.

Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de tous les documents visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal. / Le présent mémoire analyse, des points de vue iconographique et formel, la décoration intérieure de l’église Saint-Romuald de Farnham peinte par Ozias Leduc, réalisée entre 1905 et 1912. Cet ensemble, commandé par le curé Joseph-Magloire Laflamme, se situe entre deux étapes importantes de la carrière de Leduc : son décor de l’église de Saint-Hilaire (1896-1900) et ses grands paysages symbolistes (1913-1921). Tout au long de cette commande, un changement graduel s’opère dans la pensée et le style du peintre et s’étudie efficacement en fonction des trois étapes de production : 1905-1907, 1909-1910 et 1911-1912. Cette chronologie se manifeste dans la correspondance concernant la réalisation du programme. À Saint-Romuald, nous constaterons que l’idéologie de l’artiste se développe, de même que le style, que nous aborderons brièvement dans le cadre du présent mémoire. Même si Leduc n’est pas le seul responsable du décor, il se réfère, à plusieurs reprises, à son contexte historique et il unifie l’ensemble de la décoration de sorte que les toiles, l’architecture de l’église, la couleur des murs, les cadres, les motifs décoratifs et les emblèmes forment un tout. L’analyse de chaque tableau du décor permettra d’en identifier le thème, à savoir l’institution de la religion catholique, et le sous-thème, l’instruction. Ce programme iconographique et plusieurs autres liens unissant les œuvres entre elles transmettent des idéaux chers à Leduc, qu’il véhiculera dans ses autres décors religieux par la suite. Par ailleurs, pour entamer une analyse stylistique, il est indispensable de constater l’état de conservation des œuvres. Or, plusieurs d’entre elles furent partiellement ou complètement retouchées en 1952. Malgré ces repeints, nous commencerons à constater que le style de Leduc, influencé par le symbolisme, s’y révèle. Les analyses iconographique et stylistique permettront de situer ce décor dans le corpus de l’artiste. / The present master’s paper analyses, from iconographic and formal points of view, the interior decoration of the church Saint-Romuald of Farnham, painted by Ozias Leduc between 1905 and 1912. This program, ordered by the parish priest Joseph-Magloire Laflamme, allows a transition between two important periods in Leduc’s career: the decoration of the church of Saint-Hilaire (1896-1900) and his great symbolic landscapes (1913-1921). During the fulfilment of this commissioned work, a gradual change occurs in the thought and in the style of the painter which is studied efficaciously in regards to the three periods of his artistic production at Saint-Romuald: 1905-1907, 1909-1910 and 1911-1912. That chronology appears in the correspondence concerning the program’s realization. It is also illustrated by the development, at Saint-Romuald, of the artist’s ideology and of his technique, about which we will briefly discuss in the present master. Even though Leduc is not the sole responsible of the decor, he refers, more than once, to his historical context and he unifies the entire decoration so that the paintings, the architecture of the church, the color of the walls, the frames, the decorative motifs and the symbols create a whole. The study of each work of art, within these parameters, will allow identifying the theme, namely the institution of the Catholic religion, and the sub-theme, the education. This iconographic program as well as several other links existing between those paintings serve as a vehicle for Leduc’s cherished ideals, which he will continue to convey in his subsequent other religious decorations. Moreover, in order to begin to follow the development of the artist’s style, it is essential to notify the paintings’ state of preservation. Several of them were partially or completely painted over in 1952. Despite these repaints, as we will briefly establish, the style of Leduc, influenced by symbolism, is still very present. The iconographic and stylistic analysis will allow to place the decoration in the artist’s complete works.

This thesis looks into the analysis of iconography of the northern lateral portal of the Church of Our Lady before Týn. For this purpose this thesis summarizes the most important historiographical, Artististic Science and source literature related to this relic. Based on researched iconographic analysis this thesis aids to propose all possible solutions iconographic programme which could have been intended for this thesis. Based on the evaluation of literature, sources and on the formal analysis principal the objective of this thesis is to specify significantly problematic dating range (approximately from mid. 13th century up to late 1450) to shorter period of possible origin of the artwork there are also evaluated all available restauration reports and construction historical surveys related to the inspected relic.

The work The Image of Jan Hus in the Early Modern Czech Literature tries to map different ways of description of this Czech preacher in selected literary texts from 15th to 18th century, to capture the changes which his image underwent. The chosen authors come from different countries and use different languages, represent different environments, social classes and opinion groups, they also have different education and religion. Individual literary works were assessedby means of comparing the key episodes that are either repeated in the texts, or the author intentionally did not use them. To understand the image of Jan Hus as a whole, also contemporary iconography was taken into account , which in some cases has been taken from other literary texts than those which were compared, so that the image of Hus whereas complete as possible. The comparison of the texts and iconography showed, how accurate the observation of the described scheme was and how the image of Jan Hus was gradually changing. The combination of written and iconographic material from specific time intervals allowed us to observe the gradual change of conceptions of the personality of Jan Hus and events connected with him, because the authors represent the opinion of their ethnic group and time. The image of Jan Hus is therefore very...

La sagesse politique est de faire vivre un gouvernement libre, et une puissance armée. Etude portant sur l'organisation de la force armée dans la pensée constitutionnelle, et son action dans la pensée politique depuis l'an III (1795) à 1962, sur une période de 167 ans, sa déclinaison dans l'iconographie politique, à l'aune de la politique, portant sur les dix régimes politiques- souverains et républicains - au travers des guerres et évènements sociétaux. La conclusion rappelle l'obéissance des armées au pouvoir civil pour la période considérée, une interaction du politique et des armées et ouvre une perspective nouvelle, dans la relation politique-armées, exposant un aperçu sur les grandes puissances économiques, dans leurs rapports politique-armées. / Political wisdom is to live a free government, and military power. Study on the organization of armed force in the constitutional thought, and action in political thought since the year III (1795) to 1962, over 167 years, its variation in the political iconography to yardstick of politics, on the ten-political sovereign and republican regimes - through wars and societal events. The conclusion reminds the obedience of armies of the civil power for the period, an interaction of political and armed and opens a new perspective in the political-military relationship, exposing an overview of the major economic powers in their relations policy-armies.