O tema desta dissertação de mestrado é a controvérsia sobre os direitos civis e políticos das mulheres na França revolucionária , suscitada pela atuação cívica vigorosa das militantes políticas nos seis primeiros anos da Revolução - 1789-1795. Essas mulheres adquiriram uma visibilidade dramática ao participar maciçamente do movimento revolucionário, organizar-se em clubes políticos e exercer na prática alguns dos direitos de cidadania reservados ao sexo masculino. Seus direitos cívicos foram recusados, mas, pela primeira vez o assunto foi debatido e as autoridades tiveram que justificar a exclusão publicamente. O objetivo da pesquisa é estudar como as mulheres do povo conseguiram participar tão ativamente da vida política nacional no período inicial da Revolução e as razões pelas quais foram afastadas da cena pública. Estudarei a questão através das categorias práticas e representações, focalizando a atuação das militantes, e as imagens de mulheres nos espaços públicos e privados. Três grupos femininos emblemáticos serão considerados: as mães republicanas, as militantes políticas e as mulheres-soldados. A militância será analisada em duas vertentes principais: as jornadas revolucionárias começando pela Marcha a Versalhes em 1789 e a atuação de clubes femininos como a Sociedade das Republicanas Revolucionárias. As ativistas foram derrotadas junto com o último levante popular em Prairial do ano III. Razões políticas e culturais explicam porque as mulheres foram mal recebidas na arena política nacional. O capítulo da Iconografia apresenta 37 imagens de alegorias, caricaturas e cenas de acontecimentos da Revolução que ajudam a compreender o comportamento que se esperava das mulheres decentes: a maternidade com a dimensão cívica da educação dos futuros patriotas e a dedicação exclusiva ao lar. A moral republicana exigia que cada um cumprisse o seu papel na família e no corpo político. Era preciso manter a diferenciação das funções dos sexos: as mulheres deviam governar a casa e os homens o país. As militantes queriam ser mulheres livres, armarse, agir com independência , mas a maioria dos homens achava que eram usurpadoras das atribuições masculinas. A iconografia mostra modelos de comportamentos femininos virtuosos: deusas representando a nação porque estavam acima dos conflitos ou mães abnegadas, caridosas e heróicas. As que freqüentavam as tribunas das assembléias se transformavam nas terríveis \"tricoteiras\". As militantes foram toleradas enquanto foram úteis quando fizeram oposição aos jacobinos foram reprimidas em nome dos princípios morais que sustentavam a República. / The subject of this Master\'s thesis is the controversy about civil and political rights of women in revolutionary France, sparked by the vigorous female militancy in the early years of the Revolution 1789-1795. These women became dramatically visible when they massively joined the revolutionary movement, organized in political clubs and exercized some exclusively male citizenship rights. Their political rights of citizenship were denied , but for the first time the issue was debated and government officials had to publicly justify their decision. The objective of this research is to study how working-class women managed to participate so actively in national politics in the initial period of the Revolution and the reasons that led to their being banned from the public scene. I will explore the subject from the perspective of women\'s practices and representations, meaning the militants\' civic actions and women\'s images in the public and private spheres. This paper will focus on three main groups of women: republican mothers, political activists and women soldiers. Their political involvement will be considered from the standpoint of their participation in insurrectionary journées, such as the March to Versailles, and membership in women\'s political clubs, such as the parisian Society of Revolutionary Republicans. The militant citoyennes were defeated in the last popular uprising of Prairial, Year III. Political and cultural factors explain why women\'s intervention in national politics was not welcomed. The chapter on representations discusses a repertoire of 37 alegories , caricatures and revolutionary events that help understand the kind of behaviour expected of decent women: civic motherhood, whose aim was to nurture and educate future patriots and an exclusive devotion to domestic duties. Republican morals required that everyone fulfilled their proper role in the family and in public life. It was necessary to maintain the cultural norms of gender differentiation : women managed the household and men ruled the country. Militants wanted to be \"free women\", that is, bear arms, and act independently , but most men thought that activists were \"stepping out of their sex\" and usurping male roles. The iconography fosters virtuous feminine behaviour: lofty goddesses representing the nation because they stood above conflict; or self-sacrificing, charitable and heroic mothers. The women who regularly attended the Assembly galleries became despicable \"knitters\". Militant women were tolerated while useful but when they became political adversaries, they were repressed in the name of the essential moral principles of the Republic

Fondée sur l’idée que l’image constitue un enjeu fondamental pour la justice, comme en témoigne l’ensemble des représentations iconographiques, des symboles et des rituels dont l’institution judiciaire s’entoure, cette étude en histoire du droit s’intéresse au discours véhiculé par les gravures des journaux d’informations illustrés de la Troisième République sur le droit et la justice. Dans une approche interdisciplinaire, empruntant à l’histoire des représentations collectives, à la sociologie et à l’histoire du droit, elle interroge le rapport entre les gravures des journaux illustrés et les réalités judiciaires de la fin du XIXe et du début du XXe siècle. Elle pose également la question de la réception de ces images dans l’opinion publique et de son influence sur le processus judiciaire et législatif. Ce travail de recherche s’appuie sur l’analyse sémiologique et contextuelle des illustrations et sur leur confrontation avec des sources judiciaires, doctrinales et législatives. Il met en évidence la dimension argumentative et idéologique des images de presse ainsi que leur pouvoir sur l’opinion publique, les tribunaux et le législateur. De manière plus générale, cette thèse entend montrer que l’étude des représentations iconographiques, même officieuses, de la justice enrichit la connaissance de l’histoire du droit et de la justice. / Based on the idea that images play a fundamental role for justice, as shown by all the iconographic representations, the symbols and the rituals used by the judiciary institution, this study in history of law focuses on the discourse conveyed by the prints of the illustrated newspapers of the Third Republic about law and justice. In an interdisciplinary approach, borrowing from the history of collective representations, from sociology and from the history of law, it questions the connection between the prints of the illustrated newspapers and the judiciary realities of the end of the 19th century and of the beginning of the 20th century.It also raises the question of the reception of these images among the general public and its influence on the judiciary and legislative process. It brings into light the argumentative and ideological dimension of press images as well as their power on the public opinion, on courts and on the legislator. More generally, this thesis aims to demonstrate that the study of iconographic representations of justice, even unofficial, enriches the knowledge of the history of law and justice.

My dissertation focuses on nineteenth-century American literature texts that engage with ruins and monuments. Traditionally, this interaction has been treated as a formal curiosity for literary critics, but this project argues interarts literature carries important implications for public sphere theory, especially in cases when an author writes about nationalist architecture and iconography.

Les problématiques qu'aborde cette thèse concernent quatre axes principaux sur lesquels le corpus et le volume de texte ont été construits. Ces axes sont l'iconographie animalière des ivoires, le contexte archéologique et la provenance des ivoires, l'ivoire d'éléphant et les techniques de sculpture et de décoration et enfin les altérations et les maladies qui touchent les ivoires archéologiques. L'omniprésence des scènes animalières répétitives sur les ivoires a suscité plusieurs questions sur leurs styles. Quels sont les styles principaux des ivoires ? Quelles sont les caractéristiques de chaque style ? Quels sont les thèmes et les animaux privilégiés par chaque style ? Pourquoi la plupart des ivoires ont-ils été mis au jour à Nimroud ? Le contexte archéologique peut-il aider à l'identification et à la localisation des différents ateliers d'ivoires? Quelles étaient les techniques de sculpture et de décoration les plus connues dans les ateliers de l'ivoirerie ? Les ivoires du l er millénaire av. J.-C. au Proche-Orient présentent plusieurs formes d'altération. Quels sont les différents types d'altérations que présentent les ivoires archéologiques au Proche-Orient ? Les conditions d'enfouissement ont-elles, au cours de milliers d'années, une influence sur la composition et la stabilité chimiques de l'ivoire? Les conditions climatiques dans le musée (humidité et température) peuvent-elles avoir un rôle dans l'altération des ivoires archéologiques ? Ensuite quelles sont les techniques contemporaines utilisées dans le traitement des ivoires durant les fouilles archéologiques? Puis quelles sont les opérations envisagées dans les laboratoires de restauration? / The topic of the research is connected to four principal axes on which the corpus and the volume of text were built. These axes are: the animal iconography of the ivories, the archaeological context and the origin of the ivories, the elephant ivory and the techniques of sculpture and decoration, the deteriorations and the diseases which affect the archaeological ivories. The presence of repetitive animal scenes on the ivories rises several questions in particular concerning their styles. Which are the principal styles of the ivories? Which are their characteristics ? Which are the ivory workshops specific to each style ? Which are the patterns and the animals privileged by each style ? Why the majority of the ivories were discovered in Nimrud? Can the archaeological context contribute in the identification and the localization of the various ivory workshops? Which were the principal tools used by the ivory carver in the Near-East? Furthermore which were the techniques of sculpture and decoration that were the most known in the ivory workshops ? Ivories of the 1st front millennium BC in the Near East show several forms of deterioration. Which are the various types of deteriorations that present the archaeological ivories in the Near-East ? Do the burial conditions have; during thousands of years, an influence on the chemical composition and the stability of the ivory? Can the c1imatic conditions in the museum (humidity and temperature) have a role in the deterioration of the archaeological ivories ? Which are the contemporary techniques used in the treatment of the ivories during the archaeological excavations? Then which are the operations undertaken in the laboratories of restoration ?

A partir de la seule documentation disponible, à savoir l’iconographie, il a été dressé un corpus de 526 objets, tous supports confondus, à partir de l’Etrurie tyrrhénienne, de l’Etrurie campanienne et de l’Etrurie padane. Cette thèse propose dans un premier temps, en plus de justifier et de délimiter le corpus des scènes de la danse étrusque et de poser les fondements historiographiques, de penser et définir la représentation même de la danse. Quels éléments dans l’image permettent de définir une scène de danse comme telle ? S’agit-il véritablement de danse ? La confusion que l’on note dans les textes grecs et latins entre pratiques dansées, sportives et guerrières se rencontrent aussi dans l’image, ce qui a amené à appréhender la danse au sens large, en termes de performance et d’évènement. Cette première définition permet de délimiter les scènes de danse par rapport aux scènes de cortège, de parade, de duel, et de distinguer les danseurs d’autres personnages récurrents de l’iconographie étrusque comme les « orants ». Dans un second temps, l’étude typologique et l’analyse sérielle des scènes de danse permet de dresser un répertoire étrusque de 2143 positions corporelles, et ainsi de préciser la définition de l’image de la danse. Cet axe permet d’identifier les différentes positions corporelles, ainsi que les gestes, les accessoires des acteurs, leurs caractéristiques physiques, et les objets et les lieux de la danse. Cette identification systématique est accompagnée de l’étude des interactions corporelles, gestuelles, vestimentaires, ou colorés. Délimiter le répertoire iconographique de la danse étrusque implique aussi d’en définir les modalités d’élaboration et la porosité. Les données sont ainsi replacées dans un contexte géographique et historique afin de repérer les particularités de l’iconographie étrusque, de distinguer les modèles étrangers et les réélaborations. La mise en série révèle que la comparaison avec l’iconographie grecque s’impose pour certaines postures. Mais les imagiers sélectionnent et agencent selon une disposition qui s’adapte aux pratiques étrusques de l’image. Les Étrusques ont ainsi puisé dans un répertoire grec des postures puis les ont adaptées et enrichies, à l’image de l’adaptation de l’alphabet grec en Étrurie. La diffusion des éléments constitutifs de l’image étrusque de la danse d’une cité étrusque à une autre permet de délimiter un répertoire iconographique préromain commun, mais aussi des choix locaux. Nous relevons en particulier les cas de Chiusi et de Tarquinia. A côté d’un répertoire commun, les deux cités ont développé chacune des solutions différentes qui répondent à des constructions propres de l’image. Dans un dernier temps enfin, sont étudiés les différents types de danse relevés, ainsi que le statut et la fonction des différents acteurs. Il s’agit de comprendre, par une orientation historique et anthropologique, et lorsqu’il est possible de le relever, l’enchaînement de ces danses, leur fonction, leurs différentes phases et leur place dans les pratiques rituelles de l’Italie préromaine. De cette étude découlent des questions quant à l’utilisation de l’image étrusque de la danse. Il s’avère en effet qu’une sélection des types de danse et des postures est opérée par les imagiers. Dans ce cadre, c'est sur le fonctionnement et le système de l'image, comparée à un langage, que nous avons mis l'accent. La direction adoptée dans ce troisième axe est aussi iconologique et vise à déchiffrer l'image de la danse étrusque en s'orientant vers le structuralisme et la sémiotique. L’étude a abouti à la conclusion selon laquelle les postures et les éléments visuels qui composent l’iconographie étrusque de la danse étaient sélectionnés et agencés dans des programmes iconographiques donnés, selon leur signification, leur portée discursive, et la fonction et la temporalité du rituel auquel ils font référence, puis adaptés à la fonction rituelle du médium sur lequel ils sont agencés. / From the iconographical sources, the only available, a corpus of 526 objects has been selected, irrespective of the medium, and from Tirrenian, Campanian and Po plain Etruria. Besides explaining and delineating the corpus of the representations of Etruscan dance and posing the historiographical bases, this thesis proposes in the first instance to think and define the representation itself of dance. Indeed, which elements in pictures permit to define a scene of dance as such ? Can we really consider it as dance ? The confusion we note in Greek and Latin texts between danced, sports and war practices are also present in pictures. This brings to consider dance in a large sens, in terms of performance and event. This first definition permits to delineate the scenes of dance from the scenes of processions, of dueling, and to draw a distinction between dancers and other recurrent actors in the Etruscan iconography such as the « orans ». In a second phase, the typological and serial analysis of representations of dance has permitted to raise an Etruscan repertoire of 2143 body postures, and thus to precise the definition of the pictures of dance. This axis has thus contributed to identify the different body positions, but also the gestures, the actors’ props, the actors’ physical features, the objects and places of dance. This systematic identification is accompanied by the study of coloured, clothing, gestural, and body interactions. Delineating the iconographical repertoire of Etruscan dance also implies to define the conditions of its elaboration and its porosity. The datas are thus replaced in a geographic and historic – Ancient Mediterranean – context in order to identify the foreign patterns and the reworked ones. The connection in series reveal that the comparison with Greek iconography is necessary to better understand some body positions. But the painters select and dispose according to the Etruscan practices of pictures making. Thus, the Etruscans digged into a Greek repertoire for some postures and then adapted and enriched them, such as their adaptation of the Greek alphabet in Etruria. The spread of the constitutive éléments of the Etruscan pictures of dance from a city to another permits to delineate a mutual and shared Preroman iconographical repertoire, but also local choices and adaptations. On this point, the cases of Tarquinia and Chiusi has been studied. Besides a common iconographical repertoire, in the two cities different visual solutions has been developped, linked to own pictures constructions. As a final step, the different types of dance previously delineated are studied further, such as the status and the function of the different actors. It aims to understant, thanks to an anthropological and historical approach – and when it’s possible –, the sequences and chaining of the different dances, their diffent phases and their place in the ritual practices of Preroman Italy. From this point, the question of the use of the Etruscan pictures of dance has been raised. And it has been highlighted that a precise selection of types of dance and of body positions has been made by the artists. In this frame, it’s the functioning and the system of the pictures – compared to a language –, which have been emphasized. The orientation taken in this third axis is also iconological and aim to decrypt and better understand the Etruscan pictures of dance in which the visual elements and the body postures are selected and disposed, in the iconographical program in which they are used, according their signification and their discursive dimension, and adapted to the ritual function of the medium on which they are disposed.

The Hebrew words (cherub) and (seraph) are well-known terms, but it is unclear exactly to what they refer. Many sources agree that the word cherub refers to a composite creature such as a griffin, sphinx or winged bull. Less research has been done on the meaning of the word seraph. This study employs a textual and iconographic analysis to attempt to reconstruct a picture of what the authors of the Hebrew Bible had in mind when they wrote about cherubim and seraphim. Every text in the Hebrew Bible mentioning one of these words is listed, translated and analysed with the aid of various sources. Special attention is paid to texts that discuss cherubim or seraphim at length, such as the description of the Ark of the Covenant in Exodus, the visions of cherubim in Ezekiel and the reference to seraphim in Isaiah. Artefacts from certain cultures and dating within a specific timeframe, depicting composite creatures, are studied and analysed. Possible depictions of seraphim are identified, using information from the texts of the Hebrew Bible and through analogy with widely-accepted depictions of cherubim. The study contends that where cherubim were seen as winged composite creatures with parts of two or more of the eagle, lion, ox/bull and human, seraphim was a term used to describe winged composite creatures including parts of the serpent. It is also argued that seraphim are generally not associated with dragonlike composite creatures because of the negative connotations that modern symbolism has of snakes and dragons, and that the ancient Hebrews did not necessarily share this view. / Afrikaans: Die Hebreeuse woorde (gerub) en (seraf) is bekende terme, maar dit is onduidelik waarna hulle verwys. Baie bronne is dit eens dat die woord gerub verwys na ‘n gedierte met buitengewone en verskillende saamgestelde liggaamsdele soos ‘n griffioen, ‘n sfinks of ‘n gevleulde bul. Minder navorsing is al gedoen oor die betekenis van die woord seraf. In hierdie studie word ‘n tekstuele en ikonografiese analise benut om te poog om ‘n beeld te rekonstrueer van wat die skrywers van die Hebreeuse Bybel in gedagte gehad het toe hulle geskryf het oor gerubs en serafs. Elke teks in die Hebreeuse Bybel wat een van hierdie woorde gebruik, word gelys, vertaal en geanaliseer deur ander bronne ook te benut. Spesiale aandag word gegee aan tekste wat breedvoerig oor óf gerubs óf serafs handel, soos die beskrywing van die Verbondsark in Eksodus, en die visioene van gerubs in Esegiël en van serafs in Jesaja. Artefakte van bepaalde kulture en wat binne ‘n sekere tydraam gedateer kan word, wat diere uit saamgestelde dele uitbeeld, word bestudeer en geanaliseer. Moontlike uitbeeldings van serafs word geïdentifiseer deur gebruik te maak van inligting in tekste van die Hebreeuse Bybel en deur middel van analogie met algemeen aanvaarde uitbeeldings van gerubs. Die studie beoog om aan te dui dat waar die gerubs beskou was as gevleuelde gediertes bestaande uit saamgestelde gedeeltes met twee of meer dele van ‘n arend, ‘n leeu, bul en mens, verwys die term seraf gewoonlik na ‘n gevleuelde gedierte wat dele van ‘n slang bevat. Dit word ook geargumenteer dat serafs nie algemeen met ‘n draakagtige gevleulde gedierte geassosieer is nie weens die negatiewe konnotasies wat geheg word aan slange en drake in moderne simbolisme en dat die antieke Hebreërs nie noodwendig hierdie beskouing gedeel het nie. / Dissertation (MA)--University of Pretoria, 2009. / Ancient Languages / MA / Unrestricted

This thesis will focus on the popular culture iconography of the Pennsylvania State University: the Nittany Lion-as a symbol and apolitical mascot; Happy Valley, the geographic area in which the university is located, as a kind of sacred place and utopia in the Keystone State; football-its hallowed shrines, legendary coaches, and heroic players; regional foods and delicacies-from the unique offerings of the area's diners to the University Creamery (where patrons yearly consume more than 750,000 ice cream cones); and Lion Shrine and the adjacent Nittany Lion Inn-where the faithful have made pilgrimages since the early-twentieth century. The sum of these parts contributes to the pastoral image of Happy Valley-an image that is a constant reality in the mind of the Penn Stater. The Happy Valley myth is perpetuated by socio-cultural activities indigenous to "Lion Country." Certain activities are mandatory to be a real Penn Stater: sitting on the Nittany Lion Statue, going to a football game, buying a sticky bun at the College Diner, eating an ice cream cone from the University Creamery, and staying the night at the Nittany Lion Inn. Sociological texts, such as Emile Durkheim's The Elementary Forms of Religious Life, are central to the theme of the thesis. Durkheim's work explains how symbols or totems represent the force of the group, thereby giving religious meaning to secular institutions. Moreover, anthropological theories of Clifford Geertz-taken from The Interpretations of Culture-are indispensable in realizing how integral the use of signs and symbols are to that of the group's fundamental understanding of its own worldview. These cultural phenomena occupy a large part in the mindset and mentality of students, alumni, locals, and fans alike. Furthermore, the sacred iconic image of the Nittany Lion permeates the local psyche, media, and overall reality of the area. Ultimately, this constant reinforcement of local cultural values contributes to the bucolic image of Happy Valley as a kind of utopia, where the problems of urban life dissipate into the mountain air.

After the arrival of Piarists to Mikulov in 1631, the order began to spread itself all over Czech lands. When colonizing different places the Piarists usually called upon local sculptors, who then fulfilled various iconographical programs in their churches. This theses will cover Piaristic college churches in Moravia and Silesia in a period from settling down of the order to its peak phase in the half of the 18th century. Attention will be mostly paid to individual sculptors, themes and iconographical programs appearing in these churches to determine the common signs of sculptural decorations of Piaristic churches.

The subject of this work is the documentation, evaluation, and interpretation of Prague's architectural monuments from the 16th century from the point of view of musical iconography - focusing on the musical elements within the decoration of the palace of Jáchym Novohradský of Kolovrat. Keywords Musical Iconography; Renaissance Architecture; Prague; Kolovrat; Garden

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