Cette étude se fonde sur la comparaison entre l'empire romain et l'empire inca inaugurée par les chroniqueurs espagnols au XVIe siècle. Le symbolisme de Rome est analysé en fonction d'images de Cuzco produites par l'imaginaire européen. L'importance du passé romain dans la définition de l'Autre est rattaché au processus d'acculturation des Incas. L'analyse de symboles universels des mythes, et notamment du rôle des tricksters dans la construction de l'ordre des communautés et du pouvoir, vise à discerner les éléments pouvant être rattachés aux idéologies impérialistes. Le choixdes objets d'étude pousse à conclure sur l'universalisme de certains éléments interprétés de façon différente par chacune des civilisations. / Comparisons between Incas and Romans first started by 16th century Spanish chroniclers. We ail to highlight how Roman past and origins have been the bastion for European power justification and how Roman history and ideals became a cultural pattern. We suggest that Cuzco was stereotyped by European imaginary. As so, we chose to take an interest in mythical tricksters and their part in defining social boundaries. This leads to critical thinking on the way political power was perceived. We conclude that similar but not identical symbols were mobilized by Incas and Romans.

Bridges, railways stations, warehouses, bandstands, fountains, shop fronts, lamps, gates and other cast-iron elements can still be found throughout Argentina. Some of these elements are impressive, others humble; some are abandoned, others are still in use. Many are part of important monuments; others are so incorporated into the urban landscape that they almost go unnoticed. When one's attention is drawn to these features, however, a company nameplate and place of origin - 'London', 'Liverpool', 'Glasgow' - is usually visible. These elements are so far from Argentina that their appearance begs several questions: why are most of the visible nameplates British? Are they the same as those found in London, Liverpool and Glasgow, or in former British colonies like India, South Africa or Australia? If so, why? Can we think of these elements as British imperial architecture in Argentina? In what context can their arrival in Argentina be understood? Who commissioned and designed them? Are there more Scottish nameplates than English, or any other? Does it matter? Did these elements act as models that were later copied or imitated by local manufacturers? Did they affect architecture and urban development in Argentina? If architecture reflects the view of a society, what do these elements reflect? Considering the wider context of British cast iron manufacturing, this dissertation asks what role Scotland's burgeoning cast iron industry played in the export of British iron products to Argentina during the late nineteenth and early twentieth centuries. If in recent years historians have reconsidered the specific contributions of Scotland and its people to the growth and expansion of Great Britain as an imperial power, this dissertation takes this analysis into the realm of cast iron as an export industry. If British cast iron was ubiquitous throughout the developed world during this period, how do we begin to understand the Scottish cast iron industry as a major contributor to this trade? Here Argentina is used as a micro-study in an attempt to measure and understand that contribution. In addressing some of the above questions, the dissertation attempts to form a coherent analysis of the architectural, historic, cultural and economic dimensions of the phenomenon of Scottish architectural ironwork in Argentina. In so doing, the study hopes to shed light on larger questions concerning British 'informal' imperialism, considering exports of cast iron as a significant component in Britain's attempts at economic leverage and coercion in Argentina during that country's most dramatic period of development and urbanisation. The dissertation arrives at the conclusion that British cast-iron elements found in Argentina are the same or similar to elements found in Great Britain and its colonial empire because they arrived in Argentina through a process of commercial expansion that involved imperial trade routes, global networks, cooperation between British architects and engineers, as well as migration and the assistance of the pro-British elite in Argentina. It is argued that British iron in general, and Scottish in particular, contributed to the expansion of British power and influence in the region through helping shape the architectural and urban environments of Argentina. To reach this conclusion, the thesis is structured in three sections dealing with the three most significant aspects of the thesis: informal empire in Argentina, the iron trade, and Scottish cast-iron architecture in Argentina.

Pendant bien longtemps, les Fastes d’Ovide sont demeurés une œuvre dépréciée ou considérée comme nepouvant appartenir à cet auteur : on n’y reconnaissait pas les traits du poète badin, chantre de l’amour. Nous noussommes ainsi demandé d’où venait cette impression de ne pas reconnaître le style ovidien. Il apparaît au premier abordque cela vienne du fait qu’Ovide affiche ostensiblement une posture nouvelle à travers le genre de l’étiologie : enretraçant les rites du calendrier romain, il endosse une posture plus officielle et sérieuse, étant tour à tour un historienou un uates et se faisant le relais des valeurs morales de la cité selon l’idéologie augustéenne. Mais très vite, on se rendcompte que cet éthos est miné par des passages qui entrent en contradiction avec lui : Ovide joue avec les codes duuates épique, se moque de certains personnages fondateurs selon la propagande d’Auguste, et intervientsubjectivement dans son œuvre sans respecter la neutralité que les genres de l’étiologie, de l’histoire et de l’épopéeparaissaient lui imposer. Or, il s’avère que ce jeu avec les frontières génériques, ce détournement de modèlestraditionnels relève du style propre aux noui poetae, le modèle callimachéen ainsi que le choix du distique élégiaquenous mettant sur la voie : Ovide reprend certains tours ou thèmes chers aux élégiaques, renouant avec sa Musa lasciuaque croyons abandonnée pour cette œuvre. Les Fastes sont donc à plus d’un titre problématiques et soulèvent desquestions qui dépassent son simple cadre : comment le style ovidien a-t-il évolué et at-il vraiment évolué au fil de sesœuvres ? Quel rapport les noui poetae entretiennent-ils avec la propagande augustéenne et d’une manière généraleavec les genres littéraires traditionnels ? Comment un auteur se dit-il dans son œuvre ? Peut-il se défaire de l’imageprédiscursive que les lecteurs se font de lui ? Comment cette image préalable oriente-t-elle notre lecture de l’œuvre etla perception que l’on a de son auteur ? Un auteur peut-il combiner des éthé radicalement différents au sein d’unemême œuvre ? / For many years, Ovid’s « Fasti » have been either depreciated or regarded as it it were not his work. We could not recognize the characteristics of the playful poet, the bard of love. We therefore wondered ourselves why no one was able to accredit the Ovid’s style. At first sight, it may come from the fact that Ovid happens to conspicuously parade about a new position regarding the definition of aetiology. Whilst tracing the rites of the Roman calendar, he assumes a more serious and official position, being in turns a historian or uates and transmitting the moral values of the Augustean ideology in the city. But quickly, we come to realize that this ethos is undermined by some contradictory passages: Ovid plays with the codes of the epic uates, he mocks some founding characters of the Augustean propaganda and subjectively expresses himself in his work without respecting the neutrality imposed by the genre of both the aetiology, the story and the epic poem. However, for Ovid to play with the generic limits and to distort the traditional templates corresponds to the noui poetae ‘s proper stylistic device, as the Callimachean model and the elegiac rhyming couplet can hint at: Ovid takes another look at some of the elegiac poets’ favourite tricks or topics and revives with his Musa Lasciva which was presumably forsaken. The “Fasti” are therefore all the more so problematic as they raise some questions that are beyond its scope: indeed, how has Ovid’s style evolved? Besides, has it really evolved through his works? How did the noui poetae perceive the Augustean propaganda and, generally speaking, the traditional literary genres? How does an author reveal himself in his work? Can he part with how the readers preconceived him? How can this preconception orientate our reading of the work and of the author? Can an author blend different “ethe” inside a single work?

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This work explores the relationship between time, temporality, and power by utilizing interactions between Jesuit missionaries and the Ming and Qing governments of late imperial China as a case study. It outlines the complex relationship between knowledge of celestial mechanics, methods of measuring the passage of time, and the tightly controlled circumstances in which that knowledge was allowed to operate. Just as the Chinese courts exercised authority over time and the heavens, so too had the Catholic Church in Europe. So as messengers of God’s authority, the Jesuits identified the importance of astronomical and temporal authority in Chinese culture and sought to convey the supremacy of Christianity through their mastery of the stars and negotiate positions of power within both imperial governments.

The paper investigates the determinants of internal migration within late imperial Austria. In contrast to the modernization paradigm which studies onedirectional migration flows from rural to urban areas, our approach highlights that spatial mobility consisted of movements in both directions. Using data on all districts of the Austrian part of the Hapsburg Monarchy, we find that in- and outmigration rates are positively correlated, and that the modernization paradigm in migration research is consistent with our results for net-migration rates, but inconsistent with those for out-migration. (author's abstract) / Series: Department of Economics Working Paper Series

This dissertation analyzes the ideology and activities of the Black Hundred movement at the end of the Imperial period in Russia (1905-1917). It seeks to explain the reasons for the sudden, rapid expansion of Black Hundred organizations in 1905, as well as the causes of their decline, which began just two years after their appearance. It further attempts to elucidate the complex relationship between the Black Hundred and Russian authorities, including the central government and local officials. The problem is approached by offering two distinct perspectives on the Black Hundred. First, a broad overview of the movement is presented. The focus here is on the headquarter branches of Black Hundred organizations in St. Petersburg, but these chapters also look at the activities of many different provincial branches, relating trends in the provinces to events in the center in order to draw conclusions about the nature of the overall movement. Second, this dissertation offers an extended case study of the Black Hundred in the city of Odessa, where a particularly large and violent Black Hundred movement emerged in 1906. It explores the factors that made Odessa conducive to the Black Hundred, and explains events in Odessa as symptomatic of the overall condition of Black Hundred groups. The research is based primarily on material from archives in Moscow and Odessa comprising police reports and resolutions approved at national monarchist congresses. It also draws on memoirs, newspaper accounts from the liberal, leftist, and Black Hundred press, and the secondary literature. The framework primarily consists of analyzing the membership, leadership, ideology, funding, and activities of the Black Hundred organizations that served as the main expression of the monarchist movement. This dissertation concludes that the decline of the Black Hundred cannot be attributed to the harmful actions of government officials, as historians have previously argued. Instead, the movement lost public confidence and fell victim to bitter infighting owing to the corruption of Black Hundred leaders, both in the center and in the provinces. Because Black Hundred organizations enjoyed the backing of many state officials and the outspoken support of the tsar, they were often perceived as officially-sponsored parties. This attracted many unscrupulous members who hoped to use their links to the Black Hundred to cultivate official connections or to identify money-making opportunities. These members, often rising to leadership positions, proved particularly prone to corruption, a habit that ruined the organizations' finances, sparked bitter internecine rivalries, and ultimately discredited the entire movement. / Dissertation

The aim of this thesis is to discuss and illustrate the visibility of Ottoman imperial women in relation to their spatial presence and contribution to the architecture and cityscape of sixteenth and seventeenth century istanbul. The central premise of the study is that the Ottoman imperial women assumed and exercised power and influence by various means but became publicly visible and acknowledged more through architectural patronage. The focus is on istanbul and a group of buildings and complexes built under the sponsorship of court women who resided in the Harem section of Topkapi Palace. The case studies built in Istanbul in the sixteenth and seventeenth centuries are examined in terms of their location in the city, the layout of the complexes, the placement and plan of the individual buildings, their orientation, mass characteristics and structural properties. It is discussed whether female patronage had any recognizable consequences on the Ottoman Classical Architecture, and whether female patrons had any impact on the building process, selection of the site and architecture. These complexes, in addition, are discussed as physical manifestation and representation of imperial female power. Accordingly it is argued that, they functioned not only as urban regeneration projects but also as a means to enhance and make imperial female identity visible in a monumental scale to large masses in different parts of the capital.

The nineteenth century is a period, when great transformations were experienced in the Ottoman Empire. Besides the political, economical and judicial changes, with the impact of the westernization process, important leaps about two important components of cultural life, museology and archeology, were realized in terms of both collecting and protecting the ancient monuments / and their exposition. As two interrelated fields of culture and sciences originated from Europe, museology and archeology were incorporated in the cultural life of the Ottoman Empire in the nineteenth century. The Ottoman Empire was acquainted with these two scientific fields through the impacts of both the museological studies in Europe and the excavations of the foreign researchers and archeologists, conducted within the imperial territories. This study aims to observe the emergence of museological and archeological studies in the Ottoman Empire and its development by the impacts of the West. In this study, the origins of the museological and archeological studies, the first attempts in the Ottoman Empire and the development in the continuing process and the judicial acts about the mentioned fields composed in the 19th century are examined chronologically. In this process of development, the works of Osman Hamdi Bey were forming an important part of this thesis.

This thesis aims to explore the Ottoman Imperial Harem in the second half of the nineteenth century by focusing on the memoirs of Leyla Saz, a well-known poet and musician (1850-1936). Belonging to an aristocratic family, Leyla Saz was admitted to the &Ccedil / iragan Palace at the age of four as Fatma Sultane&rsquo / s, (daughter of Abd&uuml / lmecid) maid of honour and witnessed closely the daily life in the Harem for more than twenty years. Her memoirs, dating 1920, are the earliest examples written by a court member or, in other words, by an insider. They are particularly important for documenting not only the Imperial Harem as a disappeared socio-cultural institution, but also its architectural setting as part of the Old &Ccedil / iragan Palace, built in 1841 but demolished in 1857. Accordingly, this thesis seeks to reconstruct the Old Palace and its Harem architecturally and culturally by reading these memoirs in parallel to the related historical and theoretical literature. In so doing, it discusses whether the memoirs perpetuate or challenge the orientalist discourses.