Le présent document consiste en une étude de la céramique caractéristique de la ville d’Amarna (Akhet-Aton) en lien avec les productions palatiales dans les sociétés complexes. Dans une première partie, cette poterie à décor bleu est mise en contexte. La situation géographique, historique et religieuse de la ville sont mises en relief. Les thèmes habituels lors de l’étude d’une céramique sont ensuite abordés : les ateliers, les matériaux, la transformation, la cuisson, les formes et motifs. La fonction de ces vases restant un point de questionnement, diverses théories à ce sujet sont analysées. Le questionnement d’un lien entre ces vases et l’idéologie religieuse instaurée par le pharaon Akhenaton se pose ensuite et la comparaison entre les motifs et l’iconographie des palais de la ville et des tombes de l’époque permet d’y répondre positivement. Ces deux derniers points permettent de bien saisir l’importance de cette céramique dans le cadre amarnien. La seconde partie du travail concerne le concept d’objet palatial. Ce type de production est défini et plusieurs critères sont énumérés. Ces critères sont ensuite appliqués à des objets palatiaux appartenant à des sociétés complexes afin de les confirmer. Ces caractéristiques vérifiées, elles sont appliquées à la céramique à décor bleu afin de vérifier si celle-ci correspond à une industrie palatiale. Comme ce style de poterie répond à tous les critères, il est possible d’affirmer qu’il s’agit d’un objet palatial. Il est même possible de dire à ce sujet qu’il s’agit d’un objet de prestige consommé par une élite et qui sert de véhicule à l’idéologie en place. / The present work consists in a study of the ceramic typical of the city of Amarna (Akhet-Aten) viewed in relation to palatial productions in complex societies. In the first part of the work, we put this blue-painted pottery style in context and present the geographic, historical and religious situation of the city. We then consider the usual themes relating to the study of a ceramic: workshops, materials, transformation, firing, forms and motifs. Since the function of these vases remains an open question, we analyse various theories on the subject. We raise the question whether a link between these vases and the religious ideology introduced by pharaoh Akhenaten might exist; comparison of the motifs with the iconography of the city's palaces allows us to confirm this hypothesis. These last two points bring out the importance of this pottery in the Amarnian framework. The second part of this work pertains to the concept of palatial objects. This type of production is defined and various criteria are presented. We then apply these criteria to palatial objects from complex societies, in hope of confirming their adequacy. Having verified these characteristics, we apply them to blue-painted pottery in order to determine whether this latter corresponds to a palatial industry. Since this pottery style satisfies all these criteria, it is possible to assert that it is a palatial object. It is even possible to affirm that it consists in a prestige object, consummed by an elite and whose purpose is to further the established ideology.

This thesis is a comparative study between Michelangelo Buonarroti's ceiling frescoes in the Sistine Chapel and John Milton's Paradise Lost. The parallels discussed arise out of the Renaissance humanism shared by both of these artists and expressed their works of art. Beginning with Michelangelo, I will establish the relation of Renaissance humanism to the Sistine Chapel ceiling decoration and define Michelangelo's specific conception of the theories associated with this movement. Subsequently, the same critical approach will be applied to Milton's Paradise Lost, which will be revealed to be notably humanistic despite its positioning at the end of the Renaissance in a Protestant country. After exploring the individual works of Michelangelo and Milton separately, I will then consider the views shared by these two in their treatments of the myth of the Fall of humanity: both artists believe in the ultimate dignity and freedom of humankind, and portray both Adam and Eve as free and autonomous individuals; the Sistine ceiling frescoes and Paradise Lost likewise emphasize the regenerative rather than the damning aspect of the Fall of humanity, expressing the humanistic insistence on the value of human experience; finally, the humanistic notion that art, both literary and visual, instructs its audience while entertaining it, provides the governing artistic theory behind the works of both Michelangelo and Milton. Although the commonalities between Michelangelo's Sistine ceiling and Milton's Paradise Lost are extensive, I will not attempt to claim that Milton was specifically influenced by Michelangelo's frescoes. However, my study will reveal the potential for interart analogies to provide greater insight into the individual works of art and literature being analysed.

Submitted by Aline Santiago da Silva Santos (aline.santos@fgv.br) on 2011-06-27T16:55:02Z No. of bitstreams: 1 CPDOC2011AnaPaulaBousquet.pdf: 2221040 bytes, checksum: 1161c2a33f261eae7bf9813b39f7f9a2 (MD5) / Approved for entry into archive by Suemi Higuchi (suemi.higuchi@fgv.br) on 2011-07-15T19:17:16Z (GMT) No. of bitstreams: 1 CPDOC2011AnaPaulaBousquet.pdf: 2221040 bytes, checksum: 1161c2a33f261eae7bf9813b39f7f9a2 (MD5) / Made available in DSpace on 2011-07-18T14:01:25Z (GMT). No. of bitstreams: 1 CPDOC2011AnaPaulaBousquet.pdf: 2221040 bytes, checksum: 1161c2a33f261eae7bf9813b39f7f9a2 (MD5) Previous issue date: 2011-03-31 / This dissertation aims to regain some of the trajectory of the Rio Branco Palace turned into museum, due its strong cultural and symbolic role within the state of Acre. The research focuses on the creation of a museum in 2002 in the premises of the Rio Branco Palace. Through its permanent exhibit collection it invites the reader to an immersion in some historical moments of the formation of the society of Acre. The research is intended above all to disclose the state of Acre and its culture. The Palace as a symbol of the larger society of Acre and the museum. / Este trabalho tem por objetivo recuperar parte da trajetória do Palácio Rio Branco que virou museu, por se tratar de um forte símbolo cultural na sociedade acreana. A pesquisa tem como foco a criação em 2002 de um museu nas dependências do Palácio Rio Branco. A partir de sua exposição permanente e de seu acervo, convido o leitor a uma imersão em parte da história da formação e povoamento do Acre. A pesquisa se destina acima de tudo a divulgar o Estado do Acre e sua cultura. O Palácio como símbolo maior da sociedade acreana e do museu

La thèse propose une approche pluridisciplinaire, mêlant l’analyse de la topographie et la lecture minutieuse du bâti, avec relevés à l’appui, à l’exploitation de nombreuses comptabilités et des sources iconographiques. Les ensembles architecturaux profondément modifiés d’Amboise − et de ce fait très complexes à appréhender − ont en effet demandé une analyse conjointe du château et de la ville.D’une ampleur jamais encore égalée, le chantier de construction royal, initié par Louis XI en 1463, eut des répercussions immédiates sur l’économie et l’urbanisme de cette petite « ville-Pont » de 300 à 400 feux. En 1498, les chantiers étaient lancés et Amboise avait tous les atouts pour devenir une cité d’importance mais à cette date, la mort accidentelle de Charles VIII en arrêta l’essor. Toutefois, le dynamisme du chantier d’Amboise sur une quarantaine d’années constitua le laboratoire de nouvelles solutions architecturales qui influencèrent les chantiers princiers du début de la Renaissance. / This thesis presents a multidisciplinary approach, it consists in the study of topography, of buildings, thanks to layouts, and of the existing accounts and iconography. Because the architecture has changed a lot it has required analyzing both the castle and the town. From 1463, Louis XI’s huge magnificent project had repercussions on the economy and the development of this small “bridge-Town”. In 1498, the building sites were set up and the town was to become a city but Charles VIII’s unexpected death stopped its expansion. However, this dynamic building period, over 40 years, has to be considered as an experiment of new architectural forms which would impact princely buildings in the early Renaissance.

The recurrence in the use of enclosed courtyards and porches where people sat in the shade, back against the wall, and with platforms accessible only by ramps or stairs, are unique characteristics found in late period Andean structures. This particularity as well as some another features make difficult to understand the functions and uses of monumental architecture in the ancient Central Andes. The recent discussion about these architectural features found in prehispanic Andean palaces proves the common disagreements even with substantial archaeological evidence where seems not easy to distinct between governors main residences and temples. The investigations carried out at Pueblo Viejo-Pucará, "Lomas de Lurín" Archaeological Project-Field School, Convenio Cementos Lima S.A.-Pontificia Universidad Católica del Perú, under the direction of Krzysztof Makowski from 1999 to present, have provided valuable information to this topic. The excavations covers more than 6000 square meters of architectonic evidence in four of its five sections, including two residential structures of the elite, with palace features, and one temple located at the top of a mountain. Comparing the hypothetical households of two curacas, two residential elite homes and other residential units excavated in Pueblo Viejo-Pucara, show the common use of a central patio with wide open kitchens and areas of entertainment, such as structures next to the patio and porches facing it; which differentiate the elite ones from the commoners’ homes. The patio is the central area of public activity where offers were made during banquets and the food was served in a festive manner, including camelid and cervid meats, chicha served in fine ceramic ware. The main palace is differentiated from the rest of the residences, based on the presence of an ushnu with funerary chambers and two plazas that are related with the cult of two huancas and at least one rocky outcrop seen as a sacred huaca, with offerings of Spondylus princeps, gold and silver. / La recurrencia de patios cercados (canchas), "audiencias" y pórticos, lugares destinados para albergar largas filas de personas sentadas de manera cómoda a la sombra de techo y de espaldas a una pared, así como la presencia de plataformas accesibles por medio de rampas o escaleras cuentan entre los rasgos que definen el carácter peculiar de la arquitectura de los periodos tardíos en los Andes, un aspecto difícil de interpretar desde el punto de vista de la función. Recientes discusiones sobre las características de la arquitectura palaciega en los Andes prehispánicos han puesto en evidencia los problemas con los que tropiezan los intentos de hacer el deslinde formal y funcional entre la residencia principal del gobernante y el templo a partir de las evidencias arqueológicas. Las investigaciones realizadas en Pueblo Viejo-Pucará desde 1999 hasta el presente en el marco del Proyecto Arqueológico-Taller de Campo "Lomas de Lurín", Convenio Cementos Lima S.A.-Pontificia Universidad Católica del Perú, bajo la dirección de Krzysztof Makowski, aportan datos valiosos a la discusión del tema dado que han abarcado más de 6000 metros cuadrados de superficie excavada en cuatro de los cinco sectores del sitio, incluidas dos estructuras residenciales de elite de carácter palaciego y un templo que corona una elevación, denominado "Templo de la Cima". La comparación entre las hipotéticas moradas de dos curacas, dos residencias de elite y las demás unidades residenciales excavadas en Pueblo Viejo-Pucará deja en claro que la presencia del patio central con amplias cocinas y áreas de agasajo en forma de recintos anexos y pórticos constituye la principal diferencia entre la residencia de elite y la casa común. El patio es el área central de la vida pública, donde, de manera frecuente, se ofrecen banquetes con comida de carácter festivo, rica en la preciada carne de camélidos y de cérvidos, así como en chicha, la que se sirve en vasijas finas ejecutadas en estilos de prestigio. El palacio principal difiere de las demás residencias por la presencia de un ushnu con cámaras funerarias adosadas, dos plazas relacionadas con el culto de dos huancas y de, por lo menos, un afloramiento rocoso con ofrendas de conchas Spondylus princeps, oro y plata, el que habría sido venerado como huaca.

O objetivo desta pesquisa é examinar e compreender as concepções de corpo na Assíria do fim do século VIII e do século VII AEC, a partir da análise de fontes palacianas imagéticas e textuais. As primeiras são compostas pelos relevos dos palácios dos reis Senaqueribe (704- 681) e Assurbanipal II (669-627) em Nínive (no atual nordeste do Iraque). As segundas são Inscrições Reais, Tratados e Juramentos, Cartas e textos literários, sendo que todos esses gêneros têm como eixo de produção os palácios assírios. Os relevos são placas de pedra com esculturas em baixo relevo, que foram utilizadas nas paredes dos palácios assírios a partir do final do segundo milênio AEC. Esse uso foi continuado por todo o período denominado Neoassírio ou Tardo Assírio (934-610 AEC), expondo imagens de pessoas, animais, plantas, paisagens e arquiteturas. A configuração desses elementos figurativos expressa cenas de narrativas espaciais por meio de imagens. A disposição orquestrada dos relevos nas paredes dos palácios evidencia potenciais modos de percepção das imagens pela movimentação nos ambientes palacianos. A recorrência da expressão do corpo nos relevos suscita uma perspectiva atenta à materialidade, à relação entre as imagens do corpo e aos modos de percepção e contato com esses objetos no período. A presença constante de expressões corporais em textos neoassírios também constitui um tratamento ao corpo através da linguagem. Considerando a complementaridade entre fontes imagéticas e escritas no período e o fato de as concepções de corpo poderem estar expressas em textos e imagens, qual é o lugar e o uso do corpo neste período? Como o corpo aparece nos relevos e textos palacianos? Quais aspectos materiais dos relevos constituem os indícios da concepção de corpo? Como as imagens do corpo e as expressões corporais escritas indicam suas concepções? / The aim of this research is to examine and comprehend the conceptions of the body in Assyria at the end of the 8th and 7th centuries BCE, from the analysis of palatial images and texts. The visual sources are composed by the reliefs of the kings of Sennacherib (704-681) and Assurbanipal II (669-627) in Nineveh (present-day northern of Iraq). The written sources are Royal Inscriptions, Treaties and Oaths, Letters and literary texts. All these texts had the Assyrian royal palaces as production axis. The reliefs are stone plaques with bas-relief sculptures, which were used on the walls of the Assyrian palaces from the end of the second millennium BCE. This use was continued throughout the period called Neo-Assyrian or Late Assyrian (934-610 BCE), exposing images of people, animals, plants, landscapes and architectures. The configuration of these figurative elements expresses scenes of spatial narratives through images. The orchestrated arrangement of the reliefs on the walls of the palaces shows potential ways of perception of the images by the movement in the palatial environments. The recurrence of the body expression in the reliefs evokes an attentive threefold perspective: on the materiality, the images of the body and the modes of perception and contact with these objects in that period. The constant presence of body expressions in Neo-Assyrian texts also constitutes a way to treat body through language. Considering the complementarity between visual and written sources in the Neo-Assyrian period and the fact that body conceptions can be expressed in texts and images, what is the status and use of the body in this period? How does the body appear in the reliefs and palatial texts? What are the material aspects of the reliefs? How do body images and written body expressions indicate their conceptions?

Le présent travail aborde l'architecture domestique de la côte syrienne à l'âge du Bronze récent. L’architecture domestique a certes déjà donné lieu à de nombreux travaux sur les sites côtiers, mais notre étude vise à réétudier entièrement l’importante documentation que compte cette région, objet de nombreux travaux archéologiques, notamment ces dernières années. Nous avons travaillé sur les constructions domestiques au sens large du terme : les maisons en elles-mêmes, ainsi que les installations domestiques, que l’on pourrait qualifier de secondaires, telles que certains espaces de travail et lieux de stockage (lorsque ceux-ci sont directement rattachés aux habitations). Nous avons aussi étudié en profondeur la question des installations sanitaires, éléments complémentaires dans la composition architecturale. Notre travail s’est penché aussi sur les tombes qui constituaient en effet un élément architectural intégré à la maison.Nous avons comparé les maisons de la côte syrienne datant du Bronze récent afin de mettre en évidence les analogies et les différences existant dans la construction de ces bâtiments. Nous les avons comparés avec certains bâtiments situés sur l’Euphrate. L’objectif de ces comparaisons était aussi de mettre au jour l’image propre des maisons des sites de la côte syrienne au regard des maisons de la même période, mais construites dans d’autres régions. / This research addresses the domestic architecture of the Syrian Coast during the Late Bronze Age. This subject has already given many scientific works about numerous archaeological sites. Our study aims at a full revaluation of the considerable literature about this area which has been the subject of many archaeological works, particularly during the last years.We have studied the domestic buildings, in the broad sense of the terms: houses, but also household installations that someone would describe as side effects, such as workings areas and stocking places (when they are completely united with the dwelling houses). We have deeply studied the matter of the sanitary appliances which are additional complement in the constructions. Our study has also examined the burials: they are architectural pieces of family houses.In our study we have tried comparison with the various houses of the Syrian Coast in the Late Bronze Age in order to give prominence to the analogies and differences which appear in the erections of private. We have also compared these buildings with those found on the Euphrate River. The subject of these comparisons was to update the specific characteristics of the houses of the Syrian Coast when you compare them with private houses of the same period, but in other areas.

1 Abstract The Buquoy aristocratic family is a branch of the Longueval family that has origins in current France. The Buquoys arrived in Lands of the Bohemian Crown during the thirty years' war when Charles Bonaventure was called in to fight Bohemian Protestants. Soon after, he received an estate in the Southern Bohemia from Ferdinand II where he and his descendants stayed nearly three and a half centuries. The Buquoys soon extended their opulent estates by Prague palaces and few regions in the North Bohemia. They contributed to advances in agriculture, glassblowing and in the area of social and scholar reforms. They were also engaged in politics and became important patrons of culture and arts. Nevertheless, the Buquoys suffered the same fate as other aristocratic families. In the beginning of the 19th century, they started losing their privileges and estates and, in 1945, they were expelled from Czechoslovakia based on Beneš decrees concerning retribution. The aim of this thesis is to point out the cultural legacy which Buquoys left behind in the current Czech Republic and to describe their overall contribution in particular areas. The thesis is divided into two chapters. The first chapter is dedicated to the general picture and to the history of aristocratic families in the Lands of the Bohemian Crown...

In Central Europe, an early medieval architectural complex, in which palatial remnants have been either unearthed or expected on the basis of historical writing, is often classified as a royal/princely seat. Thus, the architectural criteria are used to define the residential areas. Alas, in most studies the interpreted architectural remnants are simply juxtaposed without taking into account their terresial and landscape context. I demonstrate that in some cases landscape significance of royal seats was constructed without taking into account any spatial evidence. Secondly, I illustrate that by isolating a single building within the royal seat from its landscape and textual context, the spatial aspects of the structure were misinterpreted. However, our understanding of the local environment is essential to identify the role of architectural "quotation" in the semantic creation of space of the royal seats in the past. Thus, based on a textual approach to architecture and landscape, my thesis aims to deconstruct the meaning of early medieval royal seats, and to demythologize the interpretation of early medieval royal seats in Central Europe. In addition, I present that both textual (historic writing) and physical (environmental) aspects of the reality creates a historic spatiality that is polarized...

Sedan en lång tid tillbaka har människor nyttjat minnespalats för att komma ihåg information med hjälp av spatial struktur och associationer med miljöns framträdande karaktärsdrag. Denna studie undersöker om en narrativ komponent inom dessa minnespalats kan vara förmånlig för informationsinkodning och återkallelse. Resultaten visar, med statistisk signifikans, att en narrativ komponent leder till en ökad minneskapacitet vilket indikerar intressanta utvecklingsmöjligheter för framtidens virtuella minnespalats.