The subject matter for this research is the representation of femininities and masculinities in Roman art with particular reference to that of Roman Britain. The study focuses on the visual presentation of gender for specific deities, personifications and figural images in funerary art; this includes concepts of sexuality that in some cases become entwined with the study of gender. I have endeavoured to demonstrate how socially constructed values add to the understandings of gender and Roman art. The first chapter concentrates on Roman concepts relating to masculinities and femininities, detailing how these are portrayed in visual culture. This entails the identification of gender markers in various forms including clothing (for example the toga and stola), jewellery (such as the bulla) and distinct objects (for instance, military paraphernalia, weaving combs and spinning equipment). Following this broad introduction to gender in Roman art, the study then centres on specific deities, commencing with Venus and Mars, then Diana and Apollo, and Minerva and Hercules - each one has a particular gender ascription. I examine these in terms of visual representation and how their specific femininities and masculinities were presented. Personifications and figural funerary art, respectively, are the following and final chapters of the research. The former deals with the use of personifications in Roman art and the latter with patronage and presentation of figural tombstones and inscriptions. Both chapters observe these issues with preference towards the demonstration of gender allocation and any undertones implicated.

Conselho Nacional de Desenvolvimento Científico e Tecnológico / Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / Esta tese toma como ponto de partida o esquecimento do si mesmo operado pelos pensadores do século XIX e resgatado por Kierkegaard em meio ao seu projeto de escritor. Dirige-se à possibilidade de uma Ciência existencial constituída a partir da resposta de Kierkegaard a este problema. Organizamos nosso trabalho em três eixos. O primeiro, desenvolvido em nossa Introdução, busca reconstruir, minimamente, o ambiente filosófico ao qual Kierkegaard quer se opor em sua preocupação pelo si mesmo. O segundo eixo se desenha ao redor da obra Doença até a morte e foi dividido em dois momentos. No primeiro momento buscamos reconstruir os elementos com os quais o autor está dialogando para pensar o que é o si mesmo e como ele se constitui. No segundo buscaremos, a partir da definição do si mesmo, as personificações ou descrições psicológicas do si mesmo, as quais se constituem como possibilidades do eu em responder ao problema de ter de ser si mesmo. Neste momento recorreremos, também, às descrições psicológicas de outro pseudônimo, Vigilius Haufniensis, na obra O conceito de angústia. O terceiro eixo é desenvolvido no último capítulo, quando seguiremos a pista de uma possível ciência existencial, a qual julgamos que foi deixada por Kierkegaard tanto nas obras que vimos no eixo anterior, quanto em seus diários e em sua obra póstuma Ponto de vista explicativo da minha obra como escritor. / This thesis takes as its starting point the forgetting of the self operated by the thinkers of the nineteenth century and rescued by Kierkegaard among his project as a writer. Addresses to the possibility of an "Existential Science" constituted by Kierkegaard's answer to this problem. This work was organized around three axes. The first, that was developed in our Introduction, seeks to reconstruct minimally the philosophical environment to which Kierkegaard wants to oppose in his concern of the self. The second axis is drawn around the work "Sickness unto Death and was divided into two parts. At first we seek to reconstruct the elements with which the author is talking to in order to think what is the self and how it is constituted. Secondly we will seek, using the definition of the self, the personifications or psychological descriptions that constitute itselves as possible answers to the problem of having to be self. At this time we will also use the psychological descriptions of Vigilius Haufniensis in "The Concept of Anxiety". The third axis is developed in the last chapter, in which we will follow the trail of a possible existential science, which we believe was left by Kierkegaard in the works that we saw in the previous axis, in his diaries and in his posthumous "Point of view of my work as a writer".

Conselho Nacional de Desenvolvimento Científico e Tecnológico / Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / Esta tese toma como ponto de partida o esquecimento do si mesmo operado pelos pensadores do século XIX e resgatado por Kierkegaard em meio ao seu projeto de escritor. Dirige-se à possibilidade de uma Ciência existencial constituída a partir da resposta de Kierkegaard a este problema. Organizamos nosso trabalho em três eixos. O primeiro, desenvolvido em nossa Introdução, busca reconstruir, minimamente, o ambiente filosófico ao qual Kierkegaard quer se opor em sua preocupação pelo si mesmo. O segundo eixo se desenha ao redor da obra Doença até a morte e foi dividido em dois momentos. No primeiro momento buscamos reconstruir os elementos com os quais o autor está dialogando para pensar o que é o si mesmo e como ele se constitui. No segundo buscaremos, a partir da definição do si mesmo, as personificações ou descrições psicológicas do si mesmo, as quais se constituem como possibilidades do eu em responder ao problema de ter de ser si mesmo. Neste momento recorreremos, também, às descrições psicológicas de outro pseudônimo, Vigilius Haufniensis, na obra O conceito de angústia. O terceiro eixo é desenvolvido no último capítulo, quando seguiremos a pista de uma possível ciência existencial, a qual julgamos que foi deixada por Kierkegaard tanto nas obras que vimos no eixo anterior, quanto em seus diários e em sua obra póstuma Ponto de vista explicativo da minha obra como escritor. / This thesis takes as its starting point the forgetting of the self operated by the thinkers of the nineteenth century and rescued by Kierkegaard among his project as a writer. Addresses to the possibility of an "Existential Science" constituted by Kierkegaard's answer to this problem. This work was organized around three axes. The first, that was developed in our Introduction, seeks to reconstruct minimally the philosophical environment to which Kierkegaard wants to oppose in his concern of the self. The second axis is drawn around the work "Sickness unto Death and was divided into two parts. At first we seek to reconstruct the elements with which the author is talking to in order to think what is the self and how it is constituted. Secondly we will seek, using the definition of the self, the personifications or psychological descriptions that constitute itselves as possible answers to the problem of having to be self. At this time we will also use the psychological descriptions of Vigilius Haufniensis in "The Concept of Anxiety". The third axis is developed in the last chapter, in which we will follow the trail of a possible existential science, which we believe was left by Kierkegaard in the works that we saw in the previous axis, in his diaries and in his posthumous "Point of view of my work as a writer".

This thesis demonstrates key imperial virtues communicated on Roman Imperial triumphal monuments. A closer examination of monuments located in Rome reveals the presentation of personality traits such as military valor, piety, and mercy through symbolism, nature scenes, and personifications of abstract qualities. Each monument is dedicated to an emperor and exemplifies his virtues. The representation of imperial virtues conveys an emperor's worth to the public by communicating his better qualities. Architecture and coin evidence served as media to convey an emperor's qualities to the public and fostered general acceptance of his rule among the public. Valor (virtus), piety (pietas), and mercy (clementia) are each examined to demonstrate their importance, their multiple types of representations in architecture, and their presentation and reach on coins. Chapters 2 through 4 look at the symbolism and representation of military courage and honor. As a military virtue, valor is easiest to represent and point out through battle scenes, military symbols, and gods who assisted the emperor in war. Honor (honos), as a close association to valor is also a promotable trait. Chapters 5 through 7 look at the multiple representations of an emperor's piety. Piety, being the Roman empire's oldest virtue, can be seen through sacrificial scenes, mythological scenes, and symbols associated with these same gods and sacrifices. Chapter 8 looks at personifications of abstract qualities and natural phenomena and their role in Roman cosmology. Chapter 9 looks at the last virtue, mercy, which is demonstrated as the most valuable but also rare because it demands special skills and balance within a ruler. Mercy's rarity makes its symbolism and representational scenery smaller in comparison to the first two but still evident in architecture and coins. Possession of each trait awarded the possessor honor and divinity heaped on him, as discussed in Chapter 10. The Romans saw divinity as an honor which the senate awarded upon display of these superior virtues. Several arguments are considered and add different viewpoints to how divinity was acquired whether for the possession of these qualities or the actions that resulted from them. This analysis of symbolism and relevant divine scenes associated with imperial virtues demonstrate the emperor's superiority through possession of these virtues and show their subtle inclusion in imperial architecture.