Ce travail sur l’iconographie de Fortune au Moyen Âge et à la Renaissance se base sur un corpus de plus d’un millier d’images dont seul un tiers y est reproduit. L'enquête commence par une nécessaire étude lexicographique qui permet de mieux cerner les sens du mot latin « fortuna » ainsi que ceux du mot français « fortune » entre le xie et le xvie siècle. Une seconde partie s’intéresse au motif iconographique de la Roue de Fortune médiévale – i.e. cette roue sur le pourtour de laquelle prennent place des personnages dont le premier monte, les second trône, le troisième tombe et le dernier gît à terre –, depuis sa genèse dans un manuscrit bénéventain datant des années 1060-1070 jusqu’à sa diffusion sur toutes sortes de supports (peinture murale, sculpture monumentale, mosaïque, etc.) ainsi qu’aux différents usages de ce motif (didactiques, emblématiques, divinatoires). Une troisième partie recense les nombreuses variantes que génère au fil des siècles ce très fécond motif : Roue de la Vie, Roues animales satiriques, Roue des Vicissitudes de l’Humanité, etc. Une quatrième partie étudie la personnification de Fortune qui apparaît au xiie siècle, tant dans les images que dans les textes, avant de devenir l’une des vedettes de l’iconographie de la fin du Moyen Âge, la figure de Fortune se retrouvant dans d’innombrables manuscrits de Boèce, Jean de Meun, Boccace ou Christine de Pizan. La cinquième et dernière partie est consacrée à la mutation que connaît Fortune à la Renaissance, mutation qui la voit changer tant de forme que de fonction, l’aveugle et duplice déesse du sort abandonnant alors sa fonction didactique – et la roue d’exemples qui va avec – pour devenir une accorte jeune femme nue à la mèche de cheveux flottant au vent dont la fonction est propitiatoire et l’usage emblématique. / This work on the iconography of Fortune in the Middle Ages and the Renaissance is based on more than one thousand images of which only one third is reproduced in the document. The study begins with a lexicographical study aiming at better understanding the various meanings of the Latin word « fortuna » and the French word « fortune » from the xith to the xvith centuries. The second section addresses the iconographical pattern of the mediaeval Wheel of Fortune – i.e. that wheel where four human beings occupy different positions on the rim: the first ascends, the second is enthroned, the third falls and the fourth lays on the ground – from its inception in a 1060-1070 Beneventan manuscript to its diffusion to various media (mural painting, monumental sculpture, mosaic, etc.) as well as its different uses (didactic, emblematic, divinatory). The third section identifies the numerous variations that this fertile pattern has generated over the centuries: Wheel of Life, satirical animal Wheels, Wheel of Vicissitudes of Humanity, etc. The fourth section studies the personification of Fortune which appears in the xiith century before becoming a star of late mediaeval iconography, her figure gracing innumerable manuscripts of Boethius, Jean de Meun, Giovanni Boccaccio or Christine de Pizan. The fifth and final section is devoted to Fortune’s mutation during the Renaissance: changing both form and function, the blind and treacherous goddess of fate gives up her didactic function – and the wheel of examples that comes with it – and becomes a beautiful naked woman with a forelock whose function is propitiatory and use emblematic.

<p>&nbsp;&nbsp; Cilj ove doktorske disertacije predstavljalo je ispitivanje fitohemijskog sastava i biolo&scaron;ke aktivnosti vodenih i metanolnih ekstrakata svežih i suvih plodova, kao i voćne ka&scaron;e i džema pripremljenih po tradicionalnoj recepturi od plodova &scaron;est samoniklih vrsta <em>Rosa L.: R. canina, R. dumalis, R. dumetorum, R. tomentosa, R. arvensis, R. sempervirens. </em>Ispitivanje fitohemijskog sastava obuhvatalo je LC -MS/MS analizu 64 odabrana fenolna jedinjenja, hinske kiseline (organske kiseline) kao i tri triterpenoida. Takođe, izvr&scaron;eno je spektrofotometrijsko određivanje sadržaja ukupnih fenolnih i flavonoidnih jedinjenja, kao i vitamina C. Evaluacija biolo&scaron;ke aktivnosti obuhvatala je in vitro ispitivanja&nbsp; antioksidantne i antiinflamatorne aktivnosti, kao i ispitivanje uticaja ekstrakata odabranih vrsta Rosa na aktivnost enzima acetilholinesteraze i rast tumorskih i netumorskih ćelija.</p><p>&nbsp;&nbsp; Sumiranjem dobijenih rezultata može se zaključiti da sveži i suvi plodovi ispitivanih vrsta <em>Rosa</em>, kao i voćne ka&scaron;e i džemovi predstavljaju značajan izvor vitamina C i fenolnih jedinjenja, sa elagnom kiselinom kao najzastupljenijom fenolnom komponentom. Takođe u pojedinim ekstraktima vrsta<em> R. dumetorum</em> i<em> R. tomentosa</em> detektovana je visoka koncentracija ursolne kiseline, dok je hinska kiselina prisutna u značajnoj koncentraciji u svim ispitivanim ekstraktima.</p><p>&nbsp; &nbsp;Ekstrakti ispitivanih vrsta, izuzev vrste<em> Rosa arvensis</em>, pokazali su visok antioksidantni potencijal koji se ogleda u njihovoj sposobnosti neutralizacije nekoliko radikalskih vrsta, redukcionom potencijalu i sposobnosti inhibicije lipidne peroksidacije. Ispitivani ekstrakti ispoljili su umerenu antiinflamatornu aktivnost u pogledu inhibicije produkcije odabranih metabolita ciklooksigenaznog (12-HHT, TXB₂, PGE₂) i 12-lipooksigenaznog (12-HETE) metaboličkog puta arahidonske kiseline,&nbsp; posebno prostaglandina E&nbsp; . Takođe, in vitro ispitivanjem uticaja ekstrakata odabranih vrsta Rosa na aktivnost acetilholinesteraze pokazana je umerena aktivnost. Vodeni ekstrakti i ekstrakti voćnih ka&scaron;a vrsta <em>R. canina, R. tomentosa i R. sempervirens</em> pokazali su umereni inhibitorni potencijal prema rastu HeLa ćelijske linije, dok su ekstrakti vrste <em>R. sempervirens </em>pokazali aktivnost i prema HT-29 ćelijama. Dobijeni rezultati ukazuju na značajni potencijal plodova i tradicionalnih proizvoda ispitivanih vrsta <em>Rosa</em> za upotrebu u proizvodnji nutraceutika i funkcionalne hrane.</p> / <p>&nbsp;&nbsp; The aim of presented doctoral thesis was investigation of phytochemical composition and biological activity of water and methanol extracts of fresh and air-&nbsp; dried rose hips, as well as pur&eacute;e and jam made according to traditional recipe of&nbsp; hips of six wild growing<em> Rosa L. species: R. canina, R. dumalis, R. dumetorum, R</em>.&nbsp; <em>tomentosa, R. arvensis, and R. sempervirens.</em> Examination of phytochemical composition included LC-MS/MS analysis of 64 selected phenolic compounds, quinic&nbsp; acid (organic acid) and three triterpenoids. Also, total phenolic and flavonoid contents, as well as vitamin C contents were determined spectrophotometrically. Biological activity evaluation of extracts of six <em>Rosa</em> species included in vitro investigation of antioxidant, anti- inflammatory, anti-acetylcholinesterase and cytotoxic activity.<br />&nbsp;&nbsp; According to obtained results, fresh and air-dried rose hips, as well as their preserves present valuable source of vitamin C and phenolic compounds, especially&nbsp; ellagic acid, which was the most abundant examined phenolic compound. Furthermore, high concentration of ursolic acid was detected in some<em> Rosa &nbsp;</em> <em>tomentosa and R.&nbsp; rumetorum</em> extracts, while notable concentration of quinic acid&nbsp; was present in all examined extracts.<br />&nbsp;&nbsp; Extracts of all examined species, apart from <em>Rosa arvensis</em>, showed considerable antioxidant activity in terms of radical scavenging ability, reduction potential and inhibition of lipid peroxidation. Moreover, extracts exhibited moderate anti- inflammatory activity by means of inhibition of the main arachidonic acid metabolites &nbsp; formed incyclooxygenase-1 (12-HHT, TXB₂, PGE ₂ ) and 12-lipoxygenase (12-HETE)&nbsp; pathway, especially prostaglandin E₂ . Also, investigation of anti- cetylcholinesterase&nbsp; activity revealed moderate activity of extracts of all examined species. In addition,&nbsp; predominantly water extracts of fresh andair-dried rose hips, as well as pur&eacute;e of<em> R</em>.&nbsp; <em>canina, R. tomentosa </em>and <em>R. sempervirens</em> showed inhibitory activity toward HeLa, while <em>R.sempervirens</em> extracts also inhibited HT-29 cell growth. Presented results indicate significant potential of examined rose hips and their preserves for use as nutraceuticals and functional food.</p>

This thesis examines the transmission and reception of images in Le Roman de la rose manuscripts and printed editions of the late fifteenth and early sixteenth centuries. Through in-depth case studies, I analyse how illustrators, editors, and readers used printed imagery in Rose books ca. 1481-1538, during the period of Rose printed edition production, exploring wider cross-disciplinary issues concerning the history of the book, the relationship between word and image, and readership practices following the advent of French printing. I argue that the mobility of printed imagery, which was facilitated in part by the wider dissemination of woodcuts in workshops, influenced the form and function of images in books. In addition, I problematize the 'transition' from manuscript to print in the later Middle Ages, through an investigation of artisans' personal and professional collaborations and evidence of image sharing between hand-illustrated and printed books. Bookmakers and readers used printed imagery in fascinating ways in books, appropriating and modifying woodcuts in order to engage with certain subjects and motifs. Readers' visual responses to books are under-examined, and I assess how readers' drawings add insight into their understanding of printed editions and those editions' visual iconography. French books contain a large body of evidence pertaining to image production and reception, but printed imagery is often overlooked, despite its potential to shed light on the practices of illustrators, editors, and readers. I provide new strategies for examining patterns of printed image production, circulation, and reception in the visual presentations of manuscripts and printed editions of this period. I also deepen understanding of the Rose and its consumption in the later Middle Ages and Renaissance, probing the role of images in books.

O presente trabalho tem por objetivo a análise da evolução da semiótica da cultura na obra de estudioso da cultura e literatura, crítico e filósofo russo Iúri Lótman por meio de traduções e dos comentários concernentes aos seus ensaios, escritos em diferentes épocas e dedicados aos principais conceitos da semiótica da cultura, tais como o fenômeno da cultura e os seus processos dinâmicos, o fenômeno da arte, o problema do texto, a memória cultural e a semiosfera. A obra de Lótman enquanto semioticista é inseparável do contexto histórico dos estudos da literatura, linguística, semiótica, cultura tanto na Rússia, quanto no Ocidente. Entre os seus precursores russos estão os escritores e os filósofos do século XIX e, no século XX, os simbolistas, os futuristas e os formalistas. A essência da semiótica da cultura lotmaniana começou a se formar no âmbito da Escola Semiótica de Tártu- Moscou e com a base na tradição dos estudos linguísticos, já nos trabalhos posteriores ela adquiriu um caráter mais filosófico, ao lidar com a imprevisibilidade dos processos culturais universais. Definimos ainda os pontos de coerência entre as ideias de Lótman e a obra dos estruturalistas e pós-estruturalistas franceses, além de Mikhail Bakhtin e Umberto Eco. / The present work aims at analyzing the development of semiotics of culture in the work of Russian culture and literature scholar, critic and philosopher Yuri Lotman through translation and commentary of his essays, written at different periods and dedicated to the core concepts of semiotics of culture, such as culture phenomenon and its dynamic processes, the phenomenon of art, the problem of the text, the cultural memory and semiosphere. Lotman`s work as a semiotician is inseparable from the historical context of the literature, linguistics, semiotics and culture studies both in Russia and the West. Among his precursors are Russian writers and philosophers of the nineteenth and twentiethcentury, the symbolists, futurists and formalists. The essence of Lotman`s semiotics of culture began to form in the Tartu-Moscow Semiotic School on the basis of language studies tradition, though in later works he developed a more philosophical approach, dealing with the unpredictability of universal cultural processes. Further, we point out the connection between Lotman\'s ideas and work of French structuralists and poststructuralists, Mikhail Bakhtin and Umberto Eco.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-06-28T13:16:57Z No. of bitstreams: 1 Glauber Ormundo Dias Martins.pdf: 415635 bytes, checksum: 63fa1de0d5b56e217bcf19dba75e8158 (MD5) / Made available in DSpace on 2018-06-28T13:16:57Z (GMT). No. of bitstreams: 1 Glauber Ormundo Dias Martins.pdf: 415635 bytes, checksum: 63fa1de0d5b56e217bcf19dba75e8158 (MD5) Previous issue date: 2018-04-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work analyzes two films by Woody Allen in the 1980s - Zelig and The Purple Rose of Cairo - using as methodologies sociological theories and literary and cinematographic critiques. With this, reflections od modernity and American history are analyzed / Este trabalho analisa dois filmes do diretor Woody Allen da década de 1980- Zelig e A rosa púrpura do Cairo- Usando como metodologias teorias sociológicas e de críticas literárias e cinematográficas. Com isto, reflexões a respeito da modernidade e da história americana são analisadas

O presente trabalho tem por objetivo a análise da evolução da semiótica da cultura na obra de estudioso da cultura e literatura, crítico e filósofo russo Iúri Lótman por meio de traduções e dos comentários concernentes aos seus ensaios, escritos em diferentes épocas e dedicados aos principais conceitos da semiótica da cultura, tais como o fenômeno da cultura e os seus processos dinâmicos, o fenômeno da arte, o problema do texto, a memória cultural e a semiosfera. A obra de Lótman enquanto semioticista é inseparável do contexto histórico dos estudos da literatura, linguística, semiótica, cultura tanto na Rússia, quanto no Ocidente. Entre os seus precursores russos estão os escritores e os filósofos do século XIX e, no século XX, os simbolistas, os futuristas e os formalistas. A essência da semiótica da cultura lotmaniana começou a se formar no âmbito da Escola Semiótica de Tártu- Moscou e com a base na tradição dos estudos linguísticos, já nos trabalhos posteriores ela adquiriu um caráter mais filosófico, ao lidar com a imprevisibilidade dos processos culturais universais. Definimos ainda os pontos de coerência entre as ideias de Lótman e a obra dos estruturalistas e pós-estruturalistas franceses, além de Mikhail Bakhtin e Umberto Eco. / The present work aims at analyzing the development of semiotics of culture in the work of Russian culture and literature scholar, critic and philosopher Yuri Lotman through translation and commentary of his essays, written at different periods and dedicated to the core concepts of semiotics of culture, such as culture phenomenon and its dynamic processes, the phenomenon of art, the problem of the text, the cultural memory and semiosphere. Lotman`s work as a semiotician is inseparable from the historical context of the literature, linguistics, semiotics and culture studies both in Russia and the West. Among his precursors are Russian writers and philosophers of the nineteenth and twentiethcentury, the symbolists, futurists and formalists. The essence of Lotman`s semiotics of culture began to form in the Tartu-Moscow Semiotic School on the basis of language studies tradition, though in later works he developed a more philosophical approach, dealing with the unpredictability of universal cultural processes. Further, we point out the connection between Lotman\'s ideas and work of French structuralists and poststructuralists, Mikhail Bakhtin and Umberto Eco.

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“Telling Otherwise: Rewriting History, Gender, and Genre in Africa and the African Diaspora” examines counter-discursive postcolonial rewritings. In my first chapter, “Re-Writing the Canon,” I examine two works that rewrite canonical texts from the European tradition, Jean Rhys’s retelling of the life of Jane Eyre’s Bertha in Wide Sargasso Sea and Maryse Condé’s relocation of Wuthering Heights to the Caribbean in La migration des coeurs. In this chapter, I contend that re-writing functions not only as a response, as a “writing back” to the canon, but as a creative appropriation of and critical engagement with the canonical text and its worldview. My second chapter, “Re-Storying the Past,” examines fictional works that rewrite events from the historical past. The works that I study in this chapter are Assia Djebar’s recuperation of Algerian women’s resistance to French colonization in L’amour, la fantasia and Edwidge Danticat’s efforts to reconstruct the 1937 massacre of Haitians under Trujillo in The Farming of Bones. In my third chapter, “Re-Voicing Slavery,” I take for my subject neo-slave narratives that build on and revise the slave narrative genre of the late eighteenth- through early twentieth- centuries. The two works that I examine in this chapter are Sherley Anne Williams’s Dessa Rose and the poem sequence Zong! by M. NourbeSe Philip, based on the 1781 murder of Africans aboard the slave ship Zong. My fourth chapter, “Re-Membering Gender,” examines texts that foreground the processes of re-writing and re-telling, both thematically and structurally, so as to draw attention to the ways in which discourses and identities are constructed. In their attempts to counter masculinist discourses, these works seek to re-inscribe gender into these discourses, a process of re-membering that engenders a radical deconstruction of fixed notions of identity. The works that I read in this chapter include Daniel Maximin’s L’Isolé soleil, which privileges the feminine and the multiple in opposition to patriarchal notions of single origins and authoritative narrative voices and Maryse Condé’s Traversée de la Mangrove, which rewrites Patrick Chamoiseau’s novel Solibo Magnifique so as to critique the exclusive nature of Caribbean identity in his notion of créolité. / text

L’objectif global de ce travail est d’étudier une modélisation multi échelle et de développer une méthode adaptée pour la simulation numérique du processus d’érosion à l’échelle du bassin versant. Après avoir passé en revue les différents modèles existants, nous dérivons une solution analytique non triviale pour le système couplé modélisant le transport de sédiments par charriage. Ensuite, nous étudions l’hyperbolicité de ce système avec diverses lois de sédimentation proposées dans la littérature. Concernant le schéma numérique, nous présentons le domaine de validité de la méthode de splitting, pour les équations modélisant l’écoulement et celle décrivant l’évolution du fond. Pour la modélisation du transport en suspension à l’échelle de la parcelle, nous présentons un système d’équations couplant les mécanismes d’infiltration, de ruissellement et le transport de plusieurs classes de sédiments. L’implémentation et des tests de validation d’un schéma d’ordre élevé et de volumes finis bien équilibré sont également présentés. Ensuite, nous discutons sur l’application et la calibration du modèle avec des données expérimentales sur dix parcelles au Niger. Dans le but d’aboutir la simulation à l’échelle du bassin versant, nous développons une modélisation multi échelle dans laquelle nous intégrons le taux d’inondation dans les équations d’évolution afin de prendre en compte l’effet à petite échelle de la microtopographie. Au niveau numérique, nous étudions deux schémas bien équilibrés : le schéma de Roe basé sur un chemin conservatif, et le schéma avec reconstruction hydrostatique généralisée. Enfin, nous présentons une première application du modèle avec les données expérimentales du bassin versant de Ganspoel qui nécessite la parallélisation du code. / The overall objective of this thesis is to study a multiscale modelling and to develop a suitable method for the numerical simulation of soil erosion on catchment scale. After reviewing the various existing models, we derive an analytical solution for the non-trivial coupled system modelling the bedload transport. Next, we study the hyperbolicity of the system with different sedimentation laws found in the literature. Relating to the numerical method, we present the validity domain of the time splitting method, consisting in solving separately the Shallow-Water system (modelling the flow routing) during a first time step for a fixed bed and updating afterward the topography on a second step using the Exner equation. On the modelling of transport in suspension at the plot scale, we present a system coupling the mechanisms of infiltration, runoff and transport of several classes of sediment. Numerical implementation and validation tests of a high order wellbalanced finite volume scheme are also presented. Then, we discuss on the model application and calibration using experimental data on ten 1 m2 plots of crusted soil in Niger. In order to achieve the simulation at the catchment scale, we develop a multiscale modelling in which we integrate the inundation ratio in the evolution equations to take into account the small-scale effect of the microtopography. On the numerical method, we study two well-balanced schemes : the first one is the Roe scheme based on a path conservative, and the second one is the scheme using a generalized hydrostatic reconstruction. Finally, we present a first model application with experimental data of the Ganspoel catchment where the parallel computing is also motived.

The aim of the MA thesis is to discuss and analyse different illustrations, paintings, carvings in wood and stone and woodcuts of ships of the new kind (Carrack, carvels), from the 15th century to the middle of the 16th century, and compare them to the Griffon-hound ship, and to understand how they have evolved. The ships of the time had large stern and end castles, three to four masts, and where built for the war tactic of boarding. The oldest ship of the new kind that have been found, is the Griffon-hound, a ship that belonged to the Danish king Hans, and sunk due to a fire 1495 outside of Ronneby in southern Sweden. Besides being the oldest of its kind, the ship also has a very specific figurehead that resembles a monster with a screaming human head in its gap. By discussing and analysing the artworks it is possible to learn more about the ships. After analysing them, the result is that the artworks do show how the ships have evolved. Some of the different attributes that the artworks display have also been found when investigating the wreck of the Griffon-hound. More attributes might still be on the wreck site, hidden under the sediment. An example is the remains of the anti-boarding nets that a lot of the artworks show, and that have been found on the wreck of the Mary Rose, the English ship that belonged to king Henry VIII. The Mary Rose is younger than the Griffon-hound, but artworks of older ships also show the anti-boarding nets, or the beams on top of the castles. The purpose behind having a large variety of different artwork is to increase the knowledge about the ships of the time, and to make sure that the attributes that is being analysed doesn’t only occur in one or two artworks.