Le moulage en terre cuite est un procédé de fabrication qui permet de reproduire mécaniquement des objets, à l’aide de matrices. Aussi, en tant que procédé technique, la coroplathie est un exemple de fabrication et de diffusion d’images en nombre.Ma recherche est centrée sur la construction d’une typologie des statuettes en terre cuite de l’époque hellénistique, et principalement celles qui datent des IIIe et IIe siècles av. n.è. en Italie.Celles-ci se caractérisent par un renouvellement iconographique des figurines génériques, sans attribut, dont les plus emblématiques sont les représentations de femmes drapées, appelées aussi « tanagréennes ». En effet, à partir du milieu du XIXe siècle, avec l’apparition sur le marché de l’art des figurines de Tanagra (vers 1870) et de Myrina (vers 1880), le sujet a commencé à attirer l’attention des amateurs d’antiquités puis des scientifiques. Longtemps collectionnées pour elles-mêmes, ces statuettes ont souvent été désolidarisées de leurs environnements archéologiques. En Italie, c’est en grande partie par des études rétrospectives des statuettes conservées dans les musées qu’on parvient aujourd’hui à reconstituer des assemblages et des contextes de découverte (votif ou funéraire). La documentation ayant servi de matière première à cette thèse est disparate. Elle est constituée de catalogues d’objets et de notices de sites éparses dans lesquelles les statuettes sont souvent sous-exploitées. C’est toute la difficulté de cette démarche : ces figurines en terre cuite, à la fois nombreuses, répétitives et souvent fragmentaires suscitent peu d’engouement ; la dynamique de recherche s’attardant davantage sur des lots d’objets mieux conservés ou identifiés. Dans un certain sens, mon travail tente de revaloriser le multiple tant du point de vue de l’artisanat que des usages de ces statuettes dans leurs matérialités religieuses.Le terrain d’enquête de cette étude est celui de l’Italie hellénistique, indépendamment des contextes culturels (italiques, grecs, étrusques, romains) dans lesquels l’historiographie a parfois eu tendance à enfermer la petite plastique en terre cuite. En dépit de leur nombre et de leur diversité, ou plus exactement en raison de ces facteurs, ces figurines restent assez mal connues.Dans ma démarche, j’ai tenté d’échapper aux classements iconographiques et techniques habituels. Ces types tanagréens, largement constitués de figurines féminines drapées mais aussi de quelques sujets mythologiques (Eros, Aphrodite, Athéna, Hermès…) qui par des jeux d’attributs superposés personnalisent ces figurines, ont été observés et analysés en fonction de leur forme et présentés selon une typologie morphologique. Celle-ci a été conçue dans la perspective de proposer une nouvelle grille de lecture et d’interprétation afin de construire des instruments de recherche mieux à même de s’adapter à ces objets dépourvus d’apparentes significations, enchevêtrés dans une sérialité des formes d’où émergent des singularités. La forme et ses variations sont au cœur du sujet, donnant lieu à des développements sur les principales échelles de production de ces figurines et sur l’interprétation des images qu’elles ont véhiculées en fonction de leur environnement topographique, historique et culturel. / Terracotta casting is a process of manufacturing that allows the mass production of objects with the help of molds. As a technical process, coroplasty is an example of mass production and diffusion of images.My research is focusing on building a typology for terracotta figurines of the Hellenistic era, more specifically the ones dating back to the 3rd and 2nd Centuries BC in Italy. These generic figurines, with no specific characteristics, feature a renewal in statuette iconography. The most emblematic ones usually represent women wrapped in veils, also called Tanagra figurines.Around the middle of the 19th century, with the apparition of figurines from Tanagra (circa 1870) and Myrina (circa 1880) on the art market, the statuettes began to catch the attention of connoisseurs, then scientists. Collected for themselves for a long time, these figurines have often been torn apart from their archeological environment. In Italy, thanks in great part to a retrospective study of the figurines preserved in museums, we are able to re-establish connections with groups and contexts of discoveries (votive or funerary figurines).The materials gathered for the documentation of this thesis are heterogeneous. It consists of artwork catalogues and notes from various sites where the figurines are often underexposed. The main complexity of this research follows thus: the terracotta figurines, both abundant and repetitive, often incomplete, arouse little enthusiasm; all the energy in research usually focuses mostly on the group of objects best preserved or identified. In a way, my work tries to reassert the value of numbers, as much from the point of view of handicraft as from the different religious functions of the figurines.Italy during the Hellenistic era is the field of investigation for this research, irrespective of cultural context (Italic, Greek, Etruscan or Roman) from which sometimes historiography has a tendency to confine small terracotta figures. Despite their number and variety, or rather because of them, these figurines remain largely ignored. My approach tries to break free from the usual iconographic typologies and technical classifications. I tried to observe and analyze the Tanagra figurines – mostly consisting of veiled feminine silhouettes, but also including some mythologicaltopics (Eros, Aphrodite, Athena, Hermes…) personalized through an array of superimposed attributes – taking into account their shape, and presenting them according to a morphological typology. This typology has been created in the prospect of offering a new frame of reference and interpretation, in order to build tools of research better fitted to these figurines, all lacking in apparent meaning, entangled in the serialization of its shapes, from which sometimes uniqueness emerge. The form and its variations are at the heart of the topic, leading to developments on main production scales, or on the interpretation of the images they conveyed depending on their topographical, historical and cultural environment.

Il n'existe à ce jour aucune monographie d'ensemble sur la répartition des offrandes dans les lieux de culte de la Gaule romaine, notamment des objets de parure. Cette thèse vise à combler cette lacune en prenant en considération les fibules en contexte cultuel, alors que celles-ci ne sont bien souvent envisagées que comme des objets de la vie quotidienne et étudiées en tant que telles. L'offrande de fibules est examinée à partir de leur distribution spatiale intrasite par phase de fréquentation, et ce sur l'ensemble des lieux de culte de la Gaule du 11e siècle av. J.-C. jusqu'au IV" siècle de notre ère. Ce travail est réalisé grâce à des cartes de répartition et aux outils statistiques de sériation. Cette analyse est complétée par l'étude typo-chronologique de l'ensemble des fibules répertoriées et par l'étude des associations de mobilier dans l'espace cultuel, en mettant plus particulièrement l'accent sur l'ensemble des objets de parure, afin d'identifier des pratiques religieuses spécifiques et de travailler sur l'offrande possible d'éléments aujourd'hui disparus comme les vêtements. Sont examinés entre autres les modes de dépôt des fibules, leur symbolique, leur lien éventuel avec certaines divinités, ou bien encore s'il s'agit d'offrandes individuelles ou collectives. Enfin, ce travail permet d'étudier les continuités et les ruptures entre les pratiques cultuelles de la fin de la période celte (LTD) et celles d'après la conquête césarienne, afin d'approfondir notre connaissance du processus de romanisation dans les provinces gauloises. / To date, there is no full monograph on the distribution of offerings in sanctuaries in roman Gaul, including ornaments. This thesis aims to fill this gap by taking into consideration the fibulas in cult context, white these are very often considered as objects of everyday life and studied as such. The fibulas's offering is examined from their intrasite spatial distribution by phase of attendance, and this on ail the sanctuaries of Gaul of the 2nd century BC to the 4th century AD. This work is done through distribution maps and statistical serialization tools. This analysis is complemented by the typo-chronological study of ail fibulas listed and by the study of furniture associations in the sanctuaries, with particular accentuation on ail objects of ornament, so that to identify specific religious practices and to work on the possible offering of elements that have now disappeared, such as clothing. Among other things, the modes of fibulas's deposit, their symbolism, their possible link with certain deities, or even individual or collective offerings are examined. This work finally allows to study the continuities and ruptures between the cult practices of the end of the Celtic period (LTD) and those after the Cesarean conquest, in order to deepen our knowledge of the process of romanization on the Gallic provinces.

Il presente lavoro tratta delle trasformazioni edilizie nell'area centrale del santuario di Tas-Silġ a Malta (presso la baia di Marsaxxlokk), con particolare attenzione alla fase tardo-ellenistica (fine II inizio I sec. a.C.). il luogo di culto fu frequentato a partire dall'età preistorica, e il lobo centrale del tempio, costruito nella fase di Tarxien dell'eneolitico maltese (3000 2500 a.C.), fu mantenuto anche durante gli interventi successivi. L'arrivo sull'isola di genti fenicie (fine VIII sec. a.C.) determinò importanti trasformazioni edilizie riguardanti il tempio e lo spazio sacrificale (VII VI sec. a.C.), la più importante delle quali fu la messa in opera del ground altar arcaico all'ingresso del tempio. L'ultimo degli interventi che modellò il volto del santuario fino alla sua trasformazione in chiesa cristiana fu quello tardo ellenistico. L'intera area del santuario venne racchiusa da un muro di delimitazione dotato di torri e lo spazio antistante il tempio fu monumentalizzato con la costruzione di una corte-peristilio con portici sui quattro lati, la cui ipotesi ricostruttiva è stata affrontata nella tesi attraverso l'analisi dei frammenti di decorazione architettonica conservati. / The present work deals with the architectonic transformations in the central area of the Tas-Silġ sanctuary in Malta (close to Marsaxxlokk bay), with special focus on the late-Hellenistic phase (late 2nd early 1st b.c.). The cult site had been attended since the prehistorical age, and the central lobe of the temple erected in the Tarxien phase (3000 2500 B.C.) of the Maltese eneolithic was maintained during the following transformations. The arrival of Phoenician people on the island (end of VIII century) determined important architectural transformations involving the temple and the sacrifical praecinct, (VII VI cent.), which most important was the construction of the archaic ground altar at the entrance of the temple. The last of the major works which modelled the sanctuary face, transforming it into Christian church, was the late-Hellenistic one. The entire sanctuary area is delimited by an enclosure wall with towers and the space in front of the temple is monumentalized with a peristyled court with porches on the four sides, which reconstruction hypothesis was developed in the present thesis through the analysis of the architectural fragments.

The purpose of this study was to compare vegetation systems among three artificially isolated wetlands on the west end of Galveston Island. Sample sites were identified as isolated wetlands and anthropogenic impact was observed. Wetland plant communities were identified through representative field studies using a modified quadrat method. Species composition, species diversity, evenness, cover and frequency were compared among the three sample sites. Salinity at all three sample sites remained at 0 ppt through June, July and August. Salinity increased to 10 ppt in both Lafitte’s Cove Nature Preserve and Dos Vacas Muertas Bird Sanctuary in September. No change in salinity was recorded at Isla Del Sol. At Lafitte’s Cove Nature Preserve the majority of the soil composition included Mustang-Nass. Dos Vacas Muertas Bird Sanctuary consisted of a Mustang fine sand complex while Isla Del Sol consisted of Mustang fine sand and Nass very fine sandy loam. Sampling at Lafitte’s Cove Nature Preserve produced 15 species. Dos Vacas Muertas Bird Sanctuary added 7 new species while Isla Del sol added 6 new species for a total of 28 species within the three sites. The overall plant species’ richness of Lafitte’s Cove Nature Preserve and Dos Vacas Muertas Bird Sanctuary remained low. A high frequency was observed in Sesbania drummondii and Cyperus odoratus at Lafitte’s Cove Nature Preserve. Sesbania drummondii retained the highest percent cover for the site. At Dos Vacas Muertas Bird Sanctuary, Phragmites australis and Spartina patens demonstrated a high frequency as well as percent cover. Frequency was highest in Juncus roemerianus and Eleocharis geniculata at Isla Del Sol. Several plant species exhibited a high frequency while overall frequency was more evenly distributed in Isla Del Sol than the other sample sites. Percent cover was highest in Juncus roemerianus and Borrichia frutescens. Isla Del Sol had the highest species diversity and evenness of all three sample sites. Similarity in species composition was high with the coefficient for pair-wise comparisons in Isla Del Sol and Lafitte’s Cove Nature Preserve being the highest. The three sample sites shared 53% to 73% of their species. Isla Del Sol possessed 6 species that were absent from the other sample sites. Dos Vacas Muertas Bird Sanctuary contained 4 unique species while Lafitte’s Cove Nature Preserve had only 3 unique species. Dos Vacas Muertas Bird Sanctuary had the lowest index score at 10. Lafitte’s Cove Nature Preserve had the highest index score at 24 while Isla Del Sol followed close behind at 22. For the Anthropogenic Activity Index, Lafitte’s Cove Nature Preserve still retained the highest score at 14. Results for Isla Del Sol showed an index score of 13 while Dos Vacas Muertas Bird Sanctuary scored only 7. The results of this study show that although Dos Vacas Muertas Bird Sanctuary had lower levels of disturbance when compared to the other sample sites, it still experienced a lower species diversity. Isla Del Sol had the highest species diversity and evenness of the sites. Lafitte’s Cove Nature Preserve had the highest level of disturbance and maintained a low level of diversity as well. When comparing the results to historical data, a reduction in salt marsh plant species was observed. Species that are often associated with freshwater to brackish marsh wetlands have become more dominant in the sample sites.

The social purpose of American higher education is a question that has frequently surfaced. The Atlanta showing of the Without Sanctuary: Lynching Photography In America Exhibit provided a unique opportunity for an institution of higher education, a government agency, and private citizens to collaborate on a reconciliatory project related to the social justice issue of lynching. The role of higher education has varied over the course of history, but the foundation for this study was laid when higher education institutions first developed an interconnectedness with the communities in which they resided, with higher education serving in a key capacity in the development and training of community leaders. This case study was designed to examine how Emory University, a private, prestigious, Southern research university, collaborated with external entities to provide educational opportunities for members of the Atlanta community to engage in discourse related to the lynchings that occurred in the United States from the 1870s to the 1960s. The case study method allowed for the exploration of complex social conditions from multidimensional perspectives. Interviews of individuals involved with the Exhibit and Emory University as well as document analysis were used to investigate the problem. The partnership was examined through a social justice framework, allowing for a full examination of the process and the outcome of the partnership in relation to the treatment of the subject matter. As a result of this study, a greater understanding of the role institutions of higher education can have in reconciliatory acts related to racial oppression and social injustice is provided.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-07-01T18:22:03Z No. of bitstreams: 1 mariagorettilanna.pdf: 3587586 bytes, checksum: 014a30d67b1c218bf36c6af9b71339ee (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T16:06:00Z (GMT) No. of bitstreams: 1 mariagorettilanna.pdf: 3587586 bytes, checksum: 014a30d67b1c218bf36c6af9b71339ee (MD5) / Made available in DSpace on 2016-07-13T16:06:00Z (GMT). No. of bitstreams: 1 mariagorettilanna.pdf: 3587586 bytes, checksum: 014a30d67b1c218bf36c6af9b71339ee (MD5) Previous issue date: 2012-02-28 / A construção do Santuário da Santa Montanha e do povoado onde este se localiza se originou a partir dos relatos das aparições de Nossa Senhora Aparecida por três crianças na zona rural da cidade de Guiricema, no interior de Minas Gerais, nos anos 1960. Este mundo religioso, baseado estritamente no catolicismo, foi criado por moradores ao redor da montanha, que se uniram, rompendo com a comunidade onde se inseriam e deram início à criação de um mundo/cosmos regido diretamente por Nossa Senhora e pelo Menino Jesus. O presente estudo analisa a construção deste mundo peculiar, tendo por base a teoria da construção social da realidade como proposta por Peter Berger e Thomas Luckmann, abordando-a como um processo da atividade humana que permite desenvolver e construir um mundo, mantendo-o em funcionamento. / The idea of creating Santa Montanha’s Sanctuary, and the village where it is located, originates from narratives about Saint Mary’s apparitions, based on reports of three children from Guiricema – a town located on the countryside of Minas Gerais state – in the nineteen sixties. This religious world, strictly based on Catholicism, was created by the people who lived in the surroundings of the hill where the sanctuary was built. Together, they left their homes and formed a new community, creating a world/cosmos ruled directly by Saint Mary and Baby Jesus themselves. This study analyses the construction of this peculiar world, based on Peter Berger and Thomas Luckman´s theory of the social construction of reality, considering it a process of human activity that allows us to develop and create a world, keeping it functional.

A la fin du XIXe siècle, les monastères bouddhiques, appelés aussi vat ou pagode, jouaient un rôle essentiel dans la société cambodgienne et la réglementation imposée par le Protectorat n’empêcha pas leur développement continu. Mais, quoique de plus en plus nombreux, ils étaient mal connus et leurs édifices ignorés. Aucun état des sanctuaires possédant une architecture remarquable n’a été réalisé avant les destructions des années 1970, et aucun inventaire n’a été fait depuis. Trois parties composent cette étude : après la présentation des caractéristiques générales de ces monastères, puis de leur mode de création de 1860 à 1975, est analysée l’architecture des 563 sanctuaires bâtis pendant les quatre règnes de cette période et existants encore aujourd’hui. Les autres édifices anciens de ces monastères sont également analysés. Les décors peints sont l’objet d’une autre thèse. Des cartes détaillées et un catalogue contenant une fiche pour chacun de ces sanctuaires, établis après la visite de 1800 vat, complètent cette étude. / At the end of the nineteenth century, the Buddhist monasteries, also known as watt or pagodas, played an essential part in Cambodian society and the regulation enforced by the French Protectorate did not prevent their continued expansion. But, although more and more numerous, they were badly known and their buildings were ignored. No repertory of sanctuaries with outstanding architecture was made before the destruction of the 1970s, and no inventory has been done since.Three parts make up this study. After the presentation of the general characteristics of these monasteries and their method of creation from 1860 to 1975, is analyzed the architecture of the 563 sanctuaries built during the four reigns of this period and still existing today. Other former buildings of these monasteries have been also studied. Murals are analyzed in another thesis. Detailed maps and a catalogue containing a sheet for each of these sanctuaries, carried out after the visit of 1800 watt, complement this study.

Les sanctuaires, ou vihāra, des monastères bouddhiques – ou vat - ont joué de tout temps un rôle essentiel dans la société cambodgienne. Lieux de rassemblement, de prière et d’enseignement auprès de la grande statue du Buddha, leurs murs puis leurs plafonds, ont reçu un décor peint racontant ses Vies antérieures et sa Vie historique. Ces témoignages ne figurent sur aucune liste des Archives Nationales de Phnom Penh et n’ont jamais fait l’objet d’une étude approfondie, et encore moins d’un recensement. Les plus anciennes peintures ne sont pas antérieures à la fin du XIXe siècle et les plus récentes ne dépassent pas le milieu des années 1970, période où les Khmers rouges ferment tous les monastères et commencent la destruction de leurs édifices et principalement des vihāra. Plus de 3000 monastères ont été répertoriés et quelque 1800 sanctuaires ont été photographiés pendant cette recherche dont le résultat se présente en trois volumes : le volume I est une étude de la peinture en six chapitres concernant essentiellement les vihāra mais aussi quelques sālā et kūtī ; le volume II contient les annexes constituées d’environ 1400 photographies, des cartes détaillées et la liste des vat concernés ; le volume III est un catalogue des 206 vat ayant conservé des peintures anciennes sur les murs, ou sur d’autres supports - bois, toile, verre ou métal - , illustré de quelque 500 photographies. / Temples, or vihāra, of Buddhist monasteries, or watt, always played an essential role in Cambodian society. Places of gathering, prayer and teaching which house the largest statue of the Buddha of the monastery, many of them of have received a decor of paintings on their walls and ceiling, recounting his previous Lives and his historical Life. This heritage is not present in the National Archives of Phnom Penh and has never been the subject of a thorough study, let alone a census. The oldest paintings are not earlier than the end of the 19th century and the most recent do not exceed the mid-1970s, when the Khmer Rouges close all monasteries and begin to destroy their buildings, mainly the vihāra. More than 3000 monasteries have been identified and 1800 sanctuaries were photographed during this research whose result is presented in three volumes : volume I is a study of the paintings into six chapters concerning mainly the vihāra but also some sālā and kūtī; volume II contains the annexes with approximately 1400 photographs, detailed maps and lists of the concerned watt ; volume III is a catalogue of the 206 watt having preserved ancient murals, or paintings on other supports - wood, canvas, glass or metal –, with roughly 500 photographs.

La porte a été l’un des premiers éléments de l’architecture grecque a être monumentalisé. Le terme de «porte» fait ici référence à l’ensemble du dispositif, aussi bien les battants que l’encadrement. Ces deux éléments sont eux-mêmes composés de plusieurs parties mais seules celles en pierre, à savoir le seuil, les montants, le linteau et le couronnement nous sont parvenus. On retrouve également des scellements métalliques et des traces de scellement ou de placage en bois. Ces vestiges, associés à une étude des textes (traités, comptes de construction, récits de voyageurs), de l’iconographie (céramiques et reliefs) et à une comparaison avec d'autres monuments (trésors, tombes macédoniennes, etc.), permettent une reconstitution de l’ensemble. Outre son aspect fonctionnel, la porte du temple détient un rôle symbolique fort puisqu'elle fait le lien entre la sphère humaine et la sphère divine. La porte pose la question de l'accessibilité à la cella. S'ajoutent les clôtures d'entrecolonnement et les diverses barrières pouvant être autant de nouvelles limites à la circulation. L’étude porte sur les portes de temple de l’époque archaïque jusqu’aux Antonins en Grèce égéenne. Le choix des limites chronologiques et géographiques du sujet est motivé par une volonté d’uniformité et de continuité. Il s’agit d’une analyse systématique de la morphologie des portes ainsi que de la portée symbolique du dispositif dans son contexte architectural et de son rôle dans la scénographie du temple et du sanctuaire et dans les rites. / The door was one of the first element of Greek architecture to be monumentalized. The term "door" refers here to the whole system, as well as the door panels and the door frame. These two elements are themselves composed of several parts but only those in stone, namely the threshold, the jambs, the lintel and the coronation remain. There are also metal seals and traces of wood seals or veneer. These remains, together with a study of texts (treaties, construction accounts, travelers' tales ), iconography (ceramics and reliefs), and a comparaison with other monuments (treasuries, Macedonian tombs) allow a reconstruction of all in many cases . In addition to its functional aspect, door monumentalised has a strong symbolic impact as it separates the human world from the one of the gods. The study of the door is connected with the question of the access to the cella. We also consider the intercolumnation screens and various barriers that can be encountered in temples as they all are limits to the circulation within the building. The study will focus on the temple doors of the Archaic period to the Antonines constructions in aegean Greece. The choice of chronological and geographical limits of the subject was motivated by a desire for consistency and continuity. It will be a systematic analysis of the doors morphology and of the symbolic significance of the device in its architectural context and its role in the temple and sanctuary scenography and in the rituals.

The decline of the world’s fisheries, and the inability of traditional management frameworks to maintain them, has led managers to adopt new, alternative management frameworks. Alternative management frameworks include marine protected areas (MPA) and dedicated access privileges (DAP). The use of such frameworks has often been shown to be quite unpopular, especially with commercial fishers. In this thesis, commercial fishers’ preference for alternative management frameworks is examined in the context of the unique multispecies fisheries of the Florida Keys. By surveying commercial fishers, it was found that the size of operation plays no role in affecting fisher perception of dedicated access privileges. Furthermore, fishers who are organized are less likely to support dedicated access privilege frameworks. Finally, the fishing industry does not support the implementation of dedicated access privileges in the Florida Keys. These findings can provide inputs for managers in developing effective management plans in the region.