Depuis près d’un siècle et demi, près de quatre cent cinquante sépultures collectives ont été découvertes dans le Bassin parisien. L’information archéologique à disposition y est largement lacunaire. La connaissance des groupes chrono-culturels de la fin du Néolithique a tout de même été enrichie grâce au mobilier funéraire. Il a permis de définir une phase de construction et d’utilisation commune pour une grande majorité de sépultures collectives au Néolithique récent 2 (3350-3000 av. J.-C). Une minorité d’entre elles a été utilisée au Néolithique final 1 (2900-2550 av. J.-C.), voire jusqu’au début de l’Âge du Bronze. Malgré un horizon chronologique commun, les sépultures collectives du Bassin parisien présentent une étonnante diversité architecturale. Deux grands types de monuments ont été identifiés : les allées sépulcrales et les hypogées. Ils coexistent avec un ensemble de sépulcres anciennement appelés « dolmens » ou « sépultures en fosse », deux termes qui sont aujourd’hui à bannir. Chaque type architectural se caractérise par des techniques de construction, une répartition géographique, une logique d’implantation, une durée d’utilisation et une concentration de mobilier qui lui est propre. Cette diversité est-elle renforcée par des divergences au niveau des pratiques funéraires ? Les différents types de sépultures collectives du Bassin parisien se distinguent-ils également par leurs modes de fonctionnement ? Peuvent-ils constituer des caractères culturels originaux ? / For one century and an half, around four hundred and fifty collective burials had been discovered in the Paris basin. The archeological information is widely lacunar. The knowledge of the chronological and cultural groups of the end of the Neolithic had been enhanced thanks to the burial deposit. It permitted to define a common phase of building and use of a large majority of the collective burials during the recent Neolithic (3350-3000 av. J.-C). A minority of them had been used during the final Neolithic(2900-2550 av. J.-C.), or even till the beginning of the Bronze Age.In spite of a common chronological horizon, the collective burials of the Paris basin presents a suprising architectural diversity. Two main types of monuments had been identified : the sepulchral galleries and the hypogeums. They coexist with a group of burials formerly named “dolmen” or “burial grave”, two names that we could not use any more. Each archictectural type is characterised by his own building technique, geographical distribution, implantation logic, useful life and deposit concentration. Is this diversity reinforced by some differences on burial practices ? Are the different types of collective burials of the Paris basin distinguished between as well by their functioning ? Could they constitue original characteristic cultural ?

Submitted by Erika Demachki (erikademachki@gmail.com) on 2016-01-29T14:44:13Z No. of bitstreams: 2 Dissertação - Paula de Campos Morais - 2015.pdf: 5067252 bytes, checksum: 9cab1ef3b1ba60a771d7e34df61208b9 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2016-01-29T14:46:52Z (GMT) No. of bitstreams: 2 Dissertação - Paula de Campos Morais - 2015.pdf: 5067252 bytes, checksum: 9cab1ef3b1ba60a771d7e34df61208b9 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-01-29T14:46:52Z (GMT). No. of bitstreams: 2 Dissertação - Paula de Campos Morais - 2015.pdf: 5067252 bytes, checksum: 9cab1ef3b1ba60a771d7e34df61208b9 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-09-24 / In this research interested in doing a study of the use of orthographic norms and expressions of Portuguese language in tomb inscriptions collected in four cemeteries of Goiano Southeast, specifically in the municipalities of Catalão, Ipameri, Santa Cruz de Goiás and Silvânia, one cemetery by municipality. For this purpose, our main objective was to investigate the lexicon and the use of orthographic norms of Portuguese in tomb inscriptions in cemeteries of Goiano Southeast and, thus, answer the questions: if there was the use of orthographic norms in the tomb inscriptions; if in the inventoried expressions of tomb inscriptions was necessary contain the words life, death or its synonyms for this idea to be represented. Thus, our main hypothesis was that the tomb inscriptions, as written manifestations, could present deviations to the orthographic norms in vigor at the time they were written and that would not be necessary the presence of words like death, life or their synonyms to represent this idea in the inventoried expressions of tomb inscriptions. The methodology used for the separation of data in both perspectives, orthographic and lexical, was adopted by Megale and Toledo Neto (2005), and these data, words and expressions, organized by municipality and the prestipulated periods, taking into consideration the following periods of orthography of the Portuguese in Brazil: 1931 – First Orthographic Agreement between Brazil and Portugal; 1943 – Publication of the Orthographic Form (Pequeno Vocabulário Ortográfico da Língua Portuguesa); 1971 – Law with emphasis on changing of the accent marks; 1990 – New Orthographic Agreement of the Portuguese Language, approved in 2008, with adaptation time of 2009 to 2012 and would be permanently implanted in 2013, but postponed to the year 2016. For the analysis of the data in the orthographic perspective the words were selected, to our eyes, as if they had orthographic deviations, and the analysis made considering the time they were registered, based on the orthographic norms in vigor on the periods and dictionaries of the epoch. To analyze the data in lexical perspective, we selected the inventoried expressions of tomb inscriptions collected by sampling criteria. Once the expressions have been selected, the words present in the same was analyzed based on the view of many lexicographers. / Na presente pesquisa interessou-nos fazer um estudo do uso de normas ortográficas e das expressões da língua portuguesa em inscrições tumulares coletadas em quatro cemitérios do Sudeste Goiano, mais precisamente nos municípios de Catalão, Ipameri, Santa Cruz de Goiás e Silvânia, sendo um cemitério por município. Para tanto, nosso objetivo principal foi investigar o léxico e o uso de normas ortográficas do português em inscrições tumulares nests cemitérios e, assim, responder aos questionamentos: se houve a utilização de normas ortográficas nas inscrições tumulares; se nas expressões inventariadas das inscrições tumulares foi necessário conter as palavras vida, morte ou seus sinônimos para que essa ideia seja representada. Para tanto, nossa hipótese principal foi de que as inscrições tumulares, como manifestações escritas, poderiam apresentar desvios à norma ortográfica vigente à época em que foram escritas e que não seria imprescindível a presença de palavras como morte, vida ou seus sinônimos para representar essa ideia nas expressões inventariadas das inscrições tumulares. A metodologia utilizada para a separação dos dados em ambas as perspectivas, ortográfica e lexical, foi a adotada por Megale e Toledo Neto (2005), sendo esses dados, vocábulos e expressões, organizados por município e pelos períodos préestipulados, levando em consideração os seguintes períodos da ortografia do português no Brasil: 1931 – Primeiro Acordo Ortográfico entre Brasil e Portugal; 1943 – Publicação do Formulário Ortográfico (Pequeno Vocabulário Ortográfico da Língua Portuguesa); 1971 – Lei com ênfase na alteração dos acentos gráficos; 1990 – Novo Acordo Ortográfico da Língua Portuguesa, aprovado em 2008, com tempo de adaptação de 2009 a 2012 e que deveria ser implantado definitivamente em 2013, mas adiado para o ano de 2016. Para a análise dos dados na perspectiva ortográfica, os vocábulos foram selecionados, ao nosso olhar, como se possuíssem desvios ortográficos, sendo a análise feita tomando por base a época em que foram inscritos, baseados nas normas ortográficas vigentes nos períodos e em dicionários das épocas. Para a análise dos dados na perspectiva lexical, selecionamos as expressões inventariadas das inscrições tumulares coletadas através do critério de amostragem. Tão logo as expressões foram selecionadas, os vocábulos presentes nas mesmas foram analisados com base na visão de diversos dicionaristas.

This paper examines the texts written on shards from wine-jars found at El-Amarna, Tutankhamuns tomb (KV 62) and Deir el-Medina. Information concerning the administration of wine and its production, found in these texts, is examined. Wine was an important element in Egyptian society and a common iconographic motif in tombs at Thebes during New Kingdom. A survey on previous research on the subject is presented. This is followed by analysis of the different reoccurring elements found in the texts. A definition of the standard formulation of the wine jar label texts is given and the minimal level of information needed for the administration of wine production and distribution is identified.  The chapter of the analysis deals with the various types of information given in the label texts, such as date, wine classification, and function. The next chapter presents the words associated with the vineyard, the names of the institutions involved in the production and use of wine, and the place names that identify where wine production took place. The following chapter deals with the titles and personal names of the officials involved in wine production. This study shows that these small texts contribute to an understanding of wine production. They also display continuity in form that bridges the turbulence of the Amarna Period. The earlier examples of these texts do not have an ideological component. It is first with the Ramessid Period, and the more intrusive inclusion of the name of the King, that some ideological intent can be identified.

One aim of this essay is to conduct a thorough investigation into the origins of the objects inthe Victoria Museum, Gustavianum, collection VM 346–362 (the sequence expanded, later inthe project, also to include VM 346) and how they got there. This will be achieved byfollowing the paper trail back to the excavation in Egypt. The other is to describe how objectsfrom digs were spread between museums and different countries by W.M. Flinders Petrie.Questions have been raised about the perceived origins of the objects in the Gustavianumcollection VM 346–362. The collection has until recently been believed to be the funeraryobjects of the First Intermediate Period man Wadjet-hetep. In 1921 this collection was mostlikely bought by the Victoria Museum through Pehr Lugn, from W.M. Flinders Petrie, somemonths after Petrie and Brunton ended their excavation season of 1920/21 in Sedment, Egypt.However, the collection as a whole cannot be the funerary objects of Wadjet-hetep, since themajority of those are owned by and exhibited at Ny Carlsberg Glyptotek, Denmark.The one confirmed belonging of Wadjet-hetep in the Gustavianum VM-collection is the innercoffin which has his name on it. The collective memory of the museum claims that fivewalking sticks, also currently in the VM-collection, were found with the mummy inside theinner coffin at the excavation site. Unfortunately, the museum archive is extensively damagedand contains nothing that can tell us about the collection's origins.By investigating external sources, Petrie and Brunton’s accounts of the excavation, as well asonline catalogues and archives, the VM collection can be backtracked to Sedment. The resultsconclude that the objects in the collection derive from different tombs and periods.

I denna studie undersöks karaktären Lara Croft i filmerna Lara Croft: Tomb Raider (2001) och Tomb Raider (2018) utifrån frågeställningarna: Hur skildras karaktären Lara Croft i filmerna Lara Croft: Tomb Raider (2001) respektive Tomb Raider (2018), vilka likheter och skillnader finns? Vad kan eventuella likheter och skillnader bero på? I analysen kallas karaktären i filmen från 2001 (en adaption av de ursprungliga datorspelen Tomb Raider från 1990-talet) för ”gamla Lara” och karaktären i filmen från 2018 (en adaption av nyversionen av samma datorspel från 2013–2018) för ”nya Lara”. Först diskuteras den visuella skildringen av Lara Croft utifrån Laura Mulveys begrepp ”den manliga blicken” och ”to-be-looked-at-ness” samt Yvonne Taskers iakttagelser där det finns stora skillnader mellan filmerna. Gamla Lara tillgängliggörs inom en traditionellt kvinnlig kontext genom sexighet, hon objektifieras för den manliga blicken och präglas av ”to-be-looked-at-ness”, medan nya Lara inte gör det. Nya Lara tillgängliggörs dock inom en traditionellt kvinnlig kontext genom att vara ett romantiskt intresse för en man. Sedan diskuteras Lara utifrån den ”postfeministiska supertjejen” som Janine Engelbrecht beskriver och där finns också stora skillnader. Gamla Lara präglas starkt av det postfeministiska (och orealistiska) supertjejidealet medan nya Lara är mer mänsklig. Nya Lara präglas av en realism som har potential att utmana förväntningarna på vad en kvinna kan vara och göra i verkligheten medan gamla Lara snarare representerar en fantasi. Sist diskuteras Lara utifrån Rikke Schubarts Dotterarketyp och där finns mest likheter. Både gamla och nya Lara har internaliserat traditionellt manliga intressen, egenskaper och beteenden, de har ingen önskan att lämna sitt traditionellt manliga yrke (äventyrare och arkeolog) utan ser fram emot nästa fartfyllda utmaning. Varken gamla eller nya Lara längtar efter en traditionellt kvinnlig livsstil med romantik eller shopping. Både gamla och nya Lara har dock ett utvecklat bakgrundsnarrativ (där pappan är central) som ”förklarar” varför hon befinner sig i en traditionellt manlig kontext. Frånvaron av en mamma i Laras narrativ kan också ses som en förklaring till varför hon inte uppvisar traditionellt kvinnliga intressen eller beteenden. Skillnaderna hos nya Lara med avseende på den visuella skildringen och det postfeministiska supertjejidealet kan kopplas till (framförallt) feministisk kritik som riktades mot gamla Lara på just dessa punkter. De hjälteegenskaper som feministiska analyser belyst som positiva hos gamla Lara har bevarats även hos nya Lara vilket kan vara orsaken till de många likheter som återfinns gällande Dotterarketypen.

abstract: In this dissertation, I translate and provide a critical analysis of the Iranian play, Tomb Dwellers (2009), by Hussein Kiyani. It was first staged after the contested presidential election in Iran in 2009 which brought Mahmoud Ahmadinejad into power for a second term. The play depicts the socioeconomic situation of Iran and its relation to other countries, the situation of women and the working class during Ahmadinejad’s two terms of presidency. Tomb Dwellers is written as a comedy, a genre more likely to make it past censors in Iran or other despotic countries. My research and translation project are sparked by questions that move in two directions simultaneously: one, toward understanding the sociopolitical context for theatre in Iran after the revolution of 1979; the other, toward the challenges of translating into English a play that stands as a social metaphor in its own historical context. Regarding the former, which forms the basis of my critical analysis, I explore the strategies artists have used to avoid the limitations imposed by the authorities. In making this play available to English-speaking readers at a time of political tension between Iran and the United States I offer to USAmerican audiences a more nuanced perspective of the way Iranian people feel about their government and its relation to other countries. This play is both timely and informative. Timely because of the tensions between the US and the Middle East. Informative because it represents the Iranian community and may serve to create a bridge between the two cultures. Translating and staging this play along with the critical analysis I am providing will help American audiences and immigrants from other countries to know more about Iran in a creative and entertaining way. / Dissertation/Thesis / Doctoral Dissertation Theatre 2019

Partant du constat qu'un changement des paradigmes définitoires de l'autofiction semblait être en train de s'opérer dans la production littéraire québécoise contemporaine, mais consciente que le genre autofictif est reconnu pour les mésententes que causent entre les critiques sa définition (Doubrovsky, Colonna, Genette, Darrieussecq), j'ai tenté, dans le présent mémoire, d'étudier les récits autofictifs de Vickie Gendreau, Testament et Drama Queens, en m'appuyant sur le rapport entretenu par ces deux textes à la vraisemblance. J'ai postulé que la vraisemblance est un élément central définitoire des autofictions. Chez Gendreau, le rapport des narratrices à leurs corps malades, en dégénérescence, constitue l'instance de vraisemblance principale, et actualise sans arrêt dans le texte le pacte autobiographique – constitutif des autofictions. Les textes de Gendreau, qui plus est, sont des récits autofictifs qui se définissent par leur rapport à la vraisemblance et dans lesquels les éléments invraisemblables ne constituent pas une sortie du pacte de lecture autobiographique. Je définis d'abord, dans un chapitre théorique, l'autofiction et la vraisemblance (Barthes, Rapin, Aristote, Mercier, Genette). Puis, en me basant sur Putain et Folle, autofictions de Nelly Arcan considérés par la critique comme des récits québécois exemplaires du genre, j'établis un canevas de vraisemblance, sur lequel je m'appuie pour mon analyse des romans de Vickie Gendreau. / Noting that a change of the autofiction's defining paradigms seems to be taking place in Québec contemporary literary production, but aware that the genre is a recognized source for disagreements between scholars (Doubrovsky, Colonna, Genette, Darrieussecq), I herein attempted to examine Vickie Gendreau's Testament and Drama Queens, relying on the relationship maintened by these two texts with the concept of vraisemblance. I asserted that the vraisemblance is central in defyning autofictions; that, in Gendreau's writing, the relationship of the narrators to the degenerating body is crucial in the development and constant updating of the autobiographical pact – constitutive of autofictions; and especially that Gendreau's novels are defined by their relationship to the vraisemblance, and that implausible elements present in the text do not break the autobiographical pact. I first defined, in a theoretical chapter, autofiction and vraisemblance (Barthes, Rapin, Aristote, Mercier, Genette). Then, based on Putain and Folle, autofictions by Nelly Arcan widely regarded by critics as Quebec examples of the genre, I established a vraisemblance canvas on which I rely for my analysis of Gendreau's novels.

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This thesis explores the creation of the Virginia’s War Memorial Carillon in relation to the persistent significance of the Civil War in Virginia. By focusing on the debates about Virginia’s War Memorial Library, Tomb of the Unknown Soldier, and Carillon, this thesis reconstructs the sentiments and historical legacy that shaped the multitude of decisions leading to the creation of Virginia’s World War memorial. Virginia seriously considered two other proposals for war memorials—the War Memorial Library and the Virginia Tomb of the Unknown Soldier—before ultimately constructing the War Memorial Carillon. Concerns for appropriateness and residual attachments to the Lost Cause of the Civil War inform the debates about the best memorial to represent Virginia and honor the soldiers, sailors, marines, and women from Virginia who fought in the World War.

Cette étude rassemble une sélection d’ostraca et papyri hiératiques documentaires provenant de Deir el-Medina, le village des ouvriers de la tombe royale au Nouvel Empire. Tous sont liés aux différentes étapes de la préparation concrète à la mort par les habitants de ce site. Les informations qu’ils apportent sont étudiées à travers trois grands axes – abordés dupoint de vue technique, lexicographique, économique, juridique, etc. – : l’acquisition et la préparation de la tombe ; la commande de l’équipement funéraire ; et la rédaction de testaments. La confrontation de ces textes avec les résultats archéologiques permet d’appréhender la façon dont l’Égyptien « moyen » du Nouvel Empire anticipait sa propre mort pour lui-même et ses descendants ou, au contraire, ne la préparait pas, laissant à ses héritiers le soin de prendre en charge ses funérailles. Dans ce contexte, la place des femmes et leur relative dépendance vis-à-vis des hommes de leur entourage sont également abordées. Le site de Deir el-Medina a été choisi comme cadre pour cette étude en raison de son importante documentation qui permet une connaissance – exceptionnelle pour l’Égypte ancienne – de la vie quotidienne de ses habitants. L’accent est mis sur la façon dont le travail dans la tombe de Pharaon privilégiait ces derniers ; outre l’avantage de se voir attribuer une concession funéraire – prérogative normalement réservée à l’élite égyptienne –, leur statut leur facilitait l’accès aux matières premières et leurs spécialisations pouvaient être mises au service de leur propre organisation ante mortem. / This study brings together a selection of documentary hieratic ostraca and papyri from Deir el-Medina, the village of the royal tomb’s workmen during the New Kingdom. All are related to the differents stages of the concrete preparation for death by the inhabitants of this site. The informations they provide are studied through three large axis – discussed from thetechnical, lexicographical, economical, legal point of view, etc. – : the acquisition and preparation of the tomb; the order of the funerary equipment ; and the writing of wills. The comparison of these texts with archaeological findings allow to understand how the « medium » Egyptian of the New Kingdom anticipated his own death for himself and his descendants or, on the contrary, did not prepare it, leaving the task of taking care of his funeral to his heirs. In this context, the place of the women and their relative dependence towards the men of their circle are also discussed. The site of Deir el-Medina was chosen as the framework for this study because of its considerable documentation allowing a knowledge – unique for the ancient Egypt – of the daily life of its inhabitants. The focus is on how the work in the tomb of Pharaoh favored them ; besides the advantage of being awarded a burial concession – prerogative normally reserved for the egyptian elite –, their status make easier for them the access to raw materials and their specializations could be harnessed to their own ante mortem organization.