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Representational artistic works were researched as visual evidence for the social, political, religious and economic lifestyles of the ancient Egyptian elite. The aims were to comprehend the status of elite women and to challenge the hypothesis that during the New Kingdom they enjoyed an increased social status in comparison to that of their predecessors. Many artistic works were analysed (tomb and palace wall scenes, statues, obelisks and personal artefacts), on the quest for evidence for the roles of elite women in events, practices and rituals at the time when the objects were created. Various international museums were visited and personal observations are correlated with expert publications. The study concludes that the status of elite women in the New Kingdom was both significantly different and exalted in comparison with the status of their counterparts during earlier dynasties. / OLD TESTAMENT & ANCIENT NE / MA (ANC NEAR EAST STUDIES)

Representational artistic works were researched as visual evidence for the social, political, religious and economic lifestyles of the ancient Egyptian elite. The aims were to comprehend the status of elite women and to challenge the hypothesis that during the New Kingdom they enjoyed an increased social status in comparison to that of their predecessors. Many artistic works were analysed (tomb and palace wall scenes, statues, obelisks and personal artefacts), on the quest for evidence for the roles of elite women in events, practices and rituals at the time when the objects were created. Various international museums were visited and personal observations are correlated with expert publications. The study concludes that the status of elite women in the New Kingdom was both significantly different and exalted in comparison with the status of their counterparts during earlier dynasties. / OLD TESTAMENT and ANCIENT NE / MA (ANC NEAR EAST STUDIES)

The intention of this thesis is to identify and analyze the cat woman archetype as a contemporary extension of the transgressive witch archetype, which rampantly appears over the course of cinema history, working as a signifier of a patriarchal society's fear of autonomous and subversive women. The character of Catwoman is the ultimate representation for this archetype on grounds of her visibility, longevity, and ability to return again and again. More importantly, Catwoman and her sisterhood of cat women work against male creators as a means of female empowerment through trickery. Within this thesis, key films of varying genres are drawn from throughout cinema history and analyzed in order to demonstrate the intertextual network of characters that make up the cat woman archetype, and the importance of the Catwoman character in her many forms.

Ce travail construit une dantologie transcendantale fondée sur la fécondité et la légitimité du commentarisme français tout au long du dix-neuvième siècle. Le nom et l’œuvre de Dante progressent dans la vie de l’esprit et de la culture après la sidération de la Révolution, avec la naissance, l’apogée, le déclin et les suites métamorphosées du Romantisme. Un amour soumis à la loi de la divisibilité de quelques fragments de la Divine Comédie se transforme graduellement en une première dantologie. Des figures archétypiques issues de domaines hétérogènes donnent une armature conceptuelle et poétique à cette double spirale entrecroisée : la lecture des textes de Dante éclairée par la critique contemporaine ; et la compréhension des morphologies divergentes du Romantisme en la diversité de ses moments. Dante est un penseur de l’histoire, des enjeux politiques, du christianisme jusqu’en ses limites internes et externes, du fait initiatique, de la différence sexuelle dans laquelle UN POETE SE TRANSHUMANISE PARCE QU’IL EST AIME PAR BEATRICE APRES AVOIR ETE GUIDE PAR VIRGILE. Chateaubriand, Balzac, Nerval et Hugo sont les parangons d’une lecture tournée vers un usage libre, infidèle mais hautement créateur. Fauriel, Ozanam et Aroux représentent la volonté d’une critique raisonnée de la doctrine philosophique et théologique dantesque. Dante et son œuvre s’inscrivent au cœur des mille agitations d’un dix-neuvième siècle qui reconfigure la France et l’Europe. La rémanence de l’espérance du voyageur cherchant à revoir les étoiles et à contempler la Trinité influence les réminiscences du progressisme plurivoque. La figure d’airain du poète acrimonieux et vengeur accompagne les esprits désenchantés. Celui qui devient l’égal des dieux après avoir affronté une Dame qui tue autant qu’elle ennoblit inspire les mystiques et ceux qui cherchent une nouvelle spiritualité. Le chantre de la foi, revenu dans le giron de l’Église après la conversion de son amour, réchauffe les catholiques. L’homme qui dédouble les pouvoirs comme les soleils de Rome devient un interlocuteur privilégié après l’Empire. Nous ne cherchons pas une liste exhaustive, thématique ou chronologique, notionnelle ou par auteur. À travers des exemples ayant valeur de paradigmes, nous montrons comment cette union de connaissance et d’usage créateur construit des FIGURES de Dante qui entrent en écho avec les inquiétudes et les espérances, les attentes et les angoisses, du Romantisme. Alors Dante et son « Poème Sacré » ne sont plus seulement des occasions de références. Ils deviennent un MYTHE au cœur du rapport entre mystique religieuse et initiation par l’Éternel-Féminin, engagement dans l’histoire et culte de la Beauté, aspiration à un sursaut régénérateur du monde et conscience amère du tragique de la scission entre l’Idéal et le Réel, mythe du Tombeau et promesse d’élévation spirituelle. Parmi les voies possibles, NOUS DEFENDONS UN DANTE SE VOUANT AU CULTE INITIATIQUE DES TOMBEAUX ET DES « DAMES QUI ONT L’INTELLECT D’AMOUR. » Il appartient à un catholicisme élargi, dilaté – le catholicisme transcendantal de Maistre qui assume son ésotérisme arcane fondé sur la polysémie des textes et la liberté accordée par Dante au commentaire. L’auteur de la Divine Comédie s’inscrit dans un Romantisme de plus en plus sombre, antimoderne, à la fois POUVOIR D’ANAMNESE D’UNE GRANDEUR ABOLIE ET PROPHETE D’UN MONDE EN GERMINATION, qui reprend ses thèmes : les questions de la laïcité, de la langue pour le peuple contre celle des dieux, de l’aspiration à l’idéal et à la communication du visible et de l’invisible, de la puissance métaphysique de la Dame. Notre Dante est celui qui doit choisir « l’autre voie », celle de la catabase nécessaire avant l’anabase ; et qui doit faire preuve de la plus grande piété envers les ombres. Alors ce Dante et ce Romantisme « ne descendent pas sans raison dans l’abîme » : ils y trouvent, notamment par la puissance de la parole, la promesse de l’Esprit / This work builds a transcendental dantology based on a leibnizian paradigm of a perennial philosophy. Dante's name and work get on gradually in the life of spirit and French culture, after the astonishment of the Revolution, with the birth, the apogee, the decline and the transformed sequels of Romanticism. One love submitted to the rule of divisibility in direction of some fragments of the Divine Comedy turns into a first dantology. Archetypal figures coming from heterogeneous domains provide a conceptual and poetical framework at this double-crossed spiral: the reading of Dante's texts enlightened by present-day criticism; and the understanding of the divergent morphologies of the various moments of Romanticism. Dante appears as a thinker of history, political stakes, Christianism even in his internal and external limits, initiatory fact, sexual difference in which A POET BECOMES TRANSHUMAN THANKS TO BEATRICE'S LOVE AND VIRGIL'S GUIDING. Chateaubriand, Balzac, Nerval and Hugo are the paragons of a reading going to a free use, inaccurate but highly creative. Fauriel, Ozanam and Aroux represent the quest of a reasoned criticism of the philosophical and theological dantean doctrine. Dante and his work got included in the heart of thousands occasions of unrest of a nineteenth century that reconfigure France and Europe. The persistence of the hope of a traveller attempting to see once more the stars and contemplate the Trinity influence the reminiscences of progressivism in many aspects. The brazen figure of an acrimonious and revengeful poet goes with disenchanted minds. The one that becomes a companion of the other gods after struggling with an ennobling and killing Lady inspire the mystics and those who look for a new spirituality. The faith apologist, once he has got back into the bosom of the Church thanks to the conversion of his love, warms up the Catholics. The man who divides into two the powers as the suns of Rome turns to a favoured speaker after the Empire. We don't look for an exhaustive, thematical, notional, chronological or nominal list. But, through examples as paradigms, it's shown how that union between knowledge and creative use builds, in less than a century, some figures of Dante that echo with the concerns and hopes, expectations and anguishes, of Romanticism. In this way Dante and his "Sacred Poem" aren't reductive to citations occasions. They become a myth at the heart of the relation between religious mystic and initiation thanks to the Eternal-Feminine, commitment in history and cult of Beauty, craving for a world-wide regenerative burst and being aware of the tragic scission between Ideal and Real, myth of the Tomb and promise of spiritual elevation. Among the various possibilities, WE DEFEND A DANTE DEVOTED TO THE INITIATORY CULT OF THE SEPULCHRE AND THE "LADIES WHO GOT THE INTELLECT OF LOVE." He belongs to a broadened, dilated Catholicism - the transcendental Catholicism by Maistre, that takes on his Arcanum esotericism based on the polysemy of the texts and the freedom granted by Dante to the commentary. The author of the Divine Comedy takes place in a more and more gloomy, antimodernist, Romanticism; BOTH THE ANAMNESIS POWER OF AN ABOLISHED GREATNESS AND THE PROPHET FOR WORLD IN GERMINATION that picks his themes up again: questions of laicity, popular language in front of the gods 'one, aspiration at the Ideal and at the link between visible and invisible, metaphysical power of the Lady. Our Dante is the one who has to take care of "the other path", the catabasis before the anabases; and who has to show up the highest devotion toward the shadows. Then, this Dante and this Romanticism don't journey to the "deep randomly": here they find, in particular thanks to the power of Speech, the promise of the Spirit.