This thesis analyzes the colonization and traditional spiritual practices of the Ioway people to show that their traditions have survived the effects of colonization also known as white settlers. I focus on issues of cultural traditional exhibition dance and that complicates the question of the nation-state’s exclusively trying to dissemble the Native Ioway Tribe of Kansas and Nebraska of colonization and the effects on the Ioway people past and present. I use personal experience of being a tribal member to discuss how the tribes’ oral history allows for the preservation of Ioway cultural identity and religious traditions.

The subject of this paper is the study of history of the Kačina Chateau from the point of view of its inspiration from the art and architecture of the ancient world. The introductory chapters were dedicated to the general atmosphere of the time in which the castle was designed and built, the general ideas of the Enlightenment, and also to its relations to Count Chotek. There is an unresolved problem whether its relations to Classical antiquity monuments existed directly, or if they were mediated by other sources. While working on the theme it turned out that the foundation of Kačina Chateau derived from earlier models that were developed during centuries. The work of Marcus Vitruvius Pollio was of substantial importance for all Classicist architecture and especially the architects of the Renaissance knew it very well and used it frequently. For the architecture of Kačina Chateau the most important stimuli were those of Andreas Palladio who transformed earlier patterns according to his own artistic views. One of the following chapters concentrates on the personality of the owner of the estate, the Count Jan Rudolf Chotek, and then on the architects and builders of the castle. Following chapters are dedicated to the description of the castle, of its exterior, the segmentation of its interior...

L'apparition de parures de style oriental (ou « phénicien ») sur des sites chypriotes et égéens entre le XIIe et le VIIe s. av. J.-C. est un phénomène bien attesté. Sélectionnées sur le critère d'une ressemblance visible, on peut dresser une liste de parures, réalisées en or ou d'autres matières telles que le bronze, trouvées sur le continent grec (Tirynthe, Perati) et sur îles égéennes (Crète, Naxos, Kos et Rhodes).Cependant, la nature de ces échanges, qui ne suivent pas un schéma régulier, reste difficile à cerner. D'une part, il existe des parallèles visiblement étroits entre les parures chypriotes et d'autres découvertes en dehors de cette île. Elles semblent être issues de contacts directs entre les régions. L'étude sur leurs modèles de diffusion et d'autres, qui concernent les produits en métal plus que la céramique, permettent d'aller au-delà d'une étude comparative des parures. Ainsi, il s'est avéré que les contextes contenant non seulement des parures mais aussi d'autres objets d'aspect étranger sont relativement fréquents. Outre ce matériel, nous sommes confrontés à d'autres parures qui ne sont comparables que sous réserve. Leur apparence suggère la présence de contacts indirects, donc une circulation d'idées plutôt que d'objets. En ce qui concerne des futures études, les résultats des fouilles récentes menées sur le site postpalatial de Tirynthe se sont avérés particulièrement intéressants. De plus, il faut signaler que la question de l'origine de la fibule pose un problème qui n'a pas encore été résolu. / The appearance of jewellery of Near-Eastern origin at Cyprus and Greece is a well-known phenomenon which we meet also from the 12th to the 7th century BC. Well-known examples made from gold and from bronze were found at the Greek continent (Tiryns, Perati) and at the Aegean islands (Crete, Naxos, Kos, Rhodes).The nature of these overseas exchanges, however, can hardly be determined and does not follow any regular system. At the one hand, there are striking parallels between certain Cypriot pieces of jewellery and other specimens found outside of Cyprus. They seem to be the result of direct contacts. The studies of the contexts to which these objects belong allow us to go beyond the mere documentation of jewellery. Following this approach, it is evident that various tombs contained not only pieces of jewellery, but also other foreign objects. This seems to support our hypotheses about on-going overseas contacts. At the other hand, there are a number of items which appear to be local products inspired from Cypriot art. Obviously, they are the result of indirect contacts or of a spreading of ideas.Regarding future studies about Cypriot or Cypriot-inspired objects, the more recent discoveries made in Tiryns are particularly noteworthy. Furthermore, one has to consider that the problems related to the origin of the fibula, which occurs at the end of the Late Bronze Age, have still not been resolved.

A cerâmica encontrada no sítio arqueológico Cerâmica Preta, localizado entre Camanducaia e Itapeva, Sul do Estado de Minas Gerais, Brasil, apresenta marcas negras de redução que levaram o autor a formular a hipótese sobre uma técnica específica de queima utilizada por aquele povo que habitou o local preteritamente. O conjunto de fragmentos e as marcas neles encontradas representam os remanescentes de uma técnica morta de cerâmica preta, praticada com maestria e regularidade intencionalmente pelo povo que o produziu. A queima da cerâmica, assim como seu uso ao fogo, deixam marcas de diferentes cores e características nas peças submetidas a estes processos. Relata-se aqui a pesquisa de correlatos entre estas marcas, os processos e comportamentos em que esta coleção de fragmentos cerâmicos arqueológicos participou durante sua produção e uso, sua história de vida. Os parâmetros da arqueologia experimental, com base na teoria comportamental, orientam o desenvolvimento dos experimentos sobre as técnicas da queima redutora em fogueiras. Apresento uma análise do material encontrado no sítio Cerâmica Preta em coletas sistemática e assistemáticas, tendo como foco a marcas de queima, buscou-se reproduzir a morfologia e colorimetria para se entender as condições de sua formação através de experimentações em laboratório e em campo. Obtivemos resultados nas experimentações que foram compatíveis com a amostragem arqueológica tendo sucesso em reproduzir condições de queima, investigando o papel das diversas técnicas possíveis para a situação. Conclui-se, pelos correlatos levantados que as ceramistas que viveram no local do sítio praticavam uma determinada tradição técnica de queima de cerâmica que envolvia o uso de recipientes para conter atmosferas redutoras no sentido de produzir uma cerâmica extremamente reduzida de tamanho pequeno a médio e tendo como produto paralelo uma cerâmica reduzida internamente de maiores proporções que serviu de ferramenta na produção da cerâmica preta. O material arqueológico também indica a utilização de uma segunda técnica de queima que difere da primeira principalmente na forma de colocação das peças na fogueira para a queima. Outras marcas encontradas no material arqueológico sugerem que um tipo de queima seria utilizado especificamente para os vasilhames utilizados como panelas e outro para vasilhas e potes de armazenamento. A ligação encontrada entre as marcas de queima e a utilização posterior dos potes leva a proposição de uma ligação estreita entre a técnica de queima e a cosmologia destes povos. O simbolismo das cores resultantes e das superfícies coloridas remetem ao universo feminino, ao útero que gera a vida, ao pote negro e à inserção desta cultura na ordem do mundo em uma camada entre o telúrico e o celeste. / The ceramic artifacts found in Cerâmica Preta archaeological site, situated at Camanducaia and Itapeva county, at southern Minas Gerais State, Brazil, show reduction marks that led the author to formulate an hypothesis about a specific technique of reducing firing of ceramics, used by the people who lived in this site preteritally. The black marks on the ceramic fabric and the black sherds, are remains of a forgotten technique of black pottery practiced intentionally and skillfully by the people who lived in this site preteritally. Firing of the ceramic and its use on the bonfire as pans, leaves different color and characteristic marks on the tissue of the pieces submitted to these processes. The search for correlates between these marks, processes and behaviors lead to the inference of activities in which the artifacts took part during its production and use. The Experimental Archaeology parameters, based on the Behavioral Theory, guided the development of the experiments on techniques of reduction firing in bonfires. The analisys of the material found in the ceramic site, by systematic and unsystematic search, focusing on the burning marks of which, through laboratory and field experiments, aim to reproduce the morphology and colorimetry, in the way to understand the conditions of its formation. The results of the experiments were compatible with the archaeological sampling and successfully reproduced burning conditions with similar results. The research investigated the role of various possible conditions for the production of black pottery. The correlates found by the research, lead to the conclusion that the ceramists, who lived in the site preteritally, practiced a certain technical tradition of ceramic firing, wich involved the use of containers to retain reducing atmospheres, in the sense of producing an extremely thin black ceramic of small to medium size. This firing has as parallel product, an internally reduced ceramic of greater proportions that served as a tool in the production of black pottery, a sagar. Archaeological material also indicates the use of a second firing technique which differs from the first one mainly in the way the parts are placed in the bonfire, but also in its production and use. Other marks found in archaeological material suggest that the people who practiced this tradition used the pots of one kind of firing as pans and diferent ones for consuming and for storage pots too. The connection found between the firing marks and other, dued to the later use of the pots over the fire, leads to the proposition of a close connection between the burning technique and the cosmology of these peoples. The symbolism of the resulting colors and colored surfaces refers to the female universe, the life-giving uterus, the black pot, and the insertion of this culture into the order of the world in a layer between the tellurian and the celestial.

Ending colonialism requires the revitalization of not only indigenous systems of law, but also the indigenous legalities of which they form part. This means that Canada’s unique form of liberal constitutionalism cannot serve as the constitutional framework within which indigenous law is revitalized. Rather, we shall have to advert to the fact that indigenous law was and is generated by unique indigenous legal processes and institutions, which find their authorization in unique indigenous constitutional orders, which are in turn legitimated by indigenous peoples’ unique and varied creation stories. Through the gifts of diverse Anishinaabe writers and orators, and through work with my circle of elders, with aadizookaanan, in community, and on the land, I present one view of Anishinaabe legality. I give special emphasis to its earth-centric ‘rooted’ form of constitutionalism, which is characterized by mutual aid and its correlate structure, kinship. In the second half, I examine the problem of colonial violence in contemporary indigenous-settler relationships. I identify two principles necessary for indigenous-settler reconciliation and I consider how commonly proposed models of indigenous-settler relationship fare against them. I conclude that one vision of treaty, treaty mutualism—which is a form of rooted constitutionalism—is non-violent to indigenous peoples, settler peoples and to the earth. Finally, I consider counter-arguments on themes of fundamentalism, power, and misreading. / Graduate

Au VIe siècle avant J.-C., Solon a joué un rôle politique important à Athènes. Législateur, il a établi des lois. Législateur, mais aussi poète : des fragments poétiques qui vont du poème complet à un simple vers nous ont été transmis grâce à des auteurs postérieurs. Jusqu’à présent, les études sur Solon ont, pour la majeure partie, cherché à mieux cerner le législateur athénien d’une part, à comprendre la pensée postulée dans les poèmes d’autre part. Ces démarches visent toutes deux à enrichir notre connaissance lacunaire du VIe siècle avant J.-C. Le scepticisme appliqué aux sources de la tradition indirecte, qui nous apporte des informations sur Solon, a ouvert de nouvelles perspectives. Le projet que nous proposons s’inscrit dans cet héritage. Nous nous intéressons aux auteurs des Ve et IVe siècles avant J.-C. pour analyser, dans la lettre du texte, ce qu’ils disent de Solon et surtout, la manière dont ils le disent. Ainsi, il sera possible de saisir les dynamiques de transmission, de mutation et d’appropriation de cette figure d’autorité chez chacun des auteurs de notre corpus, car tirée à hue et à dia, la figure de Solon a servi des causes fort différentes. Puisque la tradition conditionne fortement les interprétations de la poésie solonienne et l’étude de son action politico-législative, il était nécessaire de revenir à la source même de toutes ces interprétations. Dès lors, il sera possible d’enrichir notre connaissance de l’histoire politique et intellectuelle de l’Athènes démocratique du IVe siècle, mieux comprendre le rapport qu’elle entretient avec son propre passé, mais aussi saisir comment se construit une argumentation politique et une idéologie propre à une société donnée à un moment précis de son histoire. / In the 6th century B.C., Solon played an important role in the city of Athens. As a lawgiver, he established laws for the Athenians. But he was also a poet : Solon's poetic fragments – entirely poems or a single verse – have been passed on later by authors. Up until now, scholars have tried, on the one hand to understand the reforms of the lawgiver and one the other hand to study his poems. Both of these approaches aim to improve our incomplet knowledge about the 6th century B.C. But the sources of the indirect tradition have been submit to skepticism. This allows new and fresh perspectives for Solonian studies. The scope of my PhD Thesis follows this skeptic approach : I will analyze most of the authors of the 5th and 4th centuries B.C., what they say and do about Solon. It will allow us to thus understand the dynamics of transmission, of mutation and of appropriation which occur to this authoritative figure in each text of the corpus. Because tradition heavily influences all the interpretations of Solonian poetry and reforms in the field of politic and legislation, it requires us to go back to the first sources of these various interpretations. I hope this study will help us increase our knowledge of the political and intellectual background of the Athenian Democracy of the 4th century B.C., and clarify which kind of connexion exists between the polis and its own past. Last but not least, this study contributes to understand how a political argumentation and a democratic ideology can be shaped by forensic discourses.

<p>The study outlines five areas of intervention in the development of women&rsquo / s studies and politics on the continent. Firstly, it examines the problematic construction and the inclusion of women in the narratives of the liberation struggle in South Africa. Secondly, the study identifies the sphere of intellectual debates as one of the crucial sites in the production of historical knowledge about the legacies of liberation struggles on the continent. Thirdly, it traces the intellectual trajectory of Charlotte Maxeke as an embodiment of the intellectual contributions of women in the struggle for liberation in South Africa. In this regard, the study traces Charlotte Maxeke as she deliberated and engaged on matters pertaining to the welfare of the Africans alongside the prominent intellectuals of the twentieth century. Fourthly, the study inaugurates a theoretical departure from the documentary trends that define contemporary studies on women and liberation movements on the continent. Fifthly, the study examines the incorporation of Maxeke&rsquo / s legacy of active intellectual engagement as an integral part of gender politics in the activities of the Women&rsquo / s Section of the African National Congress. In the areas identified, the study engages with the significance of the intellectual inputs of Charlotte Maxeke in South African history.</p>

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<p>The study outlines five areas of intervention in the development of women&rsquo / s studies and politics on the continent. Firstly, it examines the problematic construction and the inclusion of women in the narratives of the liberation struggle in South Africa. Secondly, the study identifies the sphere of intellectual debates as one of the crucial sites in the production of historical knowledge about the legacies of liberation struggles on the continent. Thirdly, it traces the intellectual trajectory of Charlotte Maxeke as an embodiment of the intellectual contributions of women in the struggle for liberation in South Africa. In this regard, the study traces Charlotte Maxeke as she deliberated and engaged on matters pertaining to the welfare of the Africans alongside the prominent intellectuals of the twentieth century. Fourthly, the study inaugurates a theoretical departure from the documentary trends that define contemporary studies on women and liberation movements on the continent. Fifthly, the study examines the incorporation of Maxeke&rsquo / s legacy of active intellectual engagement as an integral part of gender politics in the activities of the Women&rsquo / s Section of the African National Congress. In the areas identified, the study engages with the significance of the intellectual inputs of Charlotte Maxeke in South African history.</p>

Intrigued by a striking resemblance between certain behaviour, characteristics and preoccupations in characters from French literary texts, on the one hand, and in modern-day anorexics on the other, we have undertaken a study of representations of abnegation. In reading female ascetic piety, particularly in an extreme and sterile form known as “scrupulosity,” as it is seen in Madame Gervaisais, by the Goncourt Brothers, and in the representation of adolescence in L’Histoire de ma vie, by George Sand, I aim to explore similarities and differences between these two “conditions.” Next, certain texts by Zola, Vincent van Gogh and Simone de Beauvoir allow me to study a wide range of responses to the same questions as those which motivate anorexia nervosa and scrupulosity: questions of balance between the spiritual and the material, of perfectionism, of excessive obedience, of refusal of pleasure, and of a capacity for self-destruction. Paradoxically, all the “characters” studied here (including those “characters” created by means of autobiography or letter writing) are represented as possessing tendencies which define these two “conditions,” tendencies which are capable of leading either to extraordinary fulfilment, an unheard of creativity, or to self-destruction motivated by a desire for perfect virtue. Reading these texts in the light of anorexia nervosa allows new insights into them, in turn offering a new perspective on anorexia nervosa, suggesting its long involvement in the cultural history of Europe. / RESUME S'anéantir ou s'épanouir : avatars d'ascétisme anorexique dans la littérature française du XIXe au XXIe siècle Intriguée par une ressemblance frappante entre quantité de comportements, caractéristiques et préoccupations chez, d'une part, des personnages des textes littéraires français du XIXe siècle, et d'autre part chez les anorexiques modernes, nous avons entrepris d'examiner des représentations de l'abnégation. En lisant la piété féminine ascétique, surtout dans une forme stérile et extrême nommée « scrupule », telle qu'elle est montrée dans Madame Gervaisais, des frères Goncourt, et dans la représentation de l'adolescence dans L'Histoire de ma vie, de George Sand, je me donne pour but l'exploration des similarités et différences entre ces deux « conditions ». Ensuite, certains textes de Zola, de Vincent van Gogh, et de Simone de Beauvoir me permettent de scruter une variété de réponses aux mêmes questions qui motivent l'anorexie mentale et le scrupule : questions d'équilibre entre le spirituel et le matériel, de perfectionnisme, d'obéissance excessive, de refus du plaisir, et de capacité à s'anéantir. Paradoxalement, tous les « personnages » étudiés ici (y compris les « personnages » créés à travers l'autobiographie ou l'art épistolaire) sont représentés comme possédant des tendances qui définissent ces deux « conditions », tendances qui peuvent mener soit à un épanouissement extraordinaire, une créativité inouïe, soit à l’anéantissement de soi motivé par un désir de vertu parfaite. Lire ces textes en rapport avec l'anorexie mentale, c'est les considérer sous un jour nouveau, ce qui offre à son tour une nouvelle optique sur l'anorexie mentale, suggérant son imbrication de longue date dans l'histoire culturelle de l'Europe.