The question “How does Revelation interact with the Roman Empire?” weaves its way through the past 125 years of scholarly research on the Apocalypse. Yet, flawed methodologies, false assumptions, and limited trajectories have led to poor conclusions that posture Revelation as nothing more than a vitriolic attack on the Roman Empire that intends to incite, reveal, and/or remind Christians of imperial evil. This thesis challenges this academic narrative of the Apocalypse through the development and implementation of the Alter-Imperial paradigm. Repositioning the theoretical background of the imperial inquiry around Empire Studies, the Alter-Imperial paradigm applies insights from Postcolonial criticism and “examinations of dominance” to engage the complexities of the relationship between the sovereign(s) and subject(s) of a society—a dynamic far more intricate than either rebellion or acquiescence. From this disposition, various forms of Roman propaganda (from Augustus to Domitian) are explored to surface the Sovereign Narrative saturating the public transcript and immersing the subjects in key messages of absolute dominance, divine favor, and imperial benevolence. The date of Revelation’s composition, then, is established to isolate the socio-historical analysis to the Flavian dynasty, paying particular attention to the viewpoint of the oppressed and the question of “persecution.” The Flavian dynasty’s essential development of an anti-Jewish environment (intensified in Domitian’s reign) offers not only a contentious context for Christian communities—still viewed as indistinguishable from Jewish communities by Roman elite—but also indelible images of imperial propaganda through which subject texts, like Revelation, can interact with the empire. From this vantage point, the Alter-Imperial paradigm offers fresh interpretative possibilities for familiar (and even forgotten) texts, such as Revelation 20:7-10. This enigmatic passage depicts the release of Satan from a 1,000 year imprisonment at a climactic moment in the Apocalypse, and yet, this text is widely neglected in Revelation scholarship. Parallels to Roman triumphal processions (a central element in Flavian propaganda), however, demonstrate that Revelation 20:7- 10 depicts Satan as the bound enemy leader marching in God’s triumphal procession. Nevertheless, the Alter-Imperial paradigm does not stagnate at intriguing textual parallels. Indeed, this interpretation of Revelation 20:7-10 postures the interpreter to poignantly address the question: “How does Revelation interact [not merely subvert] the empire?” Specifically, the use of Roman imagery in the subject text does not necessitate an “anti-imperial” intent, but may simply be the grammar with which the subject text constructs their Alter-Empire. In fact, the Alter-Imperial paradigm suggests that to reduce Revelation to an anti-Roman document intent on the empire’s destruction is to over-exaggerate Rome’s significance in the subject text and, then, to miss its true target—the construction of the Alter-Empire through the destruction of the true enemy, Satan.

Texte remanié de : Doctoral thesis : ? : Ludwig-Maximilians-Universität zu München : 1981. / Bibliogr. p. IX-X. Index.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal. / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Zwei Beobachtungen bilden den Ausgangspunkt dieser Arbeit: Zum einen sind in der zweiten Hälfte des Quattrocento in der italienischen Malerei auffallend viele Bilder zu finden, in denen Triumphbögen die Hintergründe beherrschen. Zum anderen haben sich einige der berühmtesten Maler der Zeit wiederholt mit dem Motiv Triumphbogen auseinandergesetzt: Botticelli, Mantegna, Ghirlandaio und Perugino. Im Zentrum der Arbeit steht der individuelle Umgang der Künstler mit dem antiken Monument. Es stellen sich die Fragen, auf welchem Wissenstand die Auseinandersetzung mit antiker Architektur durch die Maler basiert und in welchem Verhältnis in ihren Werken Studium, Rekonstruktion und künstlerische Imagination stehen. Um die Grundlage zu diesen Überlegungen zu schaffen, werden im ersten Teil der Arbeit zahlreiche Quellentexte daraufhin befragt, welche zeitgenössischen Auffassungen über die Genese, die Funktion und die Bedeutung römischer Triumphbögen es gab. Außerdem ergibt die Analyse der Texte eine Bestandsaufnahme des Ausgangsmaterials: Aus ihnen geht hervor, zu welcher Zeit welche Triumphbögen wahrgenommen wurden, welche Monumente den Malern überhaupt als Vorbilder zur Verfügung standen. Einer Fülle von Architekturzeichnungen ist zu entnehmen, auf welche Weise Probleme der Rekonstruktion gelöst wurden. Auf Bildern ist die Vermischung von archäologischer Treue und freier Umarbeitung besonders groß. Im Hauptteil geht es deshalb um die Frage, welche Sicht Künstler auf die antiken Bauten hatten und nach welchen Methoden sie verfuhren, um sie in ihre Bilder einzufügen. Dazu gehören Untersuchungen sowohl der Art und Weise der formalen Aneignung römischer Vorbilder, des Verständnisses ihrer baulichen Funktion, der Rolle, die in diesem Zusammenhang die alltäglichen visuellen Erfahrungen für die Wiedergabe und Interpretation dieser Bauten spielten, als auch der Ikonographie, der inhaltlichen Bedeutung, die Triumphbögen in Bildern haben. / Two observations form the starting-point of this thesis: On the one hand there is a remarkable number of pictures whose backgrounds are dominated by triumphal arches in the second half of the Quattrocento in Italian painting. On the other hand some of the most famous painters of the time explored this motif repeatedly: Botticelli, Mantegna, Ghirlandaio and Perugino. The centre of this thesis is dedicated to the individual treatment of the antique monument by the artists. It implies questions in regard to the level of knowledge on which the painter’s exploration with antique architecture was based and to the relation between study, reconstruction and artistical imagination in their works. To create the basis for these considerations, in the first part of the thesis numerous sources are consulted with regard to the contemporary conceptions on genesis, function and meaning of Roman triumphal arches. In addition the analysis of the sources results in an account of the material: The sources reveal at which time what kind of arches have been perceived, which monuments have been actually available as models to the painters. How problems of reconstruction have been solved can be inferred from a vast number of architectural drawings. In the paintings the mixture of archeological faithfulness and free interpretation is especially obvious. Therefore the main part of the thesis is about the question which point of view on the antique architectures the artists had and which methods they applied to introduce them into their paintings. To this aspect also belong examinations of the kind of the formal acquisition of Roman models, of the understanding of their structural function, of the role, which the everyday visual experiences played for the reproduction and interpretation of these buildings, as well as of the iconography, the meaning the triumphal arches had in the paintings.

Leon Battista Alberti's church of Sant' Andrea in Mantua has been closely studied by many Renaissance scholars in relation to its layout, dimensions, proportions, chronology, style and aesthetics, as well as earning its place in both Alberti's corpus and the sweep of Renaissance architecture. The thesis investigates how eloquence is embodied in the sequential repetition of the triumphal arch motif between inside and outside. This thesis it is based on extensive and critical review of historical and theoretical literature. It marks a close examination of Sant?Andrea and to lesser extent San Francesco in Rimini, revisiting key ideas, texts and words. The principal finding of the thesis is that Alberti?s concept of respondeo, as developed in De Re Aedificatoria is the key to understanding the triumphal arch motif and its repetition in the interior. The thesis also comprehensively outlines the variety of contexts in which repondeo can be understood. This term, correlated to the passing of time and to rhetorical-based Albertian terms as decorum and convenio, means a 'sensitive suitability' between parts. The analysis of the triumphal arch motif of Sant?Andrea suggests that formalism has played a more important role in Alberti's design for this church than previously believed. This is by the motif's rigorous outline changing between the interior nave and the exterior fa??ade according to the observer's different visual perceptions. The rhetorical structure of the triumphal arch, in the way that it moves became from two to three dimensions in the fa??ade, seeks familiarity with the city's surrounding environment to establish simultaneity of actions. In this way, by joining the historical-religious point of references to a strategy of perception, the triumphal arch achieves public consensus. This rhetorical program is addressed especially by the patron of the church of Sant' Andrea Ludovico Gonzaga II also the ruler of Mantua with popular aspects of his public representations.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Leon Battista Alberti's church of Sant' Andrea in Mantua has been closely studied by many Renaissance scholars in relation to its layout, dimensions, proportions, chronology, style and aesthetics, as well as earning its place in both Alberti's corpus and the sweep of Renaissance architecture. The thesis investigates how eloquence is embodied in the sequential repetition of the triumphal arch motif between inside and outside. This thesis it is based on extensive and critical review of historical and theoretical literature. It marks a close examination of Sant?Andrea and to lesser extent San Francesco in Rimini, revisiting key ideas, texts and words. The principal finding of the thesis is that Alberti?s concept of respondeo, as developed in De Re Aedificatoria is the key to understanding the triumphal arch motif and its repetition in the interior. The thesis also comprehensively outlines the variety of contexts in which repondeo can be understood. This term, correlated to the passing of time and to rhetorical-based Albertian terms as decorum and convenio, means a 'sensitive suitability' between parts. The analysis of the triumphal arch motif of Sant?Andrea suggests that formalism has played a more important role in Alberti's design for this church than previously believed. This is by the motif's rigorous outline changing between the interior nave and the exterior fa??ade according to the observer's different visual perceptions. The rhetorical structure of the triumphal arch, in the way that it moves became from two to three dimensions in the fa??ade, seeks familiarity with the city's surrounding environment to establish simultaneity of actions. In this way, by joining the historical-religious point of references to a strategy of perception, the triumphal arch achieves public consensus. This rhetorical program is addressed especially by the patron of the church of Sant' Andrea Ludovico Gonzaga II also the ruler of Mantua with popular aspects of his public representations.

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Military victories of the Byzantine army of the second half X – the beginning of XI c. created to image of military commanders who were motivated by the ancient military tradition and society underlined of the hopes and expectations. They have influenced to the formation of images of military commanders in the Byzantine commonwealth and become part of the imperial idea. In the master's study is investigated to the main types of military commanders in the historical works - ideal Roman commander, the holy Christian defender and a new type of Byzantine warrior, protector of his family, a warrior-intellectual. The last type of military commanders will receive in the future the most widespread and will be, finally, very close to the courtly chivalric culture. This thesis is devoted to the nature, value and, most importantly, the perception of triumph and victorious rhetoric. / Диссертация посвящена исследованию образов военачальников в византийской исторической литературе. Победы императорской армии во второй половине X – начале XI в. нашли значительное отражение в византийской литературе. Созданные в исторических сочинениях этого времени образы полководцев являлись продолжением античной традиции. Автором исследованы основные литературные типы полководцев: римский идеал военачальника; святой воин, защитник христиан; воин, защитник своей семьи; воин-интеллектуал. В XII в. образ воина-интеллектуала получит широкое распространение, и станет близок к образам куртуазной рыцарской литературы. Помимо этого, в диссертации изучены сущность, значение и общественное восприятие триумфа, а также особенности византийской победной риторики.