Dissertations / Theses on the topic 'Collective tomb'

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 ?

Au début de la Troisième Période intermédiaire (1069-664 av. n.è.), la XXIème dynastie égyptienne (1069-945 av. n.è.) se caractérise par le regroupement des inhumations et une restriction du mobilier à quelques éléments - cercueils enchâssés, papyrus et ouchebtis - entourant étroitement la momie. L'étude de ces objets permet de mieux comprendre l'insertion de la mort et des rites qui s'y rapportent dans la culture d'alors. Plusieurs axes de réflexion sont proposés au sein du corpus offert par une sépulture collective thébaine de la première moitié de la période, dépourvue de contexte archéologique, mais ayant abrité une dizaine d'individus, notamment des « supérieurs gardiens des écrits du Trésor du Domaine d'Amon » (ḥry sȝwty sš.w Pr-ḥḏ Pr-Jmn). L'analyse matérielle permet de mieux comprendre les processus de production de ce mobilier funéraire. Tout en illustrant la grande variabilité des pratiques, au cours du temps comme en synchronie, elle met en lumière l'attention accordée à la disposition du programme iconotextuel dont les articulations se reflètent dans la matérialité. La circulation et la recomposition des modèles soulignent par ailleurs la miscellanéité à l’œuvre dans la création et la personnalisation.L'importance de ces aspects porte l'exergue sur l'iconotexte abordé comme un discours structuré par des indices de vectorialité et l'ancrage corporel de certains motifs. La mise en résonance de scènes et de textes d'un objet à l'autre par leur spatialisation élabore une rhétorique funéraire unique, créant autour du corps un cosmogramme sacralisant, parfois à l'image d'un temple. L'interaction entre les cercueils interne et externe signale l'enchâssement de la dépouille dans l'autre monde et son inclusion dans un univers plus vaste. Les cartographies différentielles induites par les supports employés - cercueils tridimensionnels et papyrus offrant un déroulé plus linéaire - traduisent des parcours complexes unissant la Douat et le monde diurne et conduisant ainsi à la transfiguration.L'accès au statut défunt est mis en scène au cours des rites funéraires qui soulignent les étapes de la glorification en assurant l'implication de la communauté. Le rattachement à des ancêtres prestigieux peut passer par des références ou des remplois de mobilier ancien. Les cérémonies manifestent l'appartenance à un monde social dont elles affirment la cohésion et les liens avec la royauté, notamment par le rôle probable de certains membres du corpus dans la réinhumation des souverains du passé et par des parallèles avec le mobilier des femmes de la famille régnante.L'étude de ce corpus suggère la constitution progressive, sur plusieurs générations, d'une sépulture collective autour de personnages prestigieux. Elle illustre ainsi l'étroitesse des rapports avec l'au-delà et la façon dont ils permettent l'accès à l'éternité par l'intégration à un monde plus vaste, à la fois divin et humain.Les annexes contiennent notamment une liste illustrée des objets du corpus et la description des ensembles de cercueils complets qui s'y trouvent
At the beginning of the Third Intermediate Period (1069-664 B.C.), the Egyptian 21st dynasty (1069-945 B.C.) was characterized by the grouping of burials and a restriction of the furniture to a few elements - nested coffins, papyrus and shabtis - closely surrounding the mummy. By studying these objects, we can gain a better understanding of the way in which death and the rites associated with it were inserted in culture. Several lines of enquiry are proposed here, based on the corpus offered by a Theban collective burial site from the first half of the period, which has no archaeological context but housed around ten individuals, including “superiors of the keepers of the writings of the Treasure of the Domain of Amun” (ḥry sȝwty sš.w Pr-ḥḏ Pr-Jmn).Material analysis provides a better understanding of the production processes for this funerary furniture. While illustrating the great variability in practices, both over time and in synchrony, it highlights the attention paid to the layout of the iconotextual programme, whose articulations are reflected in the materiality. The circulation and recomposition of models also highlight the miscellaneity at work in creation and personalization.The importance of these aspects underlines the iconotext as a discourse structured by indexes of vectoriality and the corporeal anchoring of certain motifs. The resonance of scenes and texts from one object to another through their spatialization develops a unique funerary rhetoric, creating a sacralizing cosmogram around the body, sometimes in the image of a temple. The interaction between the inner and outer coffins signals the embedding of the body in the other world, and its inclusion in a wider universe. The different mappings created by the media used - three-dimensional coffins and more linear papyrus - reflect the complex pathways linking the Duat and the daytime world, leading to transfiguration.Access to deceased status is displayed during funeral rites that highlight the stages of glorification and ensure community involvement. The link to prestigious ancestors may be established through references or reuse of antique furniture. The ceremonies demonstrate membership of a social world, whose cohesion and links with royalty are asserted, notably through the probable role of certain members of the corpus in the reburial of past sovereigns and through parallels with the furniture of the women of the reigning family.A study of this corpus suggests the gradual formation, over several generations, of a collective burial around prestigious figures. It illustrates the closeness of these relationships with the afterlife and the way in which they provided access to eternity through integration with a wider world that was both divine and human.Appendices include an illustrated list of the objects in the corpus and a description of the complete coffins set in the corpus

La thèse propose une analyse du pouvoir « politico-religieux (Godelier 2007) » tesaka — à Vangaindrano, Sud-est de Madagascar — en y intégrant des considérations historiques et évolutives. Elle met en évidence la dialectique de la transformation de l’exercice du pouvoir politico-religieux depuis la fondation du royaume tesaka, probablement vers le 17e siècle, jusqu’à la création des trois communautés politico-religieuses contemporaines (les telo troky) en 1897, et à leur état de nos jours. L’objectif principal est de présenter les aspects à la fois permanents et dynamiques du système social tesaka en mettant en exergue l’étroite imbrication du politique et du religieux incarnée par l’héritier et détenteur des poteaux cultuels de sacrifice aux êtres sacrés invisibles (le pità hazomanga). Si pendant la période royale tesaka, seul le roi hérite des poteaux cultuels (les fatora) et détient l’exclusivité de l’exercice du pouvoir politico-religieux de pità hazomanga, l’émergence des telo troky conduit à l’édification des fatora et à l’apparition de pità hazomanga propres à chaque communauté. Dès lors, le culte de sacrifice aux êtres sacrés invisibles ( velatry) se présente comme l’élément stable du « noyau du processus rituel (Bloch 1997 [1992]) », révélateur de la résilience d’un système de croyances religieuses et applicable à tous les échelons des unités politico-rituelles locales (troky ou fatora, raza ou koboro, raibe raiky ou trañondonaky, lonaky ou traño raiky)
The thesis sheds light on "political-religious" tesaka power (Godelier 2007) — in Vangaindrano, South-Eastern Madagascar — by integrating historical and evolutionary considerations. It aims to be a tool for understanding the dialectic of the transformation of the exercise of politico-religious power since the foundation of the tesaka kingdom, likely to have occurred in the 17th century, until the creation of the three contemporary communities of politico-religious order (telo troky) in 1897, and their state nowadays. The main objective is to present the permanent and dynamic aspects of the tesaka social system by highlighting the close interweaving of the political and religious embodied by the keeper of sacrificial worship posts for the invisible sacred beings (pita hazomanga).If during the tesaka royal period, only the king inherits worship posts (fatora) and has the exclusivity of the exercise of the politico-religious power of pità hazomanga, the emergence of telo troky leads to the construction of the Fatora and the appearance of a pità hazomanga specific to each community. From then on, the sacrificial ceremony to the invisible sacred beings (velatry) presents itself as the stable element of the "core of the ritual process" (Bloch 1997 [1992]: 9), revealing the resilience of a system of religious beliefs, and applicable to all grades of local politico-ritual units (troky or fatora, raza or koboro, raibe raiky or trañondonaky, lonaky or traño raiky)

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Bachelors
Sciences
Anthropology

Art History
Ph.D.
In this study, I argue that the cult of the artist centered on memorial making. From the Quattrocento through the Seicento, the growth in the size and number of memorials for artists parallels the changes that took place regarding the social class, professional position, and economic privilege of practitioners of the three main visual arts, painting, sculpture, and architecture. Similar to portraits, self-portraits, personal emblems, and signatures, tomb effigies and epigraphs were a type of construction of identity that articulated similar notions, serving as a form of popular praise and as a way to preserve one's memory for posterity. Moreover, tombs for artists existed in the public sphere on a grand scale, reaching larger audiences and thus having a greater cultural impact. Additionally, in tandem with contemporary art theory, tomb making became a tangible outlet for the paragon of the arts and for comparison against each other. The funeral ceremony functioned not only as a communal display of local pride but it also served as a vehicle for constructing artist-patron relationships and a way to promote the profession. The faculty to fashion artistic ties through the public spectacle of the funeral and the permanent medium of the memorial proved to be particularly essential for the newly formed art academies in regard to group identity and professional bonding. Publicizing the unification of the three arts was a key concern for the academies, especially in regard to decorating communal burial sites and devising group insignia. The display of emblematic imagery in addition to the erection of inscriptions that link the artist to his master on the tomb memorial became a palpable way to formulate an artistic pedigree for that particular artist and for that associated community of artists. The early art companies in central Italy--I Virtuosi al Pantheon in the 1540s in Rome, the Accademia del Disegno in the 1560s in Florence, and the Accademia di San Luca in the 1590s in Rome--were founded with the intention to properly bury their members. Moreover, for members, establishing ties to Raphael and Michelangelo, who received unprecedented burials, were hailed as symbolic figureheads for the academies, and were venerated as "artistic saints," lies at the center of sixteenth-century memorial making for artists. For some in the profession, as was the case for the followers of Raphael, being buried near their capomaestro solidified real or desired connections. The display of what was believed to be Raphael's skull in the seventeenth-century Roman Academy exhibits the new regard for the artist. The physical being of the artist came to be an object charged with meaning, similar to a holy relic, bringing new meaning to the concept of the "divine artist." For others, viewing the miracle of the unmarred corpse of Michelangelo, their padre delle tre arti, upon the opening of his coffin after it arrived in Florence, left a lasting impression. By exploring the panegyric following of Raphael and Michelangelo with a focus on tomb memorials, this dissertation explores what is meant by the phrase the "cult of the artist," especially in relation to these two masters. In doing so, this study synthesizes and weaves together otherwise disparate sources in order to elucidate a better understanding of the idea of the artist during the Early Modern period in Italy. As it proves, honoring the artist through the creation of memorials was the principal way to publicly pay tribute to those in the trade and provided a new type of artistic camaraderie.
Temple University--Theses

Dissertação de Mestrado Integrado em Arquitetura, com a especialização em Arquitetura apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.
São Tomé evidencia os traços de uma cidade perdida no tempo. O atual abandono percetível não esconde as transformações sociais e espaciais ocorridas ao longo dos séculos, por um lado, nem as necessidades implícitas de dinamização da área urbana, por outro. Neste Projeto Final, pretendeu-se estudar soluções para fazer face às suas descontinuidades e atuais insuficiências, sendo apresentadas sob a forma de uma proposta de intervenção. A inexistência de equipamentos que permitam impulsionar as dinâmicas sociais e as trocas culturais inscreve-se como uma das necessidades mais percetíveis da urbe deste pequeno arquipélago. A proposta teve em consideração não apenas os edifícios de referência para a população enquanto factos urbanos da cidade, mas também as caraterísticas da arquitetura vernacular e os aspetos da cultura são-tomense, procurando integrá-los no desenho das novas estruturas, num ambiente tropical com vocação para o exterior. O arquipélago de São Tomé e Príncipe é exemplo de uma herança rica em tradições, deveras marcada pelos processos de aculturação e influências atávicas enquanto colónia e província ultramarina que foi. O novo Centro de Artes Performativas, complementado pelo novo parque urbano e pelo redesenho da marginal, é apresentado como solução. Este equipamento visa reavivar a característica expressão cultural e artística popular, e afigura-se potencialmente, para o futuro, e além das vantagens económicas inerentes, como novo facto urbano.
ABSTRACT: São Tomé shows the traces of a city lost in time. The actual abandonment doesn’t hide the social and spatial transformations occured over the centuries, nor the implicit needs of dynamization of the urban area, on the other hand. In this Final Project, it was intended to study solutions to face its discontinuities and current shortcomings, presented in the form of a proposal for an intervention. The lack of equipment to boost social dynamics and cultural exchanges is one of the most sensitive needs of this small island. The proposed intervention considered not only the reference buildings for the population, but also the characteristics of the vernacular architecture and the aspects of the São Tomé culture, trying to integrate them in the design of the new structures, in a tropical environment with vocation for the exterior. The archipelago of São Tomé and Príncipe is a good example of a heritage rich in traditions, marked by the processes of acculturation and influences as an overseas colony. The new Center of Performative Arts, complemented by the new urban park and the redesign of the waterfront, is presented as a solution. This equipment aims to revive the characteristic popular culture and the artistic expression of the population. Beyond the inherent economic advantages it aims for the future as a new urban fact.
N/A

La métaphore du kaléidoscope illustre la multiplicité de recompositions identitaires qui agencent cette société insulaire marquée par cinq siècles de colonisation portugaise. Le découpage des temporalités en suit les transformations : Je suis l'Autre est la phase de similitude avec le colonisateur, organisée par le principe religieux et l'individualisation des positions; Je suis Autre est la phase des césures identitaires, de la signification des diversités organisées par la hiérarchie ethnoracialiste ; enfin, Je suis moi-même est orientée par le principe d'autodétermination des peuples, l'affirmation de la subjectivité ouvre à la mise en nation. Cette affirmation répond à une pratique de pouvoir qui mobilise de façon sélective la mémoire collective. Le réaménagement du code symbolique légitime les registres de narration de soi. L'identité politique santoméenne se définit autour d'une territorialité intégratice des pluralités, en subsumant terre et travail, qui en sont les signes
The metaphor of the kaleidoscope illustrates the multiplicity of movables identities that form this insular society marked by five centuries of Portuguese colonisation. The cut out of temporalities follows the transformation of social strategies. I am the Other, is a phase of similarity with the coloniser, organised by the religious principle and the individualisation of the positions. I am ANother, is the phase of identity ruptures and the emerging of diversities organized by the ethnic and racial hierarchy. Finally, I am myself, the affirmation of subjectivity guided by the self-determination principle, opens the way to the autonomous identity. This process is a practice of power that mobilises in a selective or instrumental way the collective memory. The rearrangement of the symbolic code legitimizes the various registers of individual narrations. Land and work constitute the signs of the Santomean political identity, itself defined by an integrating territoriality of pluralities

Art History
Ph.D.
This analysis is on the function of cadaver or transi tombs in the south of England and Germany from the fifteenth to early sixteenth centuries, at particular moments when theological and cultural shifts related to Church reforms and the Reformation were tethered to new considerations about death, memorial, and changing concepts of the soul and matter. The study begins with a focus on the tombs of Henry Chichele (1364–1443) in Canterbury Cathedral in Canterbury, England, and Alice de la Pole (1404–1475) of Saint Mary’s Church in Ewelme, Oxfordshire, England. Additionally, the memorial relief of Ulrich Fugger (1441–1510) in Saint Anna's Church in Augsburg, Germany, acts as a bridge to Hans Holbein’s painted Dead Christ in the Tomb (1521) in the Kuntsmuseum Basel, in which Christ is simultaneously portrayed as an effigy, transi, and resurrected body. This was also an extended period when notions of visuality changed, along with preferences for different media and pressures on images and objects. As the demands of verisimilitude and discourses about presence and matter changed, media progressed from three-dimensional sculpture and carved relief to oil paint on wood. Transi tombs embodied this trajectory, altering uses and impressions of materials as they progressed from metal to stone to relief carving and paint. Transi tombs, in particular, structured time as a malleable construct, through the incorporation of varying images and their configuration in different visual strata and degrees of vividness and decay. By merging motifs of the dead with the Resurrected Christ, the transi tomb phenomenon situated death in relation to the viewer’s experience of mortality, memorial, and remembrance. Through these changing images and media, public perception of death was inextricably transformed, coinciding with the advent of the Reformation.
Temple University--Theses

Dissertação de Mestrado Integrado em Arquitetura, com a especialização em Arquitetura apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.
São Tomé é uma cidade esquecida no tempo, cujo traçado urbano e a própria estrutura do edificado apresentam-se marcadas pelo seu passado. Com uma economia frágil, baseada no turismo e no comércio, como meio de subsistência, os espaços urbanos destinados a estas actividades assumem uma enorme importância na cidade. A estrutura urbana que hoje existe na cidade de São Tomé apresenta um traço predominante informal, originando questões como a organização espacial, as formas de viver o espaço, a habitação, a salubridade, entre outras, tendo tal em conta, o presente trabalho pretende estudar o crescimento da cidade, e a existência de equipamentos que possam potencializar, não só as questões económicas como também as questões sociais. Como proposta assiste-se ao (re)desenho de uma parte da cidade que funciona como “charneira” entre a cidade formal e informal, criando uma ligação entre o passado e um presente, entre edificados históricos e novas propostas, visando a identidade do lugar, tomando como partida uma regeneração de um todo, propondo novos equipamentos, restruturando outros, e uma nova habitação.
ABSTRACT:São Tomé is a city forgotten in time, whose urban layout and its building structure are marked by its past. With a fragile economy, based on tourism and commerce, as a means of subsistence, urban spaces for these activities assume an enormous importance in the city. The urban structure that exists today in the city of São Tomé presents a predominantly informal trait, giving rise to issues such as spatial organization, ways of living space, housing, healthiness, among others, taking this into account, the present work intends to study the growth of the city, and the existence of facilities that can enhance not only economic but also social issues. As a proposal, it follows by the (re) design of a part of the city that functions as a “hinge” between the formal and informal city, creating a link between the past and the present, between historical buildings and new proposals, aiming at the identity of the place , starting with a regeneration of the whole, proposing new equipment, restructuring and a new housing.
N/A

Theater
M.F.A.
This thesis is a partial documentation of the process of preparing and rehearsing Temple University Theatre's 2015 production of Tom Stoppard's Arcadia, and the ways in which the process was artistically challenging and personally transformative. It is a demonstration of the manifold procedure of discovering action through language in the rehearsal process, the essential relationship of language to behavior in all collaborative practice and both the embrace of constructive conflict and the fundamental exercise of self-reflection as the primary catalysts for artistic development.
Temple University--Theses

Les cavités artificielles funéraires sont à la fin de la Préhistoire en Méditerranée occidentale un type d’architecture privilégié. La compréhension de la chaîne opératoire de construction des hypogées est essentielle afin de déterminer quelles techniques et stratégies entrent en jeu dans la mise en place de ces architectures souterraines. C’est dans le cadre de cette thèse qu’une méthode a été développée sur le sujet. Celle-ci se présente en trois axes : l’étude technologique du macro-outillage de creusement, l’analyse à l’aide de la photogrammétrie des traces présentes sur les parois des hypogées et l’expérimentation permettant de confirmer ou d’infirmer les hypothèses émises. Ces trois axes ont été développés dans des contextes différents, en France dans les Bouches-du-Rhône avec l’ensemble monumental de Fontvieille et en Sardaigne avec notamment la nécropole à domus de janas de S’Elighe Entosu. Ces deux contextes offrent la possibilité d’étudier des hypogées possédant des caractéristiques différentes. La comparaison entre les divers contextes sélectionnés en Méditerranée occidentale permet d’entrevoir les différences et similitudes présentes dans les chaînes opératoires de creusement et les choix effectués par les différents groupes humains. Au-delà de la connaissance des techniques employées pour le creusement de ces architectures, cette étude permet également de s’interroger sur le rôle de celles-ci au sein de la communauté par l’investissement que leur mise en place engendre
At the end of Prehistory in the Western Mediterranean, the rock-cut tombs are a privileged type of architecture. The understanding of the hypogea’s digging process is essential In order to determine which techniques and strategies come into play in the establishment of these structures. In the context of a PhD research work, a method has been developed on the subject. It is presented in three lines of reflection: the technological study of digging macro-tools, the analysis of the traces which are present on the walls of hypogea using photogrammetry, and an experimentation to confirm or refute the assumptions made during the first two axes of the study. These three axes were developed in different contexts, the monumental context of Fontvieille, located in the geographical area of the Bouches-du-Rhône administrative department in France and the necropolis of S'Elighe Entosu in Sardinia, Italy. These two fieldworks allows us to study the different characteristics of the hypogea. The comparison between the various contexts selected in the western Mediterranean allows us to glimpse the differences and similarities present in the digging process chains and the choices made by the different human groups. Beyond the knowledge of the techniques used for the digging of these architectures, this study also makes it possible to question the role of these in the community by the investment that their establishment generates

Après une brève introduction à l'histoire de la collection de céramique étrusque à figures noires du musée du Louvre, le catalogue raisonné fait la description et l'analyse critique des quatre-vingt-cinq vases ou fragments de vases recensés. Chaque vase est étudié pour sa forme, son décor, sa représentation figurée. Il est attribué, lorsque c'est possible, à un peintre dont le style est étudié et l'œuvre inseré dans l'ensemble de la production étrusque à figures noires. L'évolution des ateliers, les rapports réciproques, les transferts possibles d'un centre à l'autre sont également envisagés. L'œuvre des peintres déjà identifies est enrichi, une demi-douzaine de personnalités nouvelles sont identifiées et étudiées. Parmi celles-ci, quelques-unes sont de première importance; ainsi, celle du peintre des visages anguleux qui, vers le milieu du sixième siècle av. J. -C. , fut vraisemblablement le fondateur de l'atelier de fabrication des vases de la tolfa, ou bien encore celle du peintre de la danseuse aux crotales qui occupait certainement une place de premier plan parmi les peintres de la première moitié du cinquième siècle. Un chapitre est ensuite consacré aux rapports existant entre céramique et grande peinture. On y démontre que le peintre des visages anguleux n'est autre que l'auteur des fresques de la tombe des taureaux de Tarquinia. Pour conclure, quelques pages intitulées "acculturation, imitation et créativité" évoquent à travers la production céramique les problèmes d'une culture mixte
In the descriptive catalogue, after a brief introduction to the history of the Etruscan black figure pottery collection of the louvre museum, there is a description and a critical analysis of the eighty five vases or fragments of vases recorded. The shape, decoration, figured representations are carefully examined on each vase. Then, whenever possible, it is attributed to a painter whose style is studied and works inserted in the whole Etruscan black figure production. The evolution of the workshops, the relation between them, the possibility of transfers from one center to another are also considered. Works are thus added to the existing ones of painters already identified and half a dozen of new personalities are identified and studied. Among the ltter, some are of major importance. This is the case of the angular face painter who very likely was the founder of the la tolfa vase production workshop towards the middle of the sixth century B. C. , and also the painter of the "danseuse aux crotales" who was certainly one of the first-rank painters among those living in the first half of the fifth century. Then, a chapter is devoted to the connection between pottery and the proper art of painting and it is demonstrated that the angular face painter and the author of the tarquinia tomba dei tori is the same person. As a conclusion, a few pages entitled "acculturation, imitation and creativity" evoke the problems related with a mixed culture through the pottery production

Concluding on this note, the thesis argues that reading The Lord of the Rings in this way renders postcolonial concepts accessible to a whole generation of readers already familiar with the series, and points to the possibility of examining other contemporary texts, or even further analysis of Tolkien's to reveal more postcolonial sensitivities engendered in the texts.; This thesis examines J.R.R. Tolkien's texts The Hobbit, The Fellowship of the Ring, The Two Towers, and The Return of the King from a postcolonial literary perspective. By examining how these texts, written at the decline of the British Empire, engage with the theoretical polemics of imperialism, this thesis takes a new look at these popular and widely regarded books from a stance of serious academic interest. The first chapter examines how certain characters, who are Othered temporally in the realm of Middle-earth, manage to find a place of narrative centrality from the defamiliarized view of Merry, Pippin, Samwise, and Frodo, uncannily reoccurring throughout the narrative in increasingly disturbing manifestations. From there, the thesis moves on to uncanny places, examining in detail Mirkwood, Moria, Dunharrow, and the Shire at the end of The Return of the King. Each of these locations in Middle-earth helps Tolkien to explore the relationship between colonizer, colonized, and fetishism; the colonizer(s) disavow their own fears of these places by fetishizing the pathways they colonize for their safe passage. Since their paths are unsustainable colonially, these fetishes cannot fulfill their function, as the places are marked with unavoidable reminders of wildness and uncontrollability which cannot successfully be repressed for long. Ending this chapter with a discussion of the hobbit's return to the Shire, the argument moves into the next chapter that discusses the small-scale colonization that takes place in the heart of Frodo himself, making the Shire he used to know firmly unavailable to him. The Ring, in this case, is the colonizer, doubling, fracturing, and displacing Frodo's selfhood so that he becomes unfamiliar to himself. The uncanniness that this produces and Frodo's inability to heal from his experience with the Ring, this thesis argues, echoes the postcolonial themes of irreconcilability and the fantasy of origin.
B.A.
Bachelors
Arts and Humanities
English

Aquesta tesi presenta un marc per als models oberts de suport a les decisions en les organitzacions. El treball es vehicula a través d’un compendi d’articles on s’analitzen els fluxos d’entrada i de sortida de coneixement en les organitzacions, així como les tecnologies existents de suport a les decisions. Es presenten els factors subjacents que impulsen nous models per a formes obertes de suport a la decisió. La tesis presenta un estudi de les distintes tipologies de models de suport a les decisions tenint en compte diferents tipus d’organitzacions. En el primer estudi, paper#, es presenta l’evolució de les tecnologies de suport a les decisions i l’avançament de les noves tecnologies per als models oberts. Aquest estudi proporciona una visió des d’una perspectiva evolutiva de la relació entre el coneixement expert i la seva utilització en les tecnologies de suport a les decisions. La investigació revela l’entorn canviant que la tecnologia ofereix a l’hora de adquirir coneixement per a la presa de decisions i obre horitzons sobre el nou paper que els experts tenen en aquests entorns. Es suggereix que un canvi significatiu en la presa de decisions es basa en el desafiament entre el paper tradicional dels experts i no experts. Per últim, aquest treball explora les oportunitats d’integració de la intel•ligència artificial en la tecnologia de suport a les decisions i quins beneficis addicionals poden aportar les eines d’ intel•ligència col•lectiva en la presa de decisions. El segon estudi, paper#2, investiga sobre la tipologia anomenada "agregada" dins del marc d’entorns oberts per al suport a la presa de decisions. S’utilitza un problema de predicció com a fil conductor per a posar en relleu la complexitat de la previsió de la demanda dins de la industria del cinema. S’analitza com es pot utilitzar la tecnologia per a millorar l’eficàcia en les decisions. La investigació compara dues tecnologies de suport a les decisions: sistemes experts i eines d’intel•ligència col•lectiva, i il•lustra com l’industria del cinema utilitza cada una d’aquestes tecnologies en la previsió dels ingressos de taquilla. Per últim, aquest article explora els beneficis de l’ integració d’aquestes tecnologies de suport per a l’obtenció de prediccions més precises. El tercer estudi, article#3, presenta un estudi longitudinal durant un període de 10 anys que utilitza IBM “Innovation Jams” como un context per a la col•laboració a gran escala dins de la tipologia anomenada "plataforma". Aquest article investiga el paper de les “Innovation Jams”, en el canvi organitzacional i com IBM es compromet amb un nou model d’innovació en les organitzacions. En ell es descriuen les “Innovation Jams”, que han impulsat la innovació i consolidat la pràctica de la innovació oberta en IBM. En aquest article s’utilitza el gènere musical d’una "jamband" com una metàfora per a descriure el desenvolupament emergent i l’ús de les “Innovation Jams”, com una manera d’entendre el canvi organitzatiu. Aquest estudi longitudinal ofereix una visió actualitzada de la recerca en “Innovation Jams”, mostrant com han evolucionat des d’un concepte, a una eina de gestió i finalment a un servei. L’article conclou amb una discussió sobre les implicacions dels resultats i com aquests permeten teoritzar sobre nous models d’ innovació i el canvi en les organitzacions. La recerca duta a terme en aquesta tesi ofereix un marc per als models oberts de suport a la decisió, i suggereix que, les fonts internes i externes de coneixement poden ser utilitzades, més enllà de la innovació del producte o serveis, per a la presa de decisions amb el suport de tecnologies emergents. Les contribucions teòriques d’aquesta tesi sostenen que les organitzacions ja no poden confiar en la tecnologia de suport a les decisions que únicament es centren en la reducció de la frontera entre els aspectes racionals i no racionals de la conducta social humana, sinó que pel contrari, han de considerar la xarxa dinàmica de la organització per al suport a la decisió. D’altra banda, les implicacions pràctiques d’aquesta tesi animen les organitzacions a pensar estratègicament sobre com les tecnologies emergents poden ajudar en la presa de decisions i també com els models de decisió resultants poden ser utilitzats per a navegar per l’entorn complex existent, i, a la vegada, forjar vincles més forts amb els clients, proveïdors i la xarxa de l’organització.
Esta tesis presenta un marco para modelos abiertos de soporte a las decisiones en las organizaciones. El trabajo se vehicula a través de un compendio de artículos dónde se analizan los flujos de entrada y salida de conocimiento en las organizaciones, así como las tecnologías existentes de soporte a las decisiones. Se presentan los factores subyacentes que impulsan nuevos modelos para formas abiertas de soporte a la decisión. La tesis presenta un estudio de las distintas tipologías de modelos de soporte a las decisiones teniendo en cuenta distintos tipos de organizaciones. En el primer estudio paper#1 se presenta la evolución de las tecnologías de apoyo a las decisiones y el avance de las nuevas tecnologías para los modelos abiertos. Este estudio proporciona una visión desde una perspectiva evolutiva de la relación entre conocimiento experto y su utilización en las tecnologías de soporte a las decisiones. La investigación revela el entorno cambiante que la tecnología ofrece a la hora de adquirir conocimiento para la toma de decisiones y abre horizontes sobre el nuevo papel que los expertos tienen en estos entornos. Se sugiere que un cambio significativo en la toma de decisiones se basa en el desafío entre el papel tradicional de los expertos y no expertos. Por último, este trabajo explora las oportunidades de integración de la inteligencia artificial en la tecnología de soporte de decisiones y que beneficios adicionales pueden aportar las herramientas de inteligencia colectiva en la toma de decisiones. El segundo estudio, paper#2, investiga sobre la tipología llamada "agregada" dentro del marco de entornos abiertos para el soporte a la toma de decisiones. Se utiliza un problema de predicción como hilo conductor para poner en relieve la complejidad de la previsión de la demanda dentro de la industria del cine. Se analiza cómo se puede utilizar la tecnología para mejorar la eficacia en las decisiones. La investigación compara dos tecnologías de soporte a las decisiones: sistemas expertos y herramientas de inteligencia colectiva, e ilustra cómo la industria del cine utiliza cada una de estas tecnologías en la previsión de los ingresos de taquilla. Por último, este artículo explora los beneficios de la integración de estas tecnologías de apoyo para la obtención de predicciones más precisas. El tercer estudio, artículo #3, presenta un estudio longitudinal durante un período de 10 años que utiliza IBM “Innovation Jams”, como un contexto para la colaboración a gran escala dentro de la tipología llamada "plataforma". Este artículo investiga el papel de las “Innovation Jams”, en el cambio organizacional y como IBM se compromete con un nuevo modelo de innovación de la organización. En él se describen las “Innovation Jams”, que han impulsado la innovación y consolidado la práctica de la innovación abierta en IBM. En este artículo se utiliza el género musical de una "jamband" como una metáfora para describir el desarrollo emergente y el uso de las “Innovation Jams”, como una manera de entender el cambio organizativo. Este estudio longitudinal ofrece una visión actualizada de la investigación en “Innovation Jams”, mostrando cómo han evolucionado desde un concepto, a una herramienta de gestión y finalmente a un servicio. El artículo concluye con una discusión sobre las implicaciones de los resultados y como ellos permiten teorizar sobre nuevos modelos de innovación y el cambio en las organizaciones. La investigación llevada a cabo en esta tesis ofrece un marco para los modelos abiertos de apoyo a la decisión, y sugiere que el uso de fuentes internas y externas de conocimiento pueden ser utilizadas más allá de la innovación del producto o servicio para la toma de decisiones con el soporte de tecnologías emergentes. Las contribuciones teóricas de esta tesis sostienen que las organizaciones ya no pueden confiar en la tecnología de apoyo a las decisiones que únicamente se centran en la reducción de la frontera entre los aspectos racionales y no racionales de la conducta social humana, sino por el contrario, deben considerar la red dinámica de la organización para el apoyo a la decisión. Por otra parte, las implicaciones prácticas de esta tesis alienta a las organizaciones a pensar estratégicamente acerca de cómo las tecnologías emergentes pueden ayudar a la toma de decisiones y también cómo los modelos de decisión resultantes pueden ser utilizados para navegar por el entorno complejo existente y, a su vez, forjar vínculos más fuertes con los clientes, proveedores y más amplios de la red de la organización.
This thesis presents a framework for open models of decision support through a compendium of papers that links research on the inward and outward flows of knowledge to the organization and decision support technologies. The framework presents underlying factors driving new and more open models of decision support. A typology of decision support models is offered considering types of problems organizations and managers charged with decision-making face. Thesis essay #1 suggests a perspective of the changing landscape for decision support technology and the advancement of new technology for open models of decision support. This study provides insight from an evolutionary perspective of expertise that has shaped the field of decision support technologies. The investigation sets out to reveal the changing landscape of expertise in supporting decision-making using technology and sheds light on the new role that experts will play in organizational decision-making. It suggests that a significant change in how decision-making is being supported which challenge the traditional role of experts and non-experts. Finally, this paper explores opportunities for decision support technology integration and the added benefits artificial intelligence can bring to collective intelligence tools. Thesis essay #2 investigates the ‘aggregate’ typology within the open model decision support framework. A forecasting problem is used to highlight the complexity of demand forecasting in supply-chain management within the film industry and how technology is leveraged for effective supply-chain management decisions. The investigation compares two decision support technologies: expert systems and collective intelligence tools and illustrates how the film industry uses each in forecasting box-office revenue. Finally, this essay explores the combined benefits in integrating each support technology for more accurate forecasting. Thesis essay #3 is a longitudinal study over a 10 year period that uses IBM Innovation Jams as a context for large-scale collaboration within the ‘platform’ typology. This essay investigates the role of innovation jams on organizational change as IBM learned to engage with a new model of organizing innovation. It describes the role innovation jams have played in shaping the practice of open innovation at IBM. This essay uses the musical genre of a “jamband” as a metaphor to describe the emergent development and use of innovation jams as a way to understand organizational change. This longitudinal study brings innovation jam research up-to-date and presents innovation jams as they evolved from a concept, a management tool, and service. The essay concludes with a discussion on the implications of the findings for theorizing about new models of organizing innovation for organizational change. Research conducted in this thesis offers a framework of open models of decision support that suggests that the use of internal and external sources of knowledge can be leveraged beyond product or service innovation, to include decision-making supported by emerging technology. Theoretical contributions of this thesis argues that organizations can no longer rely on decision support technology that solely focus on bridging the boundary between rational and non-rational aspects of human social behavior but instead, must consider the larger dynamic organizational network for decision support. Moreover, practical implications of this thesis encourages organizations to think strategically about how emerging technology can support decision making and the resulting decision support models to navigate the complex environment they work in and in turn, to forge stronger links with customers, suppliers, and the wider organizational network.

Le massacre de Sharpeville du 21 mars 1960, faisant 69 morts et près de 200 blessés, est considéré dans l'historiographie et la vie politique sud-africaines comme un tournant majeur de l'histoire nationale. Depuis l'origine pourtant, deux versions dites antagonistes des faits coexistent et s'alimentent : d'une part, celle d'une tentative de soulèvement et de renversement du pouvoir, d'autre part celle d'une manifestation patente de la nature violente et inhumaine du régime. L'onde de «mystère» qui entoure les circonstances exactes du drame et la crise qu'il provoqua ont entretenu l'affrontement de ces thèses et, selon les périodes, conditionné les analyses historiques, la transmission mémorielle du fait, de même que la nature de ces commémorations. La chape de plomb qui, depuis lors, s'abattit sur le pays jusqu'en 1976 a également favorisé la dimension légendaire et symbolique de l'événement souvent au détriment de sa connaissance historique. Ce travail, fondé sur la comparaison et l'étude critique de sources primaires et secondaires, retrace le processus complexe de construction des narrations et évocations du massacre au cours des quarante dernières années et leurs utilisations politiques. Plutôt que d'invalider simplement la portée symbolique de l'événement, cette étude, à l'appui d'une enquête historique, vise à décrire et expliquer cette dimension au regard des évolutions de la société sud-africaine au cœur et au sortir de l'apartheid
The Sharpeville massacre (March 21, 1960), where the police shot down 69 South Africans and wounded almost 200, is regarded, both in history and politics, as a major historical turning point. From the very beginning, two (apparently) antagonistic interpretations of the event were developed : the first one sees it as a failed attempt to overcome the appartheid regime, and the second one as an obvious evidence of the violent and barbaric nature of apartheid. A shadow of mystery on the very circumstances of the tragedy, as well as the crisis that followed, have influenced, for forty years historical analyses, transmissions of the memory of the event, and the nature of its commemorations. From 1960 up to 1976, a wall of silence has surrounded the country and favoured the legendary and symbolic dimension of the event often to the detriment of historical knowledge. This study based on the comperative critics of primary and secondary sources, draws on the complicated building process of the narratives and evocations of the massacre, along forty years, and their use in politics. Instead of simply disqualifying the symbolistic scope as such, this work describes and explains that dimension, on the ground of historical investigations and in the eyes of the evolutions of the South African society in the mists and the fall of apartheid

Thesis presented to the Faculdade de Ciências e Tecnologia, Universidade de Coimbra in order to obtain the degree of Doctor In Biological Anthropology
For this study, the human bone sample recovered from Tomb I was analysed from a bioarchaeological perspective with the aim of contributing towards a better understanding of the Late Neolithic/Chalcolithic individuals that used the Perdigões prehistoric enclosures (Reguengos de Monsaraz, Portugal) as a burial site, and their attitudes towards death. To achieve this, four main research objectives were defined: (I) the analysis of the human remains exhumed from Tomb I, in order to characterize demographic, morphologic and pathological aspects of the population(II) based on physical anthropological analysis and the archaeological register, identification of funerary rules and attitudes, relating them to mental constructions towards death through a study of: the conception and form of deposition of human remains; the organization of the internal space of the tomb; evidence of ritualization; signs of management of the funerary space (III) to understand how the specific mortuary practices identified in Tomb I fit into the global funerary practices already known for the rest of the important archaeological site of Perdigões (IV) Tomb I was also understood within the context the history of the use of other tholoi type structures in the territory that is now referred to as South Portugal. Tomb I is a tholos type structure from Perdigões Archaeological Complex, dated from the first half of the 3rd millennium BC and excavated between 1997 and 2001.The sample was in poor state of conservation and highly fragmented, and skeletonized elements were found completely disarticulated. Anthropic and natural taphonomic alterations were limiting factors of the study. A two-fold approach was applied to the study of the skeletal sample from this funerary structure. First, it was studied according to the archaeological phases defined after field work, which sought to understand possible differentiated uses of the tomb through time. The skeletal sample was then studied as a whole, regardless of phases of use. The data obtained through this latter anthropological study were utilized for the paleodemographic reconstruction and for the identification of potential patterns in mortuary practices and for further comparison of this monument with other funerary structures inside and outside Perdigões Archaeological Complex. Both approaches mirror the same reality: the collective, commingled use of this tomb for deposition of human remains from both sexes and individuals of all ages. A total of 61926 bone fragments and 1579 teeth were studied. The paleodemographic approach estimated an MNI of 103 individuals for this structure: 55 adults and 48 non-adults (below 15 years of age at death). Results showed both sexes were represented, while non-metric trait data, highly limited by the conditions of the sample, delivered few results. Calculus was identified on 20,6% of the analysed teeth (289/1399) and linear enamel hypoplasia on 10,4% (143/1369) of the tooth sample, making them the most frequently represented dental pathologies for permanent teeth. Average tooth wear in this sample was low: 1,9 (n=1428) very close to the level of wear obtained for deciduous dentition: 1,8 (n=84). Cariogenic lesions were found on only 0,5% of the 1406 permanent teeth analysed and antemortem tooth loss was identified in 5,3% (n=29/539) of the observable alveoli. Skeletal pathological changes related mostly to joint disease, found mainly on upper and lower limb bones and the spine. The presence of enthesopathies were most commonly found on the lower limb and foot bones. Some evidence other diseases, such as infectious, congenital, metabolic and traumatic conditions, was found, but in low frequencies. However, the rarity of some of these pathologies for prehistoric contexts must be highlighted, as the probable case of Hyperostosis Frontalis Interna identified on an individual from Phase 2C. The analysis of the use of the chamber for funerary depositions throughout the different phases revealed that different physical areas were used for the depositions of human remains and artefacts. In terms of Funerary Anthropology, Tomb I constitutes a burial site where an obvious and intense manipulation of the skeletal remains took place. No anatomical connections were identified and evidence suggests the secondary use of this funerary structure, although the possible presence of primary depositions at some point of its life cannot be overruled. Comparison with other tholos/tholoi type structures made it possible to record differences in demographic, morphological and pathological features between coeval populations.
Neste trabalho, os ossos humanos recuperados do Sepulcro I, foram analisados numa perspectiva bio-arqueológica com o objectivo de contribuir para uma melhor compreensão dos indivíduos do Neolítico Final / Calcolítico, que usaram o Complexo Arqueológico dos Perdigões (Reguengos de Monsaraz, Portugal) como local de enterramento e suas atitudes em relação à morte. Para atingir este objectivo, 4 linhas de investigação foram definidas: (I) a análise dos restos humanos exumados do Sepulcro I, a fim de caracterizar os aspectos demográficos, morfológicos e patológicos dos indivíduos exumados (II) com base nos dados de antropológica biológica e do registo arqueológico, identificar regras e atitudes funerárias através de um estudo da concepção e forma de deposição de restos humanos, da organização do espaço interno do túmulo, das evidências de ritualização e dos sinais de gestão do próprio espaço funerário (III) compreender de que forma as práticas mortuárias específicas identificadas no Sepulcro I se encaixam nas práticas funerárias conhecidas para o sítio arqueológico dos Perdigões (IV) e compreender como o Sepulcro I se enquadra no contexto da utilização de outros monumentos funerários tipo-tholos conhecidos para o sul de Portugal. O Sepulcro I é uma estrutura funerário tipo-tholos do Complexo Arqueológico de Perdigões, datada da primeira metade do 3º milénio AC e escavada entre 1997 e 2001. A amostra encontrava-se em mau estado de conservação e muito fragmentada, e os elementos esqueléticos foram encontrados completamente desarticulados. Alterações tafonómicas de origem antrópica e natural foram factores limitantes do estudo. Foi aplicada uma dupla abordagem ao estudo da amostra esquelética da Perdigões. Primeiro, o monumento foi estudado de acordo com as fases arqueológicas definidas após o trabalho de campo, que procuravam compreender possíveis usos diferenciados do túmulo ao longo do tempo. A amostra esquelética foi depois estudada como um todo, independentemente das fases de uso. Os dados obtidos através desta última abordagem foram utilizados para o estudo subsequente. Este incluiu a caracterização antropológica e a identificação de potenciais padrões nas práticas mortuárias da amostra esquelética e para posterior comparação do Sepulcro I com outras estruturas funerárias dentro e fora do Complexo Arqueológico dos Perdigões. Ambas as abordagens refletem a mesma realidade: o uso coletivo deste túmulo para a deposição de restos humanos de indivíduos de ambos os sexos e de todas as idades. Um total de 61926 fragmentos de osso e 1579 dentes foram estudados para o Sepulcro I. A abordagem paleodemográfica estimou um NMI de 103 para esta estrutura: 55 adultos e 48 não adultos (menos de 15 anos de idade). Os resultados mostraram que ambos os sexos se encontravam representados. A análise dos dados paleomorfológicos, muito limitada pelas condições da amostra, apresentou poucos resultados. As patologias orais mais frequentemente representadas para dentes permanentes são o tártaro, identificado em 20,6% dos dentes analisados (289/1399) e as hipoplasias do esmalte dentário, observadas em 10,4% (143/1369) da amostra dentária. O desgaste médio dos dentes era baixo: 1,9 (n=1428) muito próximo do nível de desgaste obtido para a dentição decidual: 1,8 (n = 84). As lesões cariogénicas foram identificadas em apenas em 0,5% dos 1406 dentes permanentes observados e a perda de dentes antemortem foi identificada em 5,3% (n = 29/539) dos alvéolos observáveis. Alterações patológicas do esqueleto estavam principalmente relacionadas com a doença articular, encontradas sobretudo nos ossos dos membros superiores e inferiores e na coluna vertebral. A presença de entesopatias foi mais comumente encontrada nos membros inferiores e nos ossos dos pés. Foram identificadas algumas evidências de outras doenças infecciosas, congénitas, metabólicas e traumáticas, mas em baixas frequências. No entanto, a raridade de algumas destas patologias para contextos pré-históricos deve ser destacada, como o provável caso de Hiperostosis Frontalis Interna identificado num indivíduo da Fase 2C. A análise do uso da câmara para deposições funerárias ao longo das diferentes fases revelou que diferentes áreas físicas foram usadas para deposições de restos humanos e artefactos. Em termos de Antropologia Funerária, o Sepulcro I constitui-se como um local de enterramento onde ocorreu uma intensa manipulação dos restos humanos. Não foram identificadas conexões anatómicas e as evidências sugerem o uso secundário desta estrutura funerária, embora a possível presença de deposições primárias, em alguma fase da sua utilização, não possa ser rejeitada. A comparação com outras estruturas do tipo tholos permitiu registar diferenças demográficas, morfológicas e patológicas entre populações contemporâneas e esclarecer a presença potencial de rituais funerários diferenciados ocorrendo ao mesmo tempo em diferentes regiões.

The thesis explores how elemental architecture in collaboration with the Shield can manifest a threshold condition in which a modern day hero myth can be enacted in the Canadian wilderness. Through the lens of Joseph Campbell, Tom Thomson and the archetypal structures of the Finns and Algonkians, a design proposal is derived for a Waterway Park in the Algonquin region that expands the mandate of the Ontario Parks System. In the realm of psychology, Carl Gustav Jung defines individuation as a universal quest that encourages facing and overcoming ones internal demons in order to live a more integrated existence. Located in Oxtongue River Ragged Falls Provincial Park, this proposed experimental pilgrimage retreat connects a series of primary and secondary paths to cabins, a sweat lodge and a chapel. This model illustrates a method of inhabiting a protected wilderness site that can be applied to existing and future Parks to inspire a condition of corporeal and spiritual rejuvenation in Ontario’s near North.