Tesis sobre el tema "Statue"

Im Zentrum der Arbeit steht die nichtkönigliche ("private") Grabstatue des Alten Reiches (3. bis 6. Dynastie). Das schließt die Beschäftigung mit der baulichen Struktur und den funktionalen Komponenten von Grabanlagen ein. Außerdem werden Belege des Flachbildes und inschriftliches Material zur Klärung bestimmter Sachverhalte herangezogen. Ziel der Arbeit ist es, anhand der Grabstatue die Funktion eines kulturellen Objektes in der gesellschaftlichen Praxis zu untersuchen, wobei der räumliche Rahmen auf die Residenz und der zeitliche Rahmen auf das Alte Reich beschränkt ist. Anhand der Grabstatue kann nachvollzogen werden, wie ein kulturelles Objekt auf der Basis habitueller Konzepte und Handlungsmuster im Rahmen der funerären Praxis von einer spezifischen sozialen Gruppe (Residenzbewohnerschaft) in einer spezifischen historischen Situation (Etablierung eines Machtzentrums in einem frühen Staatswesen) aktiviert und entwickelt wird. Durch die Einbeziehung weiterer Quellengruppen läßt sich so das Bild der funerären Praxis einer bestimmten Epoche entwerfen. Die Arbeit setzt sich aus fünf aufeinander aufbauenden Teilen zusammen. Die entsprechenden Belege sind in Tabellen zusammengestellt, auf die jeweils verwiesen wird. Teil I setzt die Grundlagen der Arbeit. Die beiden wesentlichen Statuentypen - die Sitzfigur und die Standfigur - werden vorgestellt. Durch die anschließende Diskussion von Aufstellungsort und kultischer Funktion wird die Bedeutung des Objektes "Statue" im funerären Kult beleuchtet. Davon ausgehend können erste Schlüsse zur sozialen Implikation der funerären Praxis gezogen werden. Es wird gezeigt, daß die Statuen mit bestimmten Informationen "indiziert" sind (stehend = Bewegungsfähigkeit; sitzend = Existenz im Grab; ausgestreckte Hand = Fähigkeit zum Opferempfang), die im Rahmen der Kultpraxis aktiviert werden. Durch die gezielte Entwicklung bestimmter Indizes können individuelle soziale Positionen beschrieben und in die kulturelle Kommunikation eingeführt werden (Namens- und Titelbeischrift, naturalistische Gestaltung). Dem in Teil I. für die Belege der 1. bis 3. Dynastie vorgegebenen Prinzip wird in den folgenden Teilen gefolgt, wobei aufgrund des umfangreichen Belegmaterials eine Trennung der Schwerpunkte (Statuentyp, Kontext der Grabanlage, Funktion im Kult) vorgenommen wird. Teil II behandelt die einzelnen Statuentypen, die seit der Mitte der 4. Dynastie dem Korpus der Grabstatuen hinzugefügt werden. Schwerpunkt der Betrachtung ist hier die individuelle Aktivierung der in den Statuen vorhandenen kommunikativen Potenzen (Indizes). Es wird gezeigt, daß die Entwicklung von neuen Statuentypen (Schreiberfigur, Standfigur mit Vorbauschurz, Gruppenfigur, Dienerfigur) mit der Etablierung neuartiger sozialer Positionen an der Residenz verbunden werden kann. Daneben führt die Entwicklung spezifischer Handlungsvorgänge und Konzepte der funerären Praxis zur Etablierung von Sonderformen (Ersatzkopf, Büste, Nacktfigur, Pseudo-Gruppe). Teil III untersucht den archäologischen Kontext der Statuenbelege. Dabei werden die Quellen verschiedener sozialer Gruppierungen der Residenz (Elite vs. dependents) getrennt untersucht, um Gemeinsamkeiten und Differenzen der funerären Praxis innerhalb der Residenz herauszuarbeiten. Wie auch für die in Teil I behandelte Epoche läßt sich eine zeitliche Entwicklung und Veränderung der funerären Praxis erkennen. Abschließend werden Belege für Felsstatuen und verwandte Objekte betrachtet, für die in besonderer Weise gilt, daß Statuentyp und Aufstellungsort eine Einheit bilden. Im Zentrum dieses Abschnittes steht die Aktivierung des Mediums Statue im Rahmen kollektiver Kulthandlungen. In diesem Zusammenhang werden auch die verschiedenen Kultbezüge einer funerären Anlage untersucht, die sich im archäologischen Befund ablesen lassen. In Teil IV werden Belege der Flachbild- und Textdekoration von funerären Anlagen in die Betrachtung einbezogen. Im Mittelpunkt stehen solche Flachbilddarstellungen, in denen die Verwendung von Statuen thematisiert wird. Anhand von Texten und Darstellungen von Kulthandlungen werden außerdem Rekonstruktionen des Opferrituals, des Festrituals und des Bestattungsrituals vorgeschlagen. So wird die funeräre Praxis als ein Komplex real vollzogener Handlungen beschrieben und der Rahmen der Aktivierung ihrer individuellen und kollektiven Aspekte genauer untersucht. In diesem Zusammenhang wird auch auf die Bedeutung verwiesen, die die "Konzeptualisierung" (sprachlich / schriftliche Formulierung und Ausdeutung) von Phänomenen für die Entwicklung der funerären Praxis besitzt. Anhand der Belege sich entwickelnder Konventionen der Darstellung und Formulierung von praktischen Handlungen in Bild und Text (hier als Phänomen der "Verschriftlichung" bezeichnet) wird gezeigt, daß die funeräre Praxis ein dynamischer, ständiger Veränderung unterworfener Prozeß ist. Die Veränderung betrifft sowohl den Bereich der Handlungen - also die vollzogenen Zeremonien - als auch den Bereich der verwendeten Objekte (Statue, Grabanlage, Leiche) und die Konzeptualisierung des Prozesses in einer "funerären Religion". In Teil V werden die wesentlichen Ergebnisse zusammengefaßt. Dabei wird auf die innerkulturelle Konzeptualisierung des Objektes "Grabstatue" eingegangen. Weiterhin werden die Kriterien zusammengestellt, die eine Periodisierung der Entwicklung der funerären Praxis an der Residenz zulassen. Abschließend wird auf die Bedeutung eingegangen, die die funeräre Praxis in der gesellschaftlichen Praxis im pharaonischen Ägypten im 3. Jt. v.u.Z. insgesamt besaß.
The focus of the study is the non-royal ("private") tomb statue of the Old Kingdom (3rd to 6th dynasties). Observations on the actual position of statues within the tomb are included, followed by a discussion of architectural and functional components of a residential funerary complex. Further a certain number of two-dimensional representations and inscriptions are consulted for the discussion of special topics. The aim of the study is to investigate the function of a cultural object within the frame of social practice. By using the tomb statue as an example and by restricting the topic spatially to the residence and temporally to the Old Kingdom, it is possible to detect how - on the basis of habitual concepts and patterns of action - a cultural object has been developed and activated by a specific social group (inhabitants of the residence) in the frame of funerary practice in a specific historical situation (consolidation of the centre of an early state). Using a wider score of sources it is thus possible to sketch the reality of funerary practice of a specific period. This study is divided into five parts. The sources referred to in the different chapters are gathered in sets of tables. Part I sets the main principles of the study. The two most important statue types - the sitting and the striding figure - are introduced. The following discussion of its place in the funerary complex and its function shows the importance of the object "statue" within the funerary cult. Preliminary observations on social implications of funerary practice are formulated. It is shown that statues are marked by some indexical information (striding = possibility of movement; sitting = existence in the tomb; raised hand = possibility of receiving offerings) which will be activated in the course of funerary practice. By developing certain of these indices it became possible to describe individual positions and to introduce them into the cultural communication (inscription of name and titles, naturalistic elements of representation). The principles used in part I for the sources from dyn. 1 to 3 will also be observed in the following parts, dividing due to the amount of material the investigation into a number of subtopics (statue types, context of the funerary complex, function in the cult). In part II statue types added to the corpus of tomb statues during dyn. 4 are investigated. Focal point is the individual activation of the communicative potencies inherent in the statues (indices). It is shown that the development of new statue types (scribe, striding figure with protruding kilt, group figure, servant figure) can be correlated to the establishment of new social positions at the residence. Additionally the development of specific patterns of behaviour and of concepts of funerary practice leads to the creation of peculiar types of statues (reserve head, bust, naked figure, pseudo group). Part III deals with the archaeological context of statues. In order to investigate communities and differences within the funerary practice of the residence, sources of different social groups (elite vs. dependants) are treated separately. As in the period dealt with in part I, it is possible to observe the development and the transformation of the funerary practice in time. Additionally with rock-cut statues and related objects, a group of sources is investigated linking in a specific manner statue type and its position in the funerary complex. Main topic of this part is the activation of the medium "statue" in the course of collective cult action. In this context the different references of religious action in a funerary complex observable in the archaeological record are described. Part IV adds the evidence of inscriptions and two-dimensional depictions. The main focus is on two-dimensional representations showing the employment of statues. Using textual and pictorial evidence, reconstructions of the offering ritual, the festival ritual and the burial ritual are proposed. Funerary practice is described as a complex of actual behaviour. The circumstances of the activation of its individual and collective potencies are detected. The importance of the process of "conceptualisation" (oral / written formulation and explanation) of phenomenons for the development of funerary practice is stressed. Using sources showing the formation of patterns of representation of practical actions in picture and text (called "scriptualization") it is shown that funerary practice is a dynamic, constantly changing process. Those changes refer not only to the realm of actions - i.e. the actual ceremonies - but also to the objects used (statue, funerary monument, deceased body) and to the conceptualisation of the whole process in a "funerary religion". Part V summarises the main conclusions. Additionally it deals with the emic conceptualisation of the object "tomb statue". Further a number of criteria allowing a periodization of funerary practice at the residence are listed. Finally the overall importance of funerary practice within the frame of social practice in pharaonic Egypt during the 3rd millennium B.C.E. is highlighted.

In April 2015, the bronze statue of Cecil John Rhodes- notorious mining magnate, archimperialist and champion of a global Anglo-Saxon empire- was removed from its concrete plinth overlooking Cape Town, South Africa. This came as a result of the #RhodesMustFall (#RMF) movement, a movement that would see statues questioned and vandalised across the country. Two years later, fierce contestation over the hegemonic narrative told through the American South’s symbolic landscape erupted over the proposed removal of a statue of Confederate General Robert E. Lee, resulting in the deaths of multiple people in Charlottesville, Virginia. Increasing research on the removal of Rhodes and the removal of Confederate statuary has emerged in recent years. However, previous scholarship has failed to compare the wider phenomena of the calls for removal, from the memorialised figures to their change in symbolic capital, the movements’ inception and its outcomes. There is subsequently a gap in the literature understanding what the politics of statue removal tell us about not only the American and South African commemorative landscapes, but the nations’ interpretations of the past and societies themselves. Therefore, this thesis uses descriptive comparative analysis to compare two case studies where the debate over statue removal has surfaced most vehemently: Rhodes’ statue at the University of Cape Town and Lee’s statue in Charlottesville. Ultimately, this dissertation finds that the calls for the removal of statues are part of a wider change in tenor towards understanding and disrupting prevailing hegemonic narratives of white supremacy, in both society and its symbolic landscape. The phenomena demonstrates that heterogeneous societies with pasts marred by segregation and racism are moving to reject and re-negotiate these histories and their symbols, a move that has elicited deeply divided, emotional responses. Despite waning attention to monument removals, the issue remains unresolved, contentious, and capable of re-igniting.

The Aphrodite of Cnidus (Knidia) dates from the mid-fourth century BC and is the first over life-size female nude in western art. Shown with attributes of a vessel and drapery, the goddess apparently shields her nudity by drawing her right hand across her groin. The original no longer survives, destroyed by fire in the fifth century AD; nevertheless the Knidia is one of the foremost works from antiquity, as a similar image is unknown on this scale in marble before and because of the notoriety of its sculptor Praxiteles. Its emergence should be viewed against the representation of Aphrodite and other female figures earlier and also other works by Praxiteles. A replica (the Jenkins Venus) was sold at Christie's auction house for a record sum in 2002, reflecting not only its quality and beauty, but also the Knidia 's ongoing ability to inspire interest. Reception of the figure occurs almost without interruption during and post antiquity in both literature and art, indicated by the numerous copies and replicas of the work and the reaction they provoke, not through the general presentation of AphroditeN enus. Central to this examination is the longevity of the work and its manifestation in different periods, places and contexts, not only because of its nakedness, but also its ambiguity, unclear whether Aphrodite attempts to hide her undress, or draw attention to the source of her power and sexuality, making the image equally appropriate as one of shame or veneration.

Les statues comptent parmi les plus remarquables témoignages matériels de l’Antiquité qu’il nous est donné de contempler. Si chacun d’entre nous voit ce qu’elles sont, leur réelle signification nous échappe cependant dans l’ensemble. Délaissant la démarche du catalogage et de la classification typologique, ce travail se propose de les replonger dans une atmosphère sociale parfaitement révisée, reconstituée et interrogée. À quoi cela servait-il d’ériger une statue dans la Rome antique ? À quoi cela sert-il de les étudier présentement ? À cela nous répondons que derrière ces vestiges, c’est la motivation de retrouver une conception du monde différente de la nôtre, mais capable de l’éclairer sous un jour nouveau qui fut pour nous déterminante. Derrière les statues, c’est retrouver l’Homme qu’il soit d’hier ou d’aujourd’hui. C’est surtout dépasser l’inertie apparente pour repenser une vie communautaire dans laquelle l’honneur prévalait et dont la réception s’avère encore à notre temps des plus vivaces
Statues are the most noticeable tangible testimonies from Antiquity that we are given to contemplate. If each of us can see what they are, yet we can not get their true meaning in their whole. Abandoning the approach of cataloguing and typological classification, this work intends to throw us back to the statues’ social atmosphere that is perfectly revised, reconstituted and questioned. What is the use of erecting a statue in Ancient Rome? What is the use of studying them so far? To answer this question, we can say that beyond these ruins, it is the drive to find again a conception of a world that is different from ours, but a world that is capable of shedding a new light into the meaning of the Statues, which is essential for us. Behind the statues, it is to find again the Man, either the old type or the new type. It is above all to transcend the seeming inertia to think again a community life, in which the honour prevailed and whom reception turns out to be the most vivid in our modern world

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2009.
"June 2009." Cataloged from PDF version of thesis.
Includes bibliographical references (p. 215-217).
In designing DwarfFortress as part roguelike and part simulation, Tarn and Zach Adams of Bay 12 Games drew on a tradition of game genres that used proceduralism and simulation to give players unique paths through the game. The specific choices in their design served their goal of "giv[ing] rise to some really awesome stories from the players themselves," I argue, because it took advantage of what Henry Jenkins calls "narrative architecture." Expanding on Jenkins' idea to examine narrative architectures of space, code, and player choice, the thesis shows how Bay 12 not only encouraged players to view the game as a world full of stories, but also gave players tools to craft their own kinds of tellable moments through the game. Tellable moments, as described by Marie-Laure Ryan and Lisbeth Klastrup, are events which, because they either create or break expected patterns, are well-suited to use in plots, and serve as resources for storytelling. As players became authors, they engaged in a sort of 'narrative play' through the game's affordances (and tools created in the community) in order to craft more elaborate and specific story arcs within the general confines of the game. This narrative play is a gameplay strategy in which players use the game's narrative architecture in order to goad the game's code into producing certain kinds of outcomes, outcomes which they aim to use for storytelling. Three different stories provide us with a set of tellable moments in which narrative play alternatively responds to gameplay challenge, creates an environment that embodied and staged story, and reconfigures code in order to create new types of tellable moments.
by Joshua Lindsay Diaz.
S.M.

Thesis (M.A.) -- University of Maryland, College Park, 2007.
Thesis research directed by: Dept. of Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

This study reappraises the role and value of statues (i.e. the figure as sculpture) in order to determine what happens when we encounter these objects. The consideration and construction of statues in my studio practice has generated specific insights into statues as person-shaped objects and into our encounter with these objects. From the perspective of a practice making statues this study addresses how, through the encounter, statues both stimulate and obscure our perceptions of them as objects. My practitioner's understanding of statues is articulated and enlarged by developing methods which allowed me to gain an expanded perspective of my practice, through data collected from conversations about statues, and via a subsequent diffractive dialogue with concepts gleaned from other disciplines. This research process has revealed specific characteristics of the encounter, and of statues themselves, that have been excluded or obscured by familiar assumptions and theories, such as a tacit consideration of statues that allows us to be unsettled by their nudity, or the role touch plays in considering statues, and ultimately the history of the object itself. These findings are considered through a sustained engagement with Object Oriented Ontology (after Harman). Through this process, my initial findings are subsequently expanded and further enhance a re-conception of the encounter and of statues as objects. Finally, I argue for the importance of considering this reappraisal of the role the encounter with statues could play in revealing and reframing our relations with objects more generally.

La collezione di statue antiche raccolte da Ippolito II d'Este nella sua villa a Tivoli ha subito, nei secoli successivi alla morte del cardinale, un lento depauperamento che ha portato alla sua completa dispersione alla fine del Settecento. Mentre numerosi studi sono stati dedicati alla descrizione della villa, dei suoi giardini e delle numerose fontane, minore attenzione è stata offerta da parte degli studiosi alla collezione di statue antiche, anche a causa della sua totale dispersione. L’unico studio dedicato esclusivamente alla collezione di statue antiche presente nella villa era un articolo realizzato da Ashby all'inizio del Novecento, nel quale lo studioso inglese indaga questioni circa la provenienza, la collocazione e la dispersione delle statue. Si è potuto accertare da subito l’esistenza di una ricca documentazione relativa l’amministrazione dei beni dei duchi estensi in Roma e a Tivoli, conservata presso l’Archivio di Stato di Modena che l’autore non conosceva e quindi non aveva utilizzato. La trascrizione ed analisi di questi documenti inediti, confrontati con i dati ricavati dai disegni e dalle descrizioni della villa e dei suoi giardini realizzati durante i secoli, ha permesso di ricostruire la storia della quasi totalità delle sculture esposte nella villa, dalla loro introduzione nella collezione di Ippolito II al momento della vendita da parte dei duchi estensi nella seconda metà del Settecento. Lo spoglio della documentazione dell’Archivio di Modena, in buona parte inedita, ha permesso soprattutto però di definire protagonisti, tempi e circostanze delle vendite di sculture che si susseguirono a partire dalla metà del XVIII secolo e che condussero alla completa dispersione della collezione e in alcuni casi, seguendo l’attività antiquaria dei personaggi coinvolti, di individuare la collocazione attuale delle sculture. Ed è emerso che tutti i maggiori protagonisti del vivace mondo del mercato antiquario a Roma nel Settecento ebbero un ruolo diretto o indiretto. Questo ha permesso una più ampia riflessione sulle dinamiche del mercato di antichità, sui principi ispiratori delle pratiche di conservazione e restauro e in generale sulla maniera di rivivere l’antichità nel XVIII sec. Lo studio si è ampiamente soffermato anche sugli spostamenti e le modifiche realizzate nei secoli all’allestimento delle sculture. La ricostruzione dei contesti di esposizione ha permesso di evidenziare una evoluzione nell’utilizzo dell’antichità durante i secoli. Al tempo della progettazione di Ligorio le statue antiche vengono interpretate, modificate e utilizzate per formulare nuovi e complessi significati simbolici e racconti mitologici, in cui la natura e l’acqua hanno un ruolo fondamentale. Con il passare dei secoli si tende ad una musealizzazione indirizzata piuttosto al godimento estetico e all’apprezzamento formale del pezzo singolo con una preferenza per gli spazi chiusi rispetto a quelli aperti. Lo spostamento di molte sculture dalle fontane del giardino all’interno del palazzo determinò la disgregazione delle costruzioni simboliche elaborate nel Cinquecento e la perdita dei significati. Lo studio presente, che si proponeva di colmare almeno parzialmente un fondamentale tassello del collezionismo cinquecentesco indagando i gusti e le scelte di uno dei principali protagonisti del recupero di antichità in Roma intorno alla metà del 1500, ha permesso quindi una più ampia riflessione sull’interpretazione e il riutilizzo dell’antichità e sulla sua evoluzione nei secoli, aprendo in particolare una finestra sulle dinamiche, le relazioni e i personaggi che dominarono il mercato di antichità nella Roma del 1700.
The collection of ancient statues collected by Ippolito d'Este in his villa in Tivoli suffered a slow depletion during the centuries that followed the cardinal's death. By the end of the eighteenth century, the collection had completely dispersed. For this reason, while a number of studies have been devoted to the description of the villa, its gardens and the numerous fountains, scholars have paid much less attention to the collection of ancient statues.  An article wrote by Ashby at the beginning of the nineteenth century is the only study dedicated exclusively to the collection of ancient statues of the villa that has been published so far. There, the English scholar investigated crucial issues such as the origin, arrangement and dispersion of the statues.  However, Ashby was not aware of a rich documentation concerning the administration of the assets of the Este dukes in Rome and in Tivoli, kept at the State Archives of Modena. Here, we present the transcription and analysis of those unpublished documents. They have been compared to the data obtained from the drawings and descriptions of the villa and its gardens created over the centuries, to reconstruct the history of almost all the sculptures exhibited in the villa, from their introduction in the collection of Hippolytus II at the time of the sale by the Este dukes in the second half of the eighteenth century.  In particular, the mostly unpublished documentation found in the Modena Archive allowed us to identify the characters, epoch and circumstances of the sales of the sculptures, which took place one after another since the middle of the eighteenth century, and which led to the complete dispersion of the collection. In some cases, we managed to pinpoint the current location of the sculptures, by following the antiquarian activity of the characters involved in the sales.  It emerged that all the main characters of the lively Rome antiquarian market of the eighteenth century had a direct or indirect role in the dispersion of the collection. This allowed to draw broader considerations about the dynamics of the antiquities market, about the principles that inspired the practices of conservation and restoration, and in general on the manner in which people living in the 18th century related with antiquity. The study also focused extensively on the relocation and alterations of the outfitting of the sculpture which took place over the centuries. Understanding the context in which the statues were exposed allowed me to highlight the evolution in the use of antiquities.   At the time when Ligorio’s produced its plannings and designs, ancient statues were interpreted, modified and used to formulate new and complex symbolic meanings and mythological tales, in which nature and water play a fundamental role. Over the centuries a tendency towards musealization prevailed, aimed rather at the aesthetic enjoyment and formal appreciation of the single piece, with a preference for enclosed spaces compared to open ones. The relocation of many sculptures from the fountains of the palace gardens led to the disintegration of the symbolic constructions developed in the sixteenth century and the loss of its overall meaning. Originally aimed at filling at least partially a fundamental part of sixteenth-century collecting activities, by investigating the tastes and choices of one of the main characters involved in the recovery of antiquities in Rome around the middle of 1500, this study eventually allowed a broader reflection on the interpretation and the reuse of antiquity and its evolution over the centuries. In particular, it opened a window on the dynamics, relationships and characters that ruled the antiquities market in the Rome of 1700.

Following the collapse of the Soviet regime, the post-communist states of Central and Eastern Europe faced the distinct issue of socialist propaganda permeating the public landscapes. In three unique cases, political elites in Russia, Lithuania, and Hungary established "statue parks" in order to formally display and contain a collection of communist statuary that previously stood in public streets. By doing so, the creators of the parks altered the ideological meaning attached to these monuments and reconstructed historical narratives about the communist past, while also providing an interesting destination for curious tourists. Through an interpretive comparison of these cases based on field research, this paper demonstrates the ability of elites to shape historical narratives in the public realm; while the statues contained in each park are quite similar, the interpretation of them is drastically different in each case. These differences, I argue, are the result of each state's distinct experience under communism and the diverging political goals of post-communist elites. To better understand the complexity of these narratives, I also evaluate the relative influence of state and non-state actors in shaping the statue parks over time. Overall, I find that the broadening of participation in the creation and maintenance of these parks – while demonstrating a democratic opening of the public memory process – may also lead to greater commercialization and trivialization of the past, as economic exigencies lead to tourist-oriented display techniques.
Depuis l'effondrement du régime soviétique, les États postcommunistes d'Europe centrale et d'Europe de l'est sont confrontés à la propagande socialiste imprégnant les paysages publics. Dans trois cas unique, les élites politiques en Russie, en Lituanie et en Hongrie ont créé des parcs statue afin de formellement établir et présenter une collection de statues communistes qui auparavant se retrouvaient dans les rues publiques. Ce faisant, les créateurs des parcs ont altéré le sens idéologique attaché à ces monuments et ont reconstruit les récits historiques sur le passé communiste tout en offrant une destination intéressante pour les touristes curieux. Grâce à une interprétation comparative de ces cas, sur la base de recherches de terrain, cet article démontre la capacité des élites à modeler les récits historiques dans le domaine public. Tandis que les statues contenues dans chaque parc sont assez similaires, l'interprétation est radicalement différente dans chaque cas. Ces différences, selon moi, sont le résultat de l'expérience distincte de chaque État sous le communisme et les objectifs politiques divergentes des élites postcommunistes. Pour mieux comprendre la complexité de ces récits, j'évalue aussi l'influence relative des acteurs étatiques et non étatiques dans l'élaboration des parcs statue au fil du temps. Dans l'ensemble, je trouve que l'élargissement de la participation à la création et l'entretien de ces parcs - tout en démontrant une ouverture démocratique du processus de la mémoire publique - peut aussi conduire à une plus grande commercialisation et la banalisation du passé puisque que les exigences économiques actuelles sont orienter pour attirer le plus grand public touristique possible.

Thesis (Ph. D.)--University of Oregon, 2001.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 277-283). Also available for download via the World Wide Web; free to University of Oregon users.

L’esistenza di statue animate rappresentanti Cristo utilizzate nell’ambito della liturgia pasquale durante il periodo medioevale è oramai una conoscenza assodata e diffusa. In alcune regioni d’Italia, come ad esempio l’Umbria o la Toscana, il gran numero di fonti scritte ha permesso di inquadrare in modo concreto tale fenomeno artistico e popolare. Nel caso della città di Venezia, invece, le fonti non sono così specifiche e, finora, non è stato immediato recuperare la funzione e i contesti dei Crocifissi con le braccia snodabili, la lingua mobile oppure interamente mobili, come nel caso del Cristo conservato ai Ss. Geremia e Lucia. Il presente elaborato vuole essere un primo approccio allo studio della funzione degli esemplari drammatici di bottega veneziana, che testimoniano anche in questa zona la diffusione di sacre rappresentazioni della Passione. Per fare ciò si presenta, in primo luogo, l’evoluzione dell’immagine del Crocifisso nella scultura lignea veneziana (1350-1500), con il relativo catalogo contenente alcuni esemplari inediti che consentiranno di ampliare il panorama e di creare nuove piste di ricerca. La seconda parte dell’elaborato, invece, è dedicata ai crocifissi animati, che una volta introdotti all’interno della produzione locale stilisticamente e cronologicamente, e ove possibile inseriti anche nei contesti per i quali furono creati, saranno le fondamenta per lo studio della dimensione drammatica del triduo pasquale nella città di Venezia.

Unprovenanced and undocumented antiquities play a large roll in the international trade of antiquities, a billion dollar sector of the art market. The removal of these antiquities from their source countries creates many problems for the academic community and the standards put in place to eliminate illegal activity. An analysis of an ancient Roman statue head of Livia was used to demonstrate the usefulness of such an legally acquired undocumented antiquity. A visual analysis was first conducted on the Scripps Livia residing within the Scripps Permanent collection by creating comparisons to other known portraits of Livia. A chemical analysis was then conducted to continue verifying authenticity. With the use of a Scanning Electron Microscope, four samples removed from the sculpture were analyzed for elemental composition. Based on the data gathered from these analyses recommendations for new acquisition policies were created for the purpose of ethically researching and displaying the Scripps Livia.

This thesis analyzes the relationship between public space and government legitimacy through the emergence and transformation of Hong Kong Statue Square. It explains the colonial government’s construction of Statue Square in 1896 as a symbolic place to establish her legitimacy and present her imperial power. The construction of Statue Square also shows the mutually beneficial relationship between the colonial government and the foreign merchants in Hong Kong, especially Sir Catchick Paul Chater, who put great effort into the Praya Reclamation Scheme that made the establishment of Statue Square possible. By demonstrating their loyalty to the Crown through the construction of Statue Square and the erection of royal statues, they acquired economic profits and political power in return. The thesis will also examine the changes in the spatial configuration and functions of Statue Square. Statue Square served as a significant ritual space in colonial Hong Kong. A variety of royal celebration rituals and the commemoration of Remembrance Day were carried out by the colonial government in the square and in front of the Cenotaph erected in 1923. Commoners were rarely invited to participate in these rituals. During Japanese Occupation period, Statue Square was almost devastated by Japanese troops. The Hong Kong government decided not to restore Statue Square in late 1946. It was converted into a car park in the 1950s and to an open public garden in 1964. Statue Square was no longer a symbol of royal legitimacy; it was changed from a royal ritual space into a public space. Many unofficial events were held in the square for public entertainment since the 1960s. Statue Square therefore is an important site for understanding the processes of colonization and decolonization of an urban landscape. It provides an important lens through which we can explore the changing nature of the administration of Hong Kong during the colonial period.

Traversant un ample corpus textuel rédigé en de nombreuses langues, ce travail interroge les rapports peu explorés entre littérature et sculpture, à partir d’un objet, le monument, « fait social total » mêlant enjeux politiques, idéologiques, religieux et esthétiques. Dispositif autoritaire, le monument exerce une efficace pour dominer et transformer celui qui le rencontre. La littérature accompagne, s’approprie, contre au moyen de stratégies d’iconoclasme textuel, dévoie, et renouvelle les actes accomplis par les monuments : glorifier les héros, signifier l’histoire, édifier la société, répondre à la détresse. Dans l’épreuve du réel, le monument se montre pourtant incapable de tenir ces promesses exorbitantes. La littérature l’en délie et l’allège via l’ouverture d’une finitude et d’une compassion. Le monument est réinventé jusqu’à devenir le lieu d’une nouvelle magie ou d’un élan vers le sacré. La littérature rend ainsi un dispositif monosémique à un pluriel des significations
Bringing together a broad corpus of texts written in many different languages, this dissertation explores the intersections between literature and sculpture. The starting point is the monument, an object that stands as a “social total fact”, condensing politics, ideologies, religion and aesthetics. Literature can help monuments to alter their beholders, to glorify heroes, to signify history, to build up and edify society, or to respond to distress. More often, it appropriates, subverts or debunks those acts via strategies of “textual iconoclasm”, proving that monuments cannot withstand the test of reality and fail to keep their promises. Literature aims therefore at renewing monuments, making them lighter by opening them to compassion and finitude. Thus recreated, statues in cities can point the beholders towards the sacred, or accommodate magic. Literature manages so to reinvent a polysemy around devices designed to hold an authority, and that were supposed to reinforce a monosemy

Cette étude traite des changements dans la façon de percevoir la statue, de la statuette au colosse, et des bouleversements dans les fonctions que les anciens leur attribuaient aux IVe et Ve siècles ap. J.-C., une période de mutation religieuse, sociale et politique. La réflexion s'appuie sur les sources archéologiques, littéraires, périodiques et épigraphiques afin de proposer une lecture croisée, mêlant des domaines que les traditions académiques divisent entre histoire et histoire de l'art. Leur analyse permet d'étudier l'approche nouvelle des statues, puis les fonctions de telles images dans la société de la fin de l'Antiquité, et enfin le traitement plastique singulier des images en ronde-bosse à cette époque. Ces images qui ont hanté l'univers des Anciens ont été modelées au contact de la société pour en devenir l'expression. Cette étude des statues permet donc une approche plus large qui touche à la fois les mentalités mais aussi les cadres politiques et religieux d'une société romaine tardive en mutation
The current study concerned the ancients' changing perception of the statue and its associated qualities during the enormous religious, political, and social upheavals of the 4th and 5th century A.D., focusing on the most clearly documented Western part of the Empire, particularly Africa, Italy and Gaul. The study draws on archeological, literary, legal and epigraphic sources more traditionally treated separately as belonging to either history or history of art. This multi disciplinary analysis casts new light on our understanding of statues, and the function of such images at the end of Antiquity as well as the unique plastic use of such images in sculpture in the round of the period. The images, which haunted the universe of the Ancients, were a product of its civilization in order to become the expression of it. This study thus takes an approach which includes social attitudes within the political and religious framework of a late Roman civilization in transition

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
A análise da correspondência entre Hesíodo e Daniel revelou-se, surpreendentemente, profícua, especialmente no que diz respeito ao mito das cinco raças, em Os Trabalhos e os dias, do primeiro, e ao sonho da estátua compósita, no livro que leva o nome do segundo. A analogia revela que, guardadas as devidas proporções em termos de marco social, língua e cultura de uma forma geral, os pontos de contato se dão a partir das fontes comuns, repercutidas na estrutura e no gênero literário. O objetivo desta dissertação é averiguar em que medida Hesíodo teria influenciado o livro de Daniel, tendo em vista ser o poeta grego cerca de seis séculos anterior ao livro do redator judeu. Assim sendo, o trabalho começa com uma análise e tradução do mito grego, seguindo sempre as etapas do método histórico-crítico; em seguida, é feito um estudo acerca da origem e das características do gênero que os aproxima, o apocalíptico; posteriormente, a análise e tradução da perícope de Daniel para, por fim, sumariar a aproximação entre os dois, o que, de certa forma, já acontece ao longo do trabalho.
The analysis of the correspondence between Hesiod and Daniel turn out to be, surprinsingly, proficient, specially with regard to the myth of ages, in the Works and days, belonging to the first, and the dream of compound statue, in the book that has the name of the second. The analogy shows that, retaining the proportions due to each one in terms of setting, language and culture on the whole, the contact points occur from the common sources, having repercutions on the framework and literary gender. The aim of this research is to verify in which measure Hesiod would have influenced the book of Daniel, having in mind that Greek poet lived at about six centuries before the Jewish editor´s book. In this way, the research begins analysing and translating the Greek myth, following always the stages of the historical-critical method. Next, is made a study about the origin and features of the apocalyptic gender that brings the two texts close to each other. Subsequently, the analysis and translation of the extract of Daniel to, finally, summarize the proximity between them, which, anyway, has already been occuring along the research.

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
Nesta dissertação, busca-se investigar todo o processo decisório – sugestões, considerações, imposições e concessões – relativo à implementação dos direitos sociais dos trabalhadores na Constituição Federal, especificamente no que tange ao prazo prescricional qüinqüenal, previsto no inciso XXIX do art. sétimo e à estrutura sindical, como disposta no artigo oitavo. Pretende-se, assim, oferecer uma contribuição que sirva para futuras perspectivas histórico-políticas de interpretação da letra fria do texto constitucional no que tange aos seus artigos sétimo e oitavo. A partir do estudo documental que permite apreender o processo dialético que levou à promulgação do texto final da constituição brasileira, analisar-se-ão as propostas iniciais, os debates que demonstram o embate de forças progressistas e conservadoras e, finalmente, a crítica à concepção final resultante deste longo e rico processo jurídico, histórico e social. Na maior parte dos debates sobre interpretação constitucional, parte-se do texto constitucional. O escopo do presente trabalho é buscar a gênese do direito positivado na CF/88, tomando-se o processo constituinte como marco inicial da pesquisa sobre a sistematização e efetividade dos direitos sociais no Brasil.
In this thesis, we seek to investigate all decision-making process - suggestions, considerations and concessions - on the implementation of worker’s social rights in the Federal Constitution, specifically with respect to the five-year limitation period provided for in Article XXIX of the. 7 and the union structure, as laid out in Article 8. The aim is thus to offer a contribution that will serve for future historical and political perspectives of interpretation of the cold letter of the Constitution in relation to Articles 7 and 8. From the documental study that allows to understand the dialectical process that led to the promulgation of the final text of the Brazilian constitution, shall review the initial proposals, the discussions that demonstrate the clash of forces progressive and conservative and finally, the criticism of the final design that resulted from this long and rich legal, social and historical process. In most debates about constitutional interpretation, we start from the constitutional text. The scope of this paper is to seek the genesis of positive law in CF/88, taking the constitutional process as a landmark for the systematic research on the effectiveness of the social rights in Brazil.

La marionnette, petite Marie d’après son étymologie, figure réduite à l’image de l’homme, être diminutif ou condensé, actrice « dramatico-végétale » selon l’écrivain Carlo Collodi, amuse, effraie ou fascine depuis toujours l’être humain. Nous en trouvons des traces dès l’Antiquité en occident. Telle l’automate Olympia dans L’Homme au sable d’Ernst Hoffmann, qui inspira à Freud le concept d’ « Inquiétante étrangeté », la marionnette fait douter le spectateur : celui-ci ressent une étrange impression à la vue d’un objet sans vie qui paraît animé, un malaise comparable à celui qu’il éprouve en voyant une personne se comporter en « Homme-machine » (La Mettrie).Ce travail propose d’explorer l’existence paradoxale des figures inanimées dans le but d’expliquer comment celles-ci semblent prendre vie, mourir ou ressusciter à l’envi. A quel projet artisanal ou fantasme démiurgique répond la fabrication des créatures artificielles ? Comment l’esprit vient aux objets ? Quelles parts occupent le mouvement impulsé par le manipulateur et les croyances et projections du spectateur dans ce mystérieux phénomène d’animation ? Ce travail qui s’inscrit dans le domaine des études théâtrales traverse d’autres champs disciplinaires, notamment la littérature, la psychanalyse, la philosophie, l’anthropologie et l’histoire
The puppet, or marionnete, - little Marie etymologically –, a human model, in reduction, a diminutive or condensed creature, a « dramatico-vegetable » actor in the eyes of writer Carlo Collodi, has always amused, frightened or fascinated mankind. Traces of puppets are to be found early in western ancient times. In much the same way as the automaton Olympia, in Ernst Hoffmann's The Sand Man, inspired Freud's concept of « disquieting strangeness », (Unheimliche), the puppet creates doubt in the spectator's mind : the latter feels strange when viewing an inanimate object apparently gifted with life, an unease akin to that which one feels if confronted with a human behaving like a ' « Man-machine » (La Mettrie).This work aims at exploring the paradoxical world of inanimate figures in order to explain how those seem to acquire life, lose it or come to life again at will. To what craft project or demiurgic fantasy does the making of artificial creatures answer ? How does the soul come to those objects ? What are the shares of the motions impulsed by the puppet manipulator and the beliefs and projections of the spectators, in that mysterious phenomenon of animation. The present work, although fully belonging to the field of drama studies, crosses others, notably literature, psychoanalysis, philosophy, anthropology and history

L’oggetto della presente ricerca è la serie di imbrattamenti perpetrati sulla statua di Indro Montanelli, sita a Milano, tra il 2012 e il 2020 da parte di vari gruppi e collettivi, tra cui le femministe di Non Una Di Meno e gli studenti appartenenti alla Rete Studenti Milano e Laboratorio Universitario Metropolitano. I loro atti “vandalici” sono interpretati come pratiche di consumo “dal basso” (bottom-up) del e nello spazio pubblico alla luce dei Cultural Studies, che permettono di inquadrarle come attività di consumo di agenti culturali (cioè non passivi rispetto ai discorsi egemonici), implicati nella lotta per i significati e i processi di costruzione identitaria. Verrà discusso come la voce e l’identità dei subalterni, solitamente invisibili o univocamente rappresentati nelle narrazioni dominanti, possa essere resa manifesta dall’affezione di simboli ritenuti importanti per la società in generale, quali statue e monumenti pubblici. Più nello specifico, verrà considerata la particolare situazione della donna subalterna, che sostiene il peso di una “doppia” discriminazione, che è sessista e razzista al contempo. Da questo punto di vista, il paradigma intersezionale evidenzia la coesistenza e “intreccio” di diversi assi di oppressione che possono essere dati da classe, genere, razza, etnia, sesso et cetera, e che costruiscono ulteriori e più profonde posizioni di marginalità. In questo caso, dato che la storia rivendicata dagli imbrattamenti è quella della sposa bambina Destà, comprata da Montanelli durante la campagna d’Africa fascista, la situazione di specifica subalternità e marginalizzazione che si considera è evidenziata dai contributi di Gayatri Spivak e bell hooks. La loro prospettiva di studiose femministe e post-coloniali permette infatti di leggere la doppia violenza esercitata sulla donna non-bianca, da parte della società patriarcale e razzista che ha il potere di plasmare lo spazio pubblico e reiterare attraverso i suoi simboli le narrazioni e i significati dominanti. L’obiettivo della ricerca è far emergere la profonda polisemia che caratterizza tali pratiche, talvolta additate come vandaliche, talvolta rivendicative di storie collaterali e posizioni contro-egemoniche, che rivela diversi gradi di aderenza ai codici egemonici dominanti della società di appartenenza. Per evidenziare la conversazione pubblica attorno agli eventi, ho deciso di analizzare i commenti e le reazioni degli utenti a vari post pubblicati su Facebook, sia da parte degli imbrattatori che dalle istituzioni ufficiali, mettendo così in luce la diversità e la polarizzazione delle opinioni riguardo le pratiche e lo statuto dell’opera pubblica.

Much of the criticism Heidegger has drawn from realism, from postmodernism and even existentialism, as well from the anti-Nazi protests on his philosophy, could be diluted if a defaulted connection was made between Heidegger's metaphysics and the Greeks. Being and Time drafted the blueprint of the origin of predication and world-disclosure from the primordial intuition of the limitations of action in the face of human finitude. This existential reprioritization forced a radical reversal of primacy from nature to culture, having assumed the absolute objectivity of some original world determinacy, the phenomenological structure of which, nevertheless, was never produced in Heidegger’s seminal work or thereafter. Existentialism has thus been downplayed as a counterintuitive, fanciful hypothesis, and will remain so for as long as horizontal temporality has not made itself available to itself as a negated object of perception in the horizon of disclosure. The objectified subjectivity of Dasein’s cultural bias should be demonstrable, if there is indeed a determinant even firmer and “causally prior” to the object of perception in reified nature. And the theory of freedom that is existentialism will remain a “theory” with a private definition of the term, if both the phenomenological structures of the “objectification” of subjectivity have not appeared: first as the objectivity of freedom that is absolute and universal, but no less than as the object that frees made up from nothing other than the absolute and universal objectivity of freedom. Heidegger must have felt this most pressing shortcoming in his metaphysics, because in a later monumental work, The Origin of the Work of Art, he avowed of such an object that is both the programmatic manifesto of freedom, and frees, pointing to the Greek Doric temple. He must have realized that the highest objectification of Dasein’s volatile subjectivity was somehow of “Greek” origin, and as I will argue, in this assumption alone he was right. But his proof was premised therein in an incomplete, trivial and self-contradictory way that left exposed to counter-entrenchment his arguments over both the attribution of the origin of reality, and consequently also its subjective constitution. From this point on, existentialism has remained doggedly problematic, if not inconsequential, in being unconnected to its bloodline, that is, phenomenology, and inasmuch as Heidegger’s incomplete metaphysics has remained unconnected to his miscued art theory. My hermeneutic method seeks this elusive, twofold objectification of subjectivity, in order to justify existentialism by simultaneously making the missing connections between Heidegger and the Greeks, and between Being and Time and The Origin of the Work of Art. The connections I am suggesting are both necessary and possible, provided that Heidegger’s theory of art is modified to grant monumental statuary its due hermeneutic primacy. Heidegger attributed the disclosure of world in truth-as-untruth to poetry and architecture, while Gadamer, who advanced Heidegger’s phenomenology to the currently predominant hermeneutic theory, also gave primacy to poetry and architecture. Their mistake is critical, because, as I will argue, Greek statuary is the patent twofold objectification of Dasein’s existential analytic, it is the convergence point of evidence to infer Heidegger’s missing theory of embodiment, and it is the ultimate origin of Western metaphysics. Current theories of embodiment, including Merleau-Ponty’s phenomenological case from where a missing dialogue has been attempted to derive Heidegger's theory of embodiment, typically confine themselves to Dasein’s ontological and ontic corporeality. I suggest that such theories should have addressed the necessity of the structures of Reason to incarnate themselves as the fundamental ontological prescriptions of perception. To address the necessity of this incarnation in monumental art as a primordial world disclosure, is to explore in this work a previously untapped tripartite hermeneutic conjecture, where theory of art and theory of embodiment are already theories of perception. My hermeneutic hypothesis adheres to, corroborates and advances basic phenomenological principles, to show how Dasein’s embodied structures in the exclusivity of Greek statuary have so far been misunderstood, decontextualized, and begged the question, accordingly as a “mystery” (Hegel), as “godly” (von Humboldt), as a “misunderstanding” (Buschor), or as “Greek naturalism” (art historians). Special attention will be paid to works such as the Laokoön Group, the Ptoan Apollo, the Blond Youth, the Zeus of Artemision and the Gigantomachy. I argue that these cultural fossils provide the most reliable grounds for a thorough commentary to Heidegger’s implied theory of embodiment, because they manifest as the art which relates most intimately to the instrumental modality through which the being-towards-death makes itself phenomenologically available to itself as the negation of the negation to live. Additionally, and in a postmodern world of academic wars that have claimed every aspect of Greek culture as stolen from other great civilizations, such solely uncontested cultural fossils are arguably the unsolicited proof classicists have been unable to produce regarding the exclusively Greek origin of Western metaphysics. The most consequential thrust of this work seeks to revitalize Heidegger’s claim regarding the origin and the chronology of world against competing alternatives such as Christian metaphysics, science’s Big Bang Theory, or the emasculated feminist case regarding the metaphysical primacy of the womb. The ultimate contribution this work aspires to, is the empowering of a presently stalled paradigm shift from the scientific to an existential-phenomenological world view. This shift would be akin to the one which procured with the advent of the Enlightenment between science and religion - a clash still raging in education – where further progress now demands that humanity leaves behind the disguised alienation which Heidegger himself coined as “the dictatorship of science.”

Cette thèse est consacrée au thème de la femme et concerne une période limitée (1894-1900) de l'œuvre narrative de Gabriele d'Annunzio, écrivain italien né en 1863 et mort en 1938. Les trois romans de cette période - Trionfo della morte (1894), Le vergini delle rocce (1895) et H Fuoco (1900) - sont perçus sous l'angle d'une esthétisation culturelle du pathologique, qui devrait mettre en évidence une transition romanesque essentielle entre corps malade et statue. Avant d'aboutir à cette transition, la première partie de notre thèse s'efforce d'en éclaircir les prodromes, oscillant entre histoire et littérature et entre clinique et mythologie. L’histoire des femmes et le romanesque postunitaire, le pamphlet médical, anthropologique et physiologique, la tradition classique et le mythe au tournant du siècle nous ont aidé à mieux saisir une image de la femme plutôt complexe, à l'intérieur de laquelle une statue peut bien prendre le relais d'un corps malade, en s'imposant dans un imaginaire littéraire italien et européen avec une autonomie que la critique n'a pas toujours su suffisamment apprécier et souligner. Certes, notre démarche s'efforce, dès le début, d'encadrer cet objectif particulier, en précisant les idées, les parcours et. Bien sûr, les suggestions théoriques qui, au cours de notre travail, sont devenues des véritables points de référence. Il s'agit, à vrai dire, d'une variété d'approches théoriques ou sont représentés surtout, selon les problématiques évoquées, Gaston Bachelard, Max Milner et Jean Starobinski, mais également Jean-Pierre Richard, Gilbert Durand, les formalistes et les structuralistes.

Il lavoro di ricerca che ho sviluppato in questa tesi di laurea magistrale ha come obiettivo quello di analizzare e confrontare la rappresentazione del corpo umano nell’opera di tre importanti figure del panorama dell’arte contemporanea: Oskar Schlemmer, Giorgio De Chirico e Grisha Bruskin. I primi due artisti sono coevi (nati entrambi nel 1888) e, seppur operando in due aree geografiche e in due contesti diversi, si inseriscono in una riflessione più ampia, caratteristica delle prime decadi del ‘900, di ripensamento della figura umana, attuata, per Schlemmer, attraverso l’utilizzo del costume per le rappresentazioni teatrali e, per De Chirico, con l’inserimento di statue e manichini, soprattutto se si considerano le opere del periodo metafisico. Grisha Bruskin, invece, nasce nel 1945 a Mosca; sia dal punto di vista temporale, sia da quello culturale, dunque è lontano dai due artisti citati in precedenza, ma la rappresentazione che fa del corpo umano all’interno delle sue opere, soprattutto scultoree, ha dei chiari rimandi alla concezione della figura umana che si ritrova in Schlemmer e De Chirico.

This study consists of an analysis of the artwork Conversazioni, by the artist Oliviero Rainaldi. It is a monumental bronze sculpture  situated in Rome, Italy, portraying the pope John Paul II. The initiative for the monument honouring the late pope was taken for the official celebrations of his beatification in 2011. This contemporary artwork is executed in a stylized form with very few details. The study aims to put in evidence the multiple layers of meaning which can be found, in opposition to the visible simplicity of its shape. The major narrative context emerges through an in- depth investigation of possible interpretations. This pope had a well known devotion to the Virgin Mary, a character strongly connected with the concept of mercy, being mercifulness a characteristics of Cristian faith. The artist has expressed this concept by focalizing on the opened cloak of the pope referring to the Virgin of Mercy, a Marian model of medieval origin. Furthermore it is possible to find and interpret other biblical quotations.  The theoretical framework consists in the one built around the art historian Erwin Panofsky’s iconographical three-step method. Referring to Panofsky this study could best be classified as an iconological analysis since  the intrinsic meanings of  rather vague and complicated  symbolisms have been sought. The method has consisted in field studies of the sculpture and its context as well as literature studies in order to create a background for major comprehension of the subject. An interview with the author of the artefact has also been made.  The work became immediately heavily critiziced in mass media both because of its supposedly unflattering shape and the  lack of resemblance with the portrayed person. The debate came to the point where the artist agreed to modify it. The study contains opinions from both people and institutions collected from  italian newspaper articles written after the unveiling of the statue.  An attempt has been done to try to better understand the negative reception it received. The answers can only be suppositions. Nevertheless, some valid hypothesis can be formulated: contemporary artworks easily seem out of context in Rome since they are quite unfrequent; The pope’s statue is out of context twice, being one of its kind in a profane and in modern history anticlerical environment; the iconography is not easily readable for an average beholder, a circumstance that could contribute to the initial low grade of comprehension;  The statue doesn’t live up to people’s expectations of likeness; John Paul II  is not immediately recognizable which is experienced by the viewer as disturbing as it is dealing with an homage to a famous person. It seems though, that the appreciation of it, after overcoming the initial disappointment, generally has grown. A plausible theory is that the sculpture Conversazioni however, manage to visualize universally valid religious concepts such as mercifulness and protection, a welcoming gesture readable and perceptible to everyone.

Actuellement, le concept « idole » a basculé dans la sphère triviale du culte de personnes et renferme, néanmoins, des traces du sens antique du mot. Le terme d’idole met l’accent sur le moment de la vénération et c’est précisément là que réside la difficulté : la combinaison de l’adoration et de la plasticité d'une image va à l’encontre de la théologie de l’Ancien Testament de la vénération unique et sans image de JHWH. Le point de départ de cette étude est le mot grec eidôlon, qui est ancré dans le sujet de l’image des divinités depuis la Septante et qui fait office de terme fixe pour désigner les déités étrangères. Il en ressort qu’il n’existe pas d’expression standard pour une image de culte dans la culture grecque. La comparaison et l’analyse exacte des équivalents hébreux et grecs forment la majeure partie de la thèse. Dans le cas d’eidôlon il n’existe pas d’équivalent standard mais un bon nombre de termes hébreux qui sont tous reproduits par le terme grec dans la LXX. Par ailleurs, le terme eidôlon apparaît dans des textes d’importance cruciale pour la foi israélite (voir sa fréquence dans le deuxième commandement du Décalogue et dans le Chant de Moïse). Il s’agit d’une manœuvre stratégique et théologique des traducteurs, car ce terme renferme tous les éléments majeurs des divinités étrangères. Il existe donc une différenciation claire entre le dieu d’Israël et toutes les autres divinités
The concept “idol” derives from ancient Greek, which is still used today. Nowadays, an Idol designates first and foremost the cult of personality but the traces of the ancient meaning are partly preserved. The term idol focuses on the veneration of foreign deities and their pictorial representations. Therefore, idols contrast with the monotheism and an iconism of the god of Israel. This study elaborates the original meaning of the Greek word eidôlon which becomes the standard expression for divine images since its usage in the Septuagint and afterwards. It seems that there did not exist a major term for cult images in the Greek culture. The comparison and the exact analysis of the Hebrew and Greek equivalents form the major part of the thesis. In the case of eidôlon there does not exist a Hebrew standard equivalent but a variety of Hebrew lexemes which are all translated by the Greek word in the Septuagint. In general, eidôlon appears in important and authoritative texts (Exodus 20: the Second Commandment,Deuteronomy 32: The Song of Moses). Concerning the choice of terminology, eidôlon is astrategic and theological move of the translators because this Greek expression includes allmajor characteristics of foreign deities. A clear distinction between JHWH the god of Israel andall other deities becomes clear

Magister Legum - LLM (Public Law and Jurisprudence)
The Rome Statute gave birth to the International Criminal Court (ICC) on 17 July 1998. Its mandate is to assist the international community in the arduous task of closing the gap of impunity for the most heinous crimes, namely war crimes, crimes of aggression, genocide and crimes against humanity. For the first time in the history of humankind, States accepted the jurisdiction of a permanent international criminal court, for the prosecution of the perpetrators of the most serious crimes committed within their territories or by nationals after the entry into force of the Rome Statute on 1 July 2002. The ICC is an international organization, with distinct legal capacity. It is independent of the United Nations although it does act in close association with it. The ICC is not a substitute for national courts. The Rome Statute provides that it is still very much the duty of the State to exercise its jurisdiction over those responsible for international crimes. The ICC can only intervene as a court of last resort where a State is unwilling or unable to carry out the investigation and prosecute the perpetrators within its own domestic courts and laws. It may only exercise jurisdiction over crimes committed on the territory of a State party or a national of such, the only exception to this is that the United Security Council can use its powers under the UN Charter to refer situations to the Prosecutor of the ICC. The ICC is therefore meant to compliment and support domestic criminal justice; this was reflected even in the drafting stages of the Statute whereby integration of a variety of national perspectives and judicial cultures from different countries was considered in order to ensure that the ICC did not depart from what is considered just within the domestic sphere. It may well be argued that the Rome Statute provides an opportunity to reinvigorate and reform criminal codes which may in the long term globally strengthen the rule of law, peace and security.

L’histoire d’Ellis Island, de l’ouverture de la station d’immigration en 1892 jusqu’à la restauration du site dans les années 1980 après une période d’abandon et d’oubli, reflète les interactions entre les discours sur l’immigration et la construction de l’identité politique et culturelle de la nation américaine. Le musée de l’immigration qui a ouvert sur l’île en 1990, dans le bâtiment même où sont passés douze millions d’immigrants entre 1892 et le milieu des années 1920, est devenu le lieu de mémoire de l’immigration américaine. En partant du postulat que les sociétés construisent leur représentation du passé et leur mémoire collective pour répondre à leurs besoins dans le présent, cette thèse entend montrer comment et à quelles fins la nation américaine a choisi de mettre en avant, à un moment donné, certains éléments de son histoire pour s’affirmer « nation of immigrants ». La création du musée d’Ellis Island, qui a consacré l’immigration et l’ethnicité comme composantes essentielles de l’identité américaine, était en effet aussi un choix de mémoire de l’Etat fédéral, témoignant d’une manière d’interpréter et de représenter l’Histoire
The story of Ellis Island, from the opening of the immigration station in 1892 to the restoration of the site in the 1980s after a period of neglect and oblivion, reflects the interactions between discourses on immigration and the building of the political and cultural identity of the American nation. The immigration museum that opened on the island in 1990, in the building where twelve million immigrants were processed between 1892 and the mid-1920s, has become the site of memory of American immigration. Starting from the postulate that societies build their representation of the past and their collective memory to meet their demands in the present, this thesis aims at showing how and for what purposes the American nation chose to put forward, at a certain time, selected pieces of its history to assert itself “ nation of immigrants”. The setting-up of the Ellis Island museum, which affirmed immigration and ethnicity as essential components of the American identity, was indeed also a choice of memory by the Federal government, testifying to a way of interpreting and representing History

The topic of violence in Late Antiquity is a heavily debated subject and many scholars have focused on this issue, as evidenced by the many studies published within the last ten years. The perception of Late Antiquity as a period of widespread religious violence is mainly influenced by Christian literary sources, who document accounts of violence against temples, statuary, and people alike. Egypt, in particular, has often been used as an example to demonstrate the destructive nature of religious violence that existed in the ancient world. However, the concept of religious violence is a complicated and nuanced topic. In Egypt, the many accounts by the Christian sources were written with specific intentions and the events documented in the texts were often exaggerated. The objective of this thesis is to provide a study of statue destruction by Christians between the fourth to seventh centuries CE in Egypt, and determine whether these destructions were acts of religious violence or were carried out for another reason in order to provide a more nuanced understanding of violence in Late Antiquity. By juxtaposing accounts from literary sources and archaeological evidence, the study seeks to determine whether the literary sources are accurate in their documentation of widespread statue destruction, or whether the violent discourse present in the literary sources is the result of Christian polemical purposes.

Devenu soudainement roi de France en 1498, Louis XII entreprend de reconstruire le château familial de Blois. L'aile Louis XII du château royal présente un programme iconographique sculpté exceptionnel réalisé de 1498 à 1503 environ, qui comporte plus de deux cents culots, gargouilles, masques grotesques, rosaces, monogrammes et emblèmes, entourant la figure équestre du roi et le décor de l'escalier. Les sources manuscrites relatives à la réalisation du décor sculpté ayant disparu presque en totalité, le parti pris a été de considérer dans la première partie les événements qui, du cadre historique aux restaurations des XIXe et XXe siècles, ont forgé l’identité actuelle du château. L'étude iconographique est abordée en seconde partie, incluant le décor sculpté du château de Blois, les enjeux ignorés du décor du grand escalier et de la voûte en relation avec la figure équestre, l'emblématique royale de Louis XII. La troisième partie permet d’insérer le décor sculpté dans le contexte de création de la sculpture dans les chantiers et ateliers de 1450 à 1520. De la seconde moitié du XVe siècle à 1520
As soon as he become king of France in 1498, Louis XII undertake to rebuild the family castle of Blois. The Louis XII wing of the royal castle of Blois shows an exceptional iconographic and carved program done from 1498 to about 1503, which consists of more than two hundred culots, gargoyles, grotesques, masks, medallions, monograms, and emblems, surrounding the equestrian statue of the king and the staircase. As the manuscript archives relating to the carvings have almost completely disappeared, the objective has been to consider firstly the historical events up until the restorations of the 19th and 20th century that have contribued to the current identity of the château. An iconographic study is approached in the second part, including the sculpted decoration of the château, the relationship between the decoration of the grand staircase and the vault with the equestrian statue. The third part relate to the role of the carved decoration within the artistic context of buiding sites and workshops between 1450 to 1520

This thesis analyzes and demonstrates the similarities and differences between some of the national symbols of France and the United States. This includes the shared and borrowed aspects of each one and the ways in which each culture is reflected through, and built around them. The flags, national anthems, and several national icons such as France's Marianne and Uncle Sam are discussed. This analysis deals with the historical contexts and cultural meanings of the symbols, showing the changes each has undertaken in form and in national and international importance. Through the study of national symbols, this thesis reveals the similarities along with the differences between the two nations, which are often perceived as being highly dissimilar and even opposing in belief systems, cultures, and histories.