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1
Petit, Aimé. "L'anachronisme dans les romans antiques du XIIe siècle : le "Roman de Thèbes", le "Roman d'Énéas", le "Roman de Troie", le "Roman d'Alexandre /". Paris : H. Champion, 2002. http://catalogue.bnf.fr/ark:/12148/cb388862146.
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2
Santalucia, Stefania <1974>. "La nuit dans les romans des Lumières Du roman libertin au roman gothique". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2012. http://amsdottorato.unibo.it/5031/1/Santalucia_Stefania_Tesi.pdf.
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Cette thèse se propose d’analyser les images de la nuit et ses significations dans les romans du XVIII siècle, à partir des années 1730-1740, dans le cadre de trois littératures: la littérature anglaise, française et italienne. Deux conceptions opposées sont mises en comparaison: la première, d’exorcisation de la nuit, est typique de la première partie du siècle; elle est représentée principalement par le genre des romans libertins. La deuxième conception montre une valorisation de la nuit qu’on trouve en particulier dans les romans gothiques, qui se sont développés à partir de la seconde partie du siècle. Le but final de la présente recherche est de trouver une explication au refus de la nuit de la part de certains auteurs et ensuite de repérer les causes du bouleversement de cette vision. Puisque la nuit empêche le sens de la vue, elle a été considérée une forme de négation de l’espace physique; selon le profil psychologique et anthropologique la nuit constituerait alors la cause principale de la perte d’orientation. Selon une interprétation intellectuelle et philosophique, elle serait un symbole d’ignorance et d’irrationalité. La situation change vers la moitié du siècle des Lumières, car la nuit commence à assumer un rôle actif et nécessaire dans le processus d’apprentissage. Au niveau social, les rencontres les plus importantes adviennent pendant la nuit. Dans le revival des cathédrales gothiques et des châteaux médiévaux, on voit que la nuit s’empare désormais de l’espace, qui s’enrichit de lumières et d’ombres.This thesis has the purpose to analyze the images of the night and its meanings in the novels of the 18th century, from 1730-1740, in the ambit of three literatures: the English, the French and the Italian literature. Two opposite conceptions are compared: the first, to exorcise the night, is typical in the first half of the century and it is represented mainly by libertine novels. The second shows a valorisation of the night that can be found above all in the gothic novels that belong to the second part of the century. The final objective of the following research is to find an explanation to the rejection of the night by some authors and therefore to retrieve the causes of the change of vision. Since the night impedes sight, it has been considered a negation of space; according to the psychological and anthropological profile night would then be the main cause of the loss of orientation. Finally, according to an intellectual interpretation, it would be a sign of ignorance. The situation changes when the night starts to assume an active and necessary role in the learning process. In the literary fiction, the most important encounters happen at night. In the revival of the gothic cathedrals and the medieval castles, it is evident how the night takes possession of the space that is enriched with lights and shades.
3
Santalucia, Stefania <1974>. "La nuit dans les romans des Lumières Du roman libertin au roman gothique". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2012. http://amsdottorato.unibo.it/5031/.
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Cette thèse se propose d’analyser les images de la nuit et ses significations dans les romans du XVIII siècle, à partir des années 1730-1740, dans le cadre de trois littératures: la littérature anglaise, française et italienne. Deux conceptions opposées sont mises en comparaison: la première, d’exorcisation de la nuit, est typique de la première partie du siècle; elle est représentée principalement par le genre des romans libertins. La deuxième conception montre une valorisation de la nuit qu’on trouve en particulier dans les romans gothiques, qui se sont développés à partir de la seconde partie du siècle. Le but final de la présente recherche est de trouver une explication au refus de la nuit de la part de certains auteurs et ensuite de repérer les causes du bouleversement de cette vision. Puisque la nuit empêche le sens de la vue, elle a été considérée une forme de négation de l’espace physique; selon le profil psychologique et anthropologique la nuit constituerait alors la cause principale de la perte d’orientation. Selon une interprétation intellectuelle et philosophique, elle serait un symbole d’ignorance et d’irrationalité. La situation change vers la moitié du siècle des Lumières, car la nuit commence à assumer un rôle actif et nécessaire dans le processus d’apprentissage. Au niveau social, les rencontres les plus importantes adviennent pendant la nuit. Dans le revival des cathédrales gothiques et des châteaux médiévaux, on voit que la nuit s’empare désormais de l’espace, qui s’enrichit de lumières et d’ombres.This thesis has the purpose to analyze the images of the night and its meanings in the novels of the 18th century, from 1730-1740, in the ambit of three literatures: the English, the French and the Italian literature. Two opposite conceptions are compared: the first, to exorcise the night, is typical in the first half of the century and it is represented mainly by libertine novels. The second shows a valorisation of the night that can be found above all in the gothic novels that belong to the second part of the century. The final objective of the following research is to find an explanation to the rejection of the night by some authors and therefore to retrieve the causes of the change of vision. Since the night impedes sight, it has been considered a negation of space; according to the psychological and anthropological profile night would then be the main cause of the loss of orientation. Finally, according to an intellectual interpretation, it would be a sign of ignorance. The situation changes when the night starts to assume an active and necessary role in the learning process. In the literary fiction, the most important encounters happen at night. In the revival of the gothic cathedrals and the medieval castles, it is evident how the night takes possession of the space that is enriched with lights and shades.
4
Grau, Donatien. "Le roman romain : généalogie d'un genre français". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040069.
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Cette thèse a pour but d’étudier l’émergence et le développement dans la littérature française d’un genre nouveau, du début du XIXe jusqu’à la fin du XXe siècle : le roman romain à sujet contemporain. N’évoquant pas la stabilité de la Ville antique, de ses ruines et de ses monuments, mais le paysage urbain et humain en mouvement de l’époque, il rompt avec la tradition du Grand Tour, qui était implicitement fondée sur la notion qu’aucune fiction ne pouvait être inventée dans le présent éternel de Rome, puisque la perception qu’on en pouvait nourrir était si profondément ancrée dans le passé. En faisant usage du roman, les écrivains étaient confrontés simultanément à la modernité du médium et à la modernisation urbaine et politique de la Ville, alors qu’ils avaient toujours à l’esprit le signe de Rome – le mythe de la Ville Éternelle. Les romans situés dans la Rome contemporaine fournissaient à leurs auteurs la possibilité de traiter des questions les plus fondamentales de l’éthique et de l’esthétique dela fiction : le rôle de la croyance dans la civilisation moderne – en terme de religion et de son contrepoint, la fiction littéraire ; le rôle du passé dans la construction de la modernité ; l’importance du présent dans l’expérience du passé ; la signification des Anciens à l’époque des Modernes. Analyser les formes du roman français à sujet romain contemporain signifie plus encore que de se confronter au portrait d’une ville : c’est une étude de la pertinence des paradigmes occidentauxThis thesis aims to address the emergence and the development in French literature of a whole new genre, from the beginning of the 19th until the end of the 20th century: the contemporaneous Roman-themed novel. Dealing not with the stability of the Ancient City, its ruins and its monuments, but with the shifting urban and human landscape of the time, it disrupts the tradition of the Grand Tour, which was implicitly based on the notion that no fiction could be invented in the eternal present of Rome, since the perception one could have there was so deeply rooted in the past. By using the novel, writers were simultaneously confronted to the modernity of the medium and to the urban and political modernisation of the city, while the sign of Rome – the myth of the Eternal City – was always present in their mind. Novels set in contemporaneous Rome provided their authors with the possibility to engage with the most crucial issues inherent to the aesthetics and ethics of fiction: the role of belief in modern cultures – in terms of religion and its counterpart, literary fiction; the role of the past in the construction of modernity; the importance of the present in the experience of the past; the meaning of the Ancients at the time of the Moderns. Analysing the forms of the French contemporaneous Roman-themed novel signifies even more than engaging with the portrait of a city: it is a study in the relevance of Western paradigms
5
Gontero, Valérie. "Parures d'or et de gemmes, l'orfèvrerie dans les romans antiques du 12e siècle : Roman de Thèbes, Roman d'Eneas, Roman de Troie de Benoit de Sainte-Maure, Roman d'Alexandre d'Alexandre de Paris". Aix-Marseille 1, 2000. http://www.theses.fr/2000AIX10076.
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Cette thèse, dont le sujet est l'étude de l'orfèvrerie dans les romans antiques du XIIe siècle (le Roman de Thèbes, le Roman d'Enéas, le Roman de Troie de Benoît de Sainte-Maure et le Roman d'Alexandre de Paris) est composé de trois parties, suivies de quatre index, de trois annexes (occurrences du terme pierres dans les romans antiques ; occurences des gemmes dans les romans antiques ; tableau comparatif des gemmes à partir du "de lapibibus" de Marbode et de lapidaires médiévaux) et d'une bibliographie. La première partie considère l'orfèvrerie sous l'angle du miroir du prince : les vêtements et les armes contribuent au portrait des personnages (Ch. I) ; le décor est à l'image du prince (Ch. II) ; la circulation des présents fait l'apologie de la largesse, vertu cardinale (Ch. III). La deuxième partie aborde le savoir encyclopédique véhiculé par l'orfèvrerie : les ekphrasis décrites s'apparentent à des encyclopédies en images (Ch. I) ; les monstres et les gemmes dérivent, selon des modalités variées, des bestiaires et des lapidaires (Ch. II et III). La troisième partie est consacrée à la dimension poétique de l'orfèvrerie. Partie intégrante de la "translatio studii et imperi". La traduction des textes latins donne naissance à des oeuvres novatrices (Ch. I). Les descriptions d'orfèvrerie dessinent en filigrane un art poétique (Ch. II). Au travers des multiples figures de l'artiste qui jalonnent ces romans transparait celle du poète, orfèvre et artisant des mots (Ch. III). Rédigés dans l'orbe de l'espace Plantagenet, les romans antiques illustrent des aspects nouveaux de "la translatio", et participent à la renaissance du XIIe siècle.
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Antiqueira, Moisés. "O império romano de Aurélio Vítor". Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-28022013-122341/.
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Um estudo historiográfico das Historiae abbreuiatae de Aurélio Vítor. Nisto consiste o presente trabalho, que procura determinar de que modo o referido historiador, no ocaso do reinado de Constâncio II, compôs uma narrativa dedicada à história do Império romano em sua totalidade. Para tanto, em primeiro lugar buscamos definir a natureza da obra. Em que pese os nítidos elementos biográficos que a integram, assim como a brevidade do texto, a obra de Aurélio Vítor deve ser pensada enquanto uma história, na medida em que o objetivo do autor se voltava para a exposição das causas que teriam condicionado o curso dos acontecimentos, da batalha de Ácio até o penúltimo ano do governo de Constâncio II. Desta forma, em um segundo momento, analisamos as estratégias de periodização e as concepções que Aurélio Vítor adotou a fim de contemplar a história imperial. As ações e o caráter moral dos sucessivos imperadores emergem nas Historiae abbreuiatae como o motor a partir do qual se movimentava a história da era imperial romana. Isto implicava, pois, o reconhecimento das oscilações que o mundo romano teria vivenciado ao longo de quase quatro séculos e as contradições que animavam a conduta das personagens históricas. Do que resultava, igualmente, na impossibilidade de se identificar um modelo ideal de imperador, em razão dos fatores e das circunstâncias distintas que marcariam o desenrolar da história do Império romano, como narrada por Aurélio Vítor.A historiographical study of Aurelius Victors Historiae abbreuiatae. That is what defines the present work, which tries to ascertain how the aforementioned historian settled up a narrative about the history of the Roman Empire in the twilight of the reign of Constantius II. Therefore, we discuss at first the nature of the work. Despite the clear biographical trend we can observe in the text, as well as the brevity that characterizes it, the work of Aurelius Victor should be seen as a historical narrative since the author aimed to expose both the causes and the course of Roman imperial history, from the Battle of Actium to the last but one year of Constantius IIs reign. Thereupon we examine the strategies of periodization and the perspectives defined by Aurelius Victor in order to compose his text. In the Historiae abbreuiatae, the conduct showed by the emperors and their moral character represented the driving force of the narrative. That led the author to emphasize the ups and downs of Roman past in almost four hundred years of history. In this sense, Aurelius Victor did not lose track of some contradictions that encourage historical figures into action. That resulted in Aurelius Victors failure to identify an idealized model of Roman emperor due to distinct elements and circunstances that he himself pointed out in the course of the history of the Roman Empire.
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Khaknegar, Moghadam Nahal. "La représentation de l'immigration dans le roman contemporain (roman occidental-roman iranien)". Montpellier 3, 2009. http://www.theses.fr/2009MON30019.
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Source de débats, parfois de querelles, d’inquiétudes et, surtout, d’un important renouvellement thématique et stylistique, la question de l’immigration a marqué la fin du XXe siècle, tant dans la littérature française que dans celle des autres cultures. Jusqu’à l’époque actuelle, les œuvres de l’immigration et de l’exil ont souvent été influencées par l’expérience de leurs auteurs. Elles évoquaient le souvenir douloureux d’une perte et d’un vertige identitaire, mais aussi l’engagement d’un auteur qui a adopté une nouvelle langue. Aujourd’hui, une nouvelle génération d’écrivains semble avoir pris le relais. Trois œuvres à l’appui, Voyage des bouteilles vides de K. Abdolah, Les belles choses que porte le ciel de D. Mengestu et Chicago d’A. El Aswany, nous avons constaté que la littérature contemporaine de l’immigration a évolué, et ce surtout en redéfinissant l’identité du personnage immigré. L’individualisme est valorisé au détriment du sentiment d’appartenance culturelle. L’immigré est désormais un être cosmopolite qui se situe à la croisée de différentes cultures tout en poursuivant son parcours personnel d’intégration. Le roman iranien d’immigration, libéré de ses contraintes politiques et sociales, offre une vision originale vis-à-vis des autres littératures. Grâce à sa rencontre avec d’autres sphères de culture, il s’engage à mieux comprendre « l’homme », et plus particulièrement « l’Iranien »Source of debate, sometimes disputes, causes for concern and above all, for important thematic and stylistic revival, the issue of immigration marked the end of twentieth century, both in the French literature and other cultures. Up to current time, the works of immigration and exile has been usually influenced by experience of their authors. They were incarnating not only the painful memory of a loss and identity crisis, but also engagement of an author who has adopted a new language. Nowadays, a new generation of writers seems to follow the same path. By means of three works, Journey of empty bottles of K. Abdolah, The beautiful things that heaven bears of D. Mengestu and Chicago of A. El Aswany, we have noticed that the contemporary literature of immigration has been reformed, especially by redefining of immigrant character’s identity. The individualism has been enhanced to the detriment of cultural belonging. The immigrant is now a cosmopolitan person who is placed at the crossroads of several cultures, while following his personal path of integration. The Iranian immigration novel, released from its political and social pressures, presents an original vision towards other literatures. Thanks to its meeting with different cultures, a better understanding of "human being" and particularly of the "Iranian" is incorporated in it
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Climaco, Joana Campos. "Cultura e poder na Alexandria romana". Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-05082008-122828/.
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O objetivo da presente dissertação é investigar um conjunto de pequenos fragmentos de papiros alexandrinos nomeado Acta Alexandrinorum. Os escritos narram episódios referentes à Alexandria nos dois primeiros séculos de Império Romano. Foram, no entanto, encontrados em diferentes locais do Egito, fato que sugere uma moderada circulação dos escritos na região. A hipótese é que um estruturado e coeso grupo de cidadãos alexandrinos do Ginásio, de ascendência grega e origem nobre, utilizaram-se dos escritos para manifestar suas insatisfações ao poder imperial. Pretendiam, com os relatos, criar um clima de resistência aos romanos e, ao mesmo tempo, exaltar a importância de Alexandria naquele universo, delimitando também uma identidade alexandrina restrita aos seus elementos de maior distinção. E mais: desejavam marcar a indignação quanto aos vizinhos judeus, que estariam ameaçando alguns direitos antes restritos ao grupo. Através dos textos, pode-se analisar como a romanização foi recebida e entendida pelos alexandrinos. Além disso, a documentação lança luz sobre elementos diversos da vida cívica e social da cidade e nos permite avaliar a sua importância no contexto imperial.The aim of this dissertation is to investigate a group of small Alexandrian fragments of papyrus named Acta Alexandrinorum. The texts narrate episodes concerning Alexandria in the two first centuries of Roman Empire. But they were found in different places of Egypt, fact that suggests a moderate circulation of the writings in the region. The hypothesis is that a structured and limited group of Alexandrian citizens from the gymnasium, of Greek ascendance and noble birth, would use the writings to express their feelings of dissatisfaction to the Imperial power. They intended, with the accounts, to create an atmosphere of resistance to the Romans, and at the same time, to exalt the importance of Alexandria in that universe and also, to delimit an Alexandrian identity that should be restricted to their elements of higher distinction. Besides that, they also longed to emphasize the indignation to their Jewish neighbors, which were 8 threatening some rights that were before limited to their group. Through the texts, we can analyze how Romanization was received and understood by the Alexandrians. Besides that, the documents illustrate several elements of the civic and social life of the city and help to evaluate its importance in the imperial context.
9
Ilboudo, Pierre Claver. "Nouveau roman et roman africain d'expression francaise". Cergy-Pontoise, 1995. http://www.theses.fr/1995CERG0003.
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Comme l'indique son titre, la these a pour but de comparer le nouveau roman francais et le roman africain d'expression francaise. Dans l'introduction, il est souligne le caractere malaise de l'etude, malaise qui est du essentiellement au fait que pratiquement tous les romanciers dont les oeuvres sont etudiees vivent et ecrivent toujours. Le sujet est traite en quatre parties. La premiere partie est une presentation d'ensemble du nouveau roman francais. Entre autres, il y est question des principales idees des nouveaux romanciers sur l'evolution du roman moderne, sur la technique narrative et sur les formes du recit. La deuxieme partie porte sur une vue globale du roman africain. Les principaux points examines concernent la naissance et l'evolution du roman africain. Dans cette partie il est egalement question des difficultes et des risques lies a la creation romanesque en afrique. La troisieme partie concerne les points de similitude qui existent entre les deux phenomenes romanesques. Il s'agit essentiellement de la langue. Et la quatrieme partie concerne les points de divergence que l'on peut constater entre les deux types de romans. Ces points ont surtout trait a la question de l'engagement, aurole du romancier et au role du lecteur. Pour conclure, l'auteur souligne le fait que le roman francais et le roman africain divergent sur des aspects fondamentaux tout en presentant quelques aspects semblables dans la forme.
10
Hormière, Jean. "Roman d'apprentissage, apprentissage du roman Adrien Zograffi". Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37598347g.
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Aoula, Drissia. "Techniques narratives comparées : (Nouveau roman - roman maghrébin)". Paris 13, 1989. http://www.theses.fr/1989PA131008.
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En comparant le roman maghrebin de langue francaise au nouveau roman, nous nous sommes constamment reportee aux textes theoriques des nouveaux romanciers pour etudier quelques techniques narratives dans nedjma de kateb yacine et dans le demantelement de rachid boudjedra. L'evolution du genre romanesque au 20e siecle et la situation sociale et politique marquee par le malaise qui a predomine en france et au maghreb ont rendu possible ce contact. L'utilisation du francais par les ecrivains maghrebins leur a permis de faire l'economie de tatonnements et de s'approprier une forme romanesque deja evoluee. C'est ainsi que nous avons privilegie trois aspects: "le livre comme objet", a savoir l'auto-reference et la presentation materielle du livre, l'enlisement du recit par la description, la repetition et le transit, et enfin la desctruction du recit par la presentation du personnage et par le fonctionnement du temps et de l'espace. L'etude de ces aspects a laisse voir des similitudes et des differences car si les auteurs maghrebins de langue francaise veulent rendre compte du reel, les nouveaux romanciers, eux, se limitent a "l'aventure de l'ecriture"When setting up a comparison between the maghreban novel in the french langage and the nouveau roman, we have constantly drawn upon the theoretical works of the "nouveaux romanciers" so as to study some of the narrative techniques adopted by kateb yacine in nedjma and rachid boudjedra in le demantelement. The evolution that the novel has undergone in the 20th century and the social and political situation spotted by the malaise which predominated france and the maghreb have made this bridging possible. Maghreban writer's use of french as a medium has not only heped them avoid the timeconsuming effort of experimentation but also acquiere an alreaudy-established literary genre. Hence, we have fore-grounded 3 aspects: "the book as a object", that is the self-referential nature and the formal aspect of the book, the distracting effect on the narrative of description, repetition and transformation, and finally the regular interruption of the narrative by the rhetorical aspect of character portrayal, and of time and space. The study of these aspects has show similarities and differences, for if the maghreban writers of french expression want to depict the real, the "nouveaux romanciers" confine them selves to the "adventure of wrinting"
12
Hormière, Jean. "Roman d'apprentissage, apprentissage du roman : adrien zograffi". Toulouse 2, 1986. http://www.theses.fr/1986TOU20066.
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Versluys, Miguel John. "Aegyptiaca romana : Nilotic scenes and the Roman views of Egypt /". Leiden : Brill, 2002. http://catalogue.bnf.fr/ark:/12148/cb389468502.
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Gendrel, Bernard. "Le roman de moeurs en France (1820-1855) : du roman historique au roman réaliste". Thesis, Tours, 2010. http://www.theses.fr/2010TOUR2015.
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Après avoir distingué trois aspects explicatifs propres au roman (aspects psychologique, social ou romanesque) et défini, grâce à eux, trois types de romans (romans de caractères, de mœurs ou d’intrigue), ce travail s’intéresse plus particulièrement au roman de mœurs à l’époque de la Restauration et de la Monarchie de Juillet. Héritant de toute une tradition, ce genre s’illustre particulièrement dans le roman historique à la Walter Scott, puis dans le roman contemporain des physiologies. Balzac, d’abord influencé par le roman de mœurs en tant que tel, développe dans La Comédie humaine une forme hybride (mêlant aspects social et psychologique, roman de caractères et roman de mœurs), que l’on peut appeler roman réaliste (on y note un surinvestissement du vraisemblable romanesque). Cette définition du réalisme n’aplanit en rien les différences entre tel ou tel auteur ; elle permet, au contraire, de prendre la mesure des poétiques bien particulières développées par des romanciers comme Stendhal, George Sand ou ChampfleuryAfter having distinguished three explicative aspects of the novel (the psychological, social and plot-driven aspects) and defined three corresponding types of novels (novels of characters, manners and plot), this work focuses on the novel of manners during the Bourbon Restoration and the July Monarchy. Heir to quite an old tradition, this genre is at its peak with the Scottian historical novel and the novel of contemporary manners of the 1820’s. Balzac, first influenced by the novel of manners, develops in The Human Comedy a hybrid form (combining social and psychological aspects, novel of characters and novel of manners), which we may call the realistic novel (characterized by an overloading of verisimilitude). This definition of realism does not erase the differences between the authors; it allows, on the contrary, to appreciate the specific poetics developed by Stendhal, George Sand or Champfleury
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Kramer, Jessica Colleen. "The Roman Riders: Ethnicity and Iconography on Roman Cavalrymen Tombstones". BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4343.
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The funerary grave stelae of the Roman cavalrymen are large, impressive monuments set apart from their military counterparts by the ornate relief carvings which they exhibit. The two most common motifs featured on these tombstones are the rider relief motifs and the totenmahl motifs. Aspects of both the reliefs and the inscribed epitaphs are distinctly characteristic of the Roman military. Throughout the history of the Roman Empire, men in the auxiliary cavalry units were recruited from non-Roman allied tribes. These recruits brought with them foreign languages, customs, and beliefs. Through a comparative study of Roman cavalry tombstones found in Great Britain, Germany, and Syria, I have attempted to identify iconographic and epigraphic elements that are evidence of the ethnic origins of the cavalrymen who are commemorated on these funerary monuments.
16
Sanin, A. "Roman Abramovich". Thesis, Sumy State University, 2015. http://essuir.sumdu.edu.ua/handle/123456789/40446.
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Corriveau, Hugues. "Perquisition (Roman)". Thèse, Université de Sherbrooke, 1987. http://hdl.handle.net/11143/10360.
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Concevoir que là, au texte de la fiction, cette autonomie définitive de langage, se soit mis en jeu tout un appareil de fantasmes. Voir dans Perquisition un désir de plaisir celui plus particulier d'une structure. Au départ, une intention présomptueuse, soit celle de chercher à jouer dans le temps infime qui sépare "l'intention d'un acte" de son "accomplissement". Les exigences de toute écriture romanesque ont, ici aussi, joué de telle sorte que cette "idée" de départ s'est infiniment développée, jusqu'à donner un texte foisonnant, morcelé, "obsessionnel", qui joue autour de la notion de "conscience d'être amoureux ou amoureuse", qui circule dans les pulsions propres à tout rapport de passion. Roman d'amour peut-être, peut-être bien roman policier autour d'un cadavre, mais roman d'une écriture aussi, roman retourné qui cherche à savoir, à décaper ce que peut être le "pouvoir" d'un être sur d'autres êtres "passionnés", ce que cache tout désir de vengeance quand on met à contribution la séduction, sorte d'envoûtement secondaire. Roman de et sur la perversion, car tous les êtres imaginés ici sont "déviants", à divers degrés. Cet aspect du roman reste à mes yeux le plus essentiel car non seulement cette "déviance" peut-elle permettre de caractériser chacun et chacune des protagonistes, mais explique-t-elle à la lettre et parfaitement le rôle-obligé du lecteur ou de la lectrice qui, au fil de la narration, dévie constamment "en dehors", côté", dans une évidente impossibilité de prendre ce roman du point de vue de la linéarité. à travers les dédales d'une histoire qui met en scène une femme en "prises amoureuses" avec deux hommes, le roman passe constamment par un système très serré de réseaux textuels. Chaque réseau sert à "structurer" cette fiction comme autant de pièces définies qui m'ont permis de prendre plaisir au texte. Comme s'il s'agissait là de faire de cette même structure une part active de la fiction.
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Marceau, Claude. "Explosions : roman". Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1989. http://theses.uqac.ca.
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Thèse (M.A.)--Université du Québec à Trois-Rivières, 1989.Ce mémoire a été réalisé à l'Université du Québec à Chicoutimi dans le cadre du programme de maîtrise en études littéraires de l'Université du Québec à Trois-Rivières extensionné à l'Université du Québec à Chicoutimi. CaQCU Document électronique également accessible en format PDF. CaQCU
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Ellis, Bret Easton Kalka Joachim. "Glamorama Roman". Köln Kiepenheuer & Witsch, 2010. http://deposit.d-nb.de/cgi-bin/dokserv?id=3379087&prov=M&dok_var=1&dok_ext=htm.
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Climaco, Joana Campos. "A Alexandria dos antigos: entre a polêmica e o encantamento". Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-29072013-105942/.
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Além de Roma, nenhuma cidade no Alto Império Romano foi mais analisada, caracterizada e criticada a partir de perspectivas externas do que Alexandria no Egito. As imagens produzidas pela literatura ajudaram a elaborar a representação da cidade que a historiografia contemporânea perpetuou: uma cidade enorme, linda, rica, turbulenta e polêmica. O objetivo desta tese de doutorado é discutir as diversas representações sobre Alexandria, reforçadas e divulgadas por autores antigos entre o século I a.C. e III d.C.. Acreditamos que tais representações, associadas à grandeza e prosperidade de Alexandria que a assemelhavam à capital do Império, ilustram uma percepção da cidade como um espelho de Roma e, também, uma ameaça à sua hegemonia. Todas as ênfases nas qualidades e realizações de Alexandria por um lado, e nos seus problemas e tendência à rebelião, por outro, não eram inocentes e são indicativas de uma mentalidade que vislumbrava a cidade como um local que demandava a atenção contínua por parte dos representantes do poder romano. A intenção desta pesquisa é analisar os motivos que geraram essa dualidade nas narrativas, por meio do mapeamento das temáticas e contextos mais tratados pela tradição clássica.Apart from Rome, no city in the early Roman Empire was more analyzed, characterized and criticized by external perspectives than Alexandria in Egypt. The images produced by the literature helped create the representation of the city that the contemporary historiography has perpetuated: an enormous, beautiful, rich, turbulent and polemic city. The aim of this doctorate thesis is to discuss the several representations about Alexandria reinforced and divulged by ancient authors between the first century BC and third century AD. We believe that theses representations associated to Alexandrias greatness and prosperity that made it similar to the capital of the Empire illustrate a perception of the city as a mirror to Rome and a threat to its hegemony. All the emphasis on Alexandrias qualities and achievements on the one hand, and on its problems and rebellious tendency on the other, were not innocent, and indicate a mentality that understood the city as a place that demanded continuous attention by the representatives of Roman power. The objective of this research is to analyze the reasons that led to this duality in the narratives by means of listing the themes and contexts mostly dealt with by the classical tradition.
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Ripat, Pauline Laura. "Prophecy and policy in Roman Egypt /". Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11483.
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Hoselitz, Virginia. "Imagining Roman Britain : Victorian responses to a Roman past". Thesis, University of Bristol, 2002. http://hdl.handle.net/1983/0c80f732-5981-4952-b3df-f06523719c05.
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Hotte, Lucie. "L'inscription de la lecture : romans de la lecture, lecture du roman". Thesis, University of Ottawa (Canada), 1996. http://hdl.handle.net/10393/10092.
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En prenant appui sur ce qui s'est accompli au cours des vingt-cinq dernieres annees pour integrer la lecture a la perspective critique, la these esquisse une approche critique qui tienne compte des mediations entre le texte et la lecture. L'hypothese de depart postule que tout texte impose un modele de lecture non seulement en suggerant un decodage, mais aussi en vehiculant une image de la litterature et du role de la lecture. D'une part, le texte fait appel a un ensemble de conventions qui informent la participation du lecteur; de l'autre, il met en oeuvre des strategies qui determinent la representation de l'objet litteraire et, par la meme, modelent la lecture. Ainsi, la representation de personnages lecteurs constitue un procede litteraire qui, parce qu'il met en relief les divers elements qui structurent la lecture, suscite une veritable metalecture, c'est-a-dire un questionnement sur les operations lecturales elles-memes et sur les rapports entre les lecture intratextuelles et extratextuelles. La premiere partie de la these degage les diverses fonctions de la representation de la lecture. La fonction referentielle, analysee dans le premier chapitre, souligne le role des connaissances culturelles pour caracteriser les personnages lecteurs: les information sur leurs lecture s'ajoutent alors aux descriptions des personnages. Ailleurs, les lectures des personnages instaurent des liens intertextuels qui permettent au lecteur externe de construire certaines interpretation: le referent est alors un autre texte. Enfin, les lextures peuvent agir comme une mise en abyme de la reception du texte lui-meme, si ce n'est de la reception en general: par l'intermediaire des lectures des personnages, un fragment intratextuel agit comme fondement hermeneutique de la lecture globale. La deuxieme partie de la these est consacree a l'etude de romans qui presentent des lectures en acte: un personnage ou un narrateur y font etat, souvent de facon detaillee, de leur lecture et de leur processus dinterpretation. En soulignant les presupposes et les convetions qui preexistent a toute lecture, les dispositifs textuels suscitent une mise en questions fondamentale de la lecture elle-meme. (Abstract shortened by UMI.)
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Lynch, Pamela. "The people of Roman Britain : a study of Romano-British burials". University of Western Australia. School of Humanities, 2010. http://theses.library.uwa.edu.au/adt-WU2010.0101.
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This thesis utilises the evidence from mortuary archaeology to explore the identity of the inhabitants of Britain during the period of Roman rule. It assimilates burial evidence from diverse sources both published and unpublished and integrates it with other material and literary evidence to investigate the people of the province and examine aspects of their lives. By assessing the extent and reliability of the mortuary evidence and by combining this evidence from major cemeteries, smaller burial sites and individual or isolated burials it has been possible to determine aspects of their lives from a different perspective than that previously employed. The thesis has been divided into five parts. Part 1 (chapters 1 to 3) serves as an introduction. Part 2 (chapters 4 and 5) considers the evidence available while Part 3 (chapters 6 to 8) focuses on specific groups within the population. Part 4 (chapter 9) looks at instances of death and burial that differ from the norm and Part 5 (chapters 10-12) presents a picture of the daily life of these people. The study concludes with a summing up of the evidence and a look at the future of mortuary studies of Roman Britain. The introductory chapters set out the objectives of the dissertation, look at the work that has already been done in this area and evaluates the need for a synthesis of the available evidence. The scope of the project, both temporally and geographically is outlined in chapter 2. The third chapter takes a look at the contemporary written evidence available, in the form of literary and epigraphic contributions, and assesses its reliability as an indicator of the appearance and lives of the Romano-Britons. This survey looks not only at the Roman view of the natives of the province but extends beyond the Roman period to examine the literary evidence that is available from the subsequent centuries. Chapters 4 and 5 take an in-depth look at the evidence available on the people of Roman Britain. The extent of the burial evidence is reviewed in chapter 4 while chapter 5 deals specifically and in depth with how this evidence can be utilised. The skeletal evidence is assessed for its extent and reliability. Factors affecting the survival of the remains is appraised and the effects of the biases created by such differential survival considered. Grave-goods and the organisation of the cemeteries are brought into the evaluation and the strengths and weaknesses of all of the evidence evaluated. The following chapters (6 to 11) focus on discrete aspects of the population. Chapters 6 to 8 look at the representation of specific groups within the community - the young, the elderly and those who arrived from other parts of the empire. With the aim of providing an indication of the diversity of both the composition of the population, the communities they represent and the associated burial rites, chapter 9 examines some of the more distinctive burials from Britain during this period. An area of intense interest, decapitation burials provides the focal point of this chapter. What may appear to be more mundane aspects of the lives of these people occupy chapters 10 to 12. What kept them busy, their occupations and their pastimes is viewed from the perspective of the burial evidence in chapters 10 and 11, while chapter 12 examines the mortuary evidence, in the form of funerary art and the remains of clothing, hair and accessories for their appearance.
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Phillipo, Mark William. "Romans overseas : Roman and Italian migrant communities in the Mediterranean world". Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/4508.
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In this thesis, I characterise the Roman republican diaspora in the western Mediterranean, on the basis of the various activities which prompted the migration of individuals from Italy. The intention of my discussion is to examine the connection between republican imperialism and the generally obscure individuals who were the actual participants in empire. This is partly a response to Brunt's Italian Manpower, in so far as Brunt's minimalist calculation of the population of the diaspora discouraged subsequent research on the subject. To accomplish this, I have relied principally on the available literary references as the foundation of a thematic analysis of the diaspora, considering migration of those in the military or associated with it, as well as those involved in various categories of commercial activity. The settlement of former soldiers was frequently connected with the re-organisation of overseas communities by Roman generals. Commercial activity was examined with reference to a general model for trade in the late republic, which emphasises the role of agents acting on behalf of wealthier individuals in Italy. I also considered more general characteristics of the diaspora. Firstly, I have proposed a maximum population for the diaspora at the end of the republic of 170,000. Secondly, I have proposed that communities of the diaspora were organising themselves into conventus by the 70s BC. Finally, I have suggested that the social and economic networks of the diaspora can be modelled in terms of a network of bilateral connections between communities, though with particularly strong connections to Rome.
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Baratin-Lorenzi, Marianne. "Les romans de george sand 1832/1842 : roman et dynamique narrative". Paris 4, 1998. http://www.theses.fr/1998PA040029.
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Ce travail a pour objet de montrer la valeur argumentative des romans de george sand et d'en rechercher les modalites : il se fonde sur la vehemence de la voix narrative qui peut supposer sa vocation demonstrative et sur l'existence d'une ideologie sandienne reconnue par les ideologues du romantisme et sans relation avec l'image naive et devalorisante generee par les romans de notre auteur. Nous nous sommes limitee aux annees 1832-1842 qui constituent, de l'aveu meme de l'auteur, ses annees d'apprentissage de l'ecriture romanesque. Devant l'echec d'une analyse fondee sur une dynamique narrative qui definirait le roman comme un apologue, nous avons tente de considerer le roman sandien comme une parabole, ce qui suppose la transposition d'une regle dans l'univers fictif du roman. Notre recherche supposait un travail preliminaire qui fait l'objet des deux premiers chapitres : mise a jour d'une pensee de george sand independante des diverses influences qui lui ont ete pretees ; analyse, a partir des rares textes theoriques de l'auteur et des poetiques classiques, des criteres susceptibles de rendre compte du roman, en dehors de la seule reference a la dynamique narrative. Nous avons ensuite entame l'analyse des romans de 1832-1842, a savoir indiana, valentine, le secretaire intime, andre, leone leoni, simon, mauprat, le compagnon du tour de france, horace. L'analyse de l'idealisme de george sand nous a permis de preciser la place du reel dans son oeuvre, toujours absent et n'existant que dans le miroir idealisant que propose le roman. Un + reel ; simplifie, voire naif est ainsi propose, dont la dimension fantastique permet d'indiquer a la fois l'insatisfaction qu'il genere chez le personnage et la possibilite de progression qu'il lui propose. Cette progression se manifeste dans les descriptions, les recits iteratifs, les scenes dialoguees et les tableaux qui jalonnent les romans de george sand. Nous avons ainsi mis a jour une dynamique, distincte de la dynamique narrative, qui suit le souffle vehement de la voix narrative et qui est proposee comme parcours initiatique a l'homme romantique : recherche permanente d'une verite evidente et lointaine qu'il doit mener dans la societeThis work intends to show the argumentative value of george sand's novels. It is based on the vehemence of the narrative voice which supposes its argumentative vocation. It is also based on the fact that the ideologists of romanticism recognise an ideology of george sand, without relation to the naive and devaluing image generated by our author's novels. Our study concerns the period 1832-1842, when the author was training to write, according to her own testimony. In front of the failure of an analysis based on the narrative dynamics which would define the novel as an apologue, we tried to regard george sand's novels as parables. The parable supposes the transposition of a rule in the fictitious universe of the novel. Our search supposed a preliminary work, covered in the first chapters : identification of george sand's thought, independent of the various influences that were lent to her; analyze - starting from the theoretical works of the author and the classical poetics - of the criteria likely to account for the novel, apart from the only reference to narrative dynamics. We then started the analysis of the novels of 1832 to 1842, namely indiana, valentine, le secretaire intime, andre, leone leoni, simon, mauprat, le compagnon du tour de france, horace. The analysis of george sand's idealism allowed us to specific the place of reality in her works, always absent and existing only in the idealizing mirror which the novel proposes. A simplified reality is thus proposed, whose fantastic dimension makes it possible to indicate at the same time the dissatisfaction of the character and the possibility he has to progress. This progression appears in the descriptions, the iterative narrations, the dialogued scenes and the pictures which mark out george sand's novels. We thus showed a dynamics, distinct from narratives dynamic, which follows the vehement breath of the narrative voice and which is proposed as the initiative quest of the romantic man: permanent search for an obvious and remote truth which it must carry out in the society
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Brosseau, Marc. "Des romans-géographes : le roman et la connaissance géographique des lieux". Paris 4, 1992. http://www.theses.fr/1992PA040124.
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Ce projet s'inscrit dans le prolongement des travaux géographiques sur la littérature. Après une analyse critique des principaux travaux géographiques sur l'espace romanesque, l'auteur examine les possibilités d'établir un autre type de rapport géographie-roman. Les géographes ayant surtout cherche à élargir le champ de leurs préoccupations habituelles grâce à la littérature, l'auteur propose d'adopter une démarche dialogique, qui pose le roman non plus comme un objet d'analyse, mais comme un sujet. Le dialogue permet d'entrer en contact, sans le "récupérer", avec ce que le roman peut communiquer de singulier sur l'espace et les lieux des hommes. Dans cette voie (et notamment au sujet du "fonctionnement du texte littéraire"), de nombreux travaux de la critique littéraire sont mis à contribution. L'analyse de quelques exemples particuliers (tirés de Süskind, Dos Passos, Tournier et Gracq), qui ouvrent des voies de réflexion variées, met en lumière différentes façons de concevoir et d'écrire les lieux. Ces romans attirent l'attention du géographe sur certains phénomènes qui échappent à une volonté de formalisation, et sur les enjeux du discours dans la constitution et la transmission de connaissances sur l'espace humainThis project pursues previous geographical research on literature. After critically analyzing the principal geographical studies of space in the novel, the author explores the possibility of establishing a new relationship between geography and the novel. Noting that geographers have used literature to increase the scope of their usual concerns, the author suggests a dialogical approach which considers the novel as a subject and not merely an object under analysis. This dialogical approach enables one to be in contact with that which only the novel can communicate about human space and place, and this without "exploiting" it. The analysis of some particular examples (Suskind, Dos Passos, Tournier and Gracq), opening a wide range of geographical considerations, draws the attention on different ways to conceive and write about human places
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Góes, Gustavo Cangussu. "A família como construção de memória: o uso da imagem da família em De Vita Caesarum de Suetônio e a construção da memória de Nero (Séculos I e II d.C.)". Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5095.
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In this research we will discuss the family role and how Suetonius, in his work De Vita Caesarum, makes use of that to construct a negative memory of the Emperor Nero. For that we will observe the imperial ambience at which the biographer was inserted and we will also try to understand how that, with its political program, influenced the work writting. Because it is a research specially toward to family role, we will have an unfolding about the family centrality in many roman domestic attitudes and the public effects of such actions. However, for considering the biography of an Emperor, we will focus on the way such family values have their potentiality enlarged and modified in imperial family. Then we will see in which aspects Suetonius arranges them in order to present the searched nefarious image about Nero.
Neste trabalho discutiremos o papel da família e como Suetônio, em sua obra De Vita Caesarum, se utiliza desta para a construção de uma memória negativa do Imperador Nero. Para tanto observaremos o ambiente imperial no qual o biógrafo estava inserido e também buscaremos compreender como tal, com seu programa político, influenciou a escrita da obra. Por se tratar de uma pesquisa voltada especialmente para o papel da família, teremos um desdobramento acerca da centralidade familiar nas diversas atitudes domésticas de um romano e os efeitos públicos dessas ações. Contudo, por considerarmos a biografia de um Imperador, iremos focar no modo como tais valores familiares tem sua potencialidade ampliada e modificada na família imperial. Então veremos em que aspectos Suetônio os arranja a fim de apresentar a buscada imagem nefasta acerca de Nero.
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Petit, Aimé. "Naissance du roman : les techniques littéraires dans les romans antiques du XIIe siècle /". Paris ; Genève : Champion : Slatkine, 1985. http://catalogue.bnf.fr/ark:/12148/cb37398123k.
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Leitch, Victoria. "Production and trade of Roman and Late Roman African cookwares". Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:97eb3a98-9cae-4b7a-8035-fcb258b3dc3a.
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This thesis is a comprehensive investigation of Roman African cookwares that examines their contribution to studies on the consequences of the incorporation of Africa into the Roman imperial economy. It aims to synthesise and analyse the most significant evidence and examines how the flow of capital, technical knowledge and people, between provinces and regions, affected production, trade and distribution trends. The technology and organisation of Roman African cookware production are examined first, in order to create a solid foundation for the following distribution study. Scientific analyses of African cookware samples from production and consumption sites offer important additions to our knowledge of the fabric composition, technical superiority, provenance and movement of these wares around the Mediterranean. The key discussion focuses on the commercial dynamics of Roman African cookwares from local, regional and Mediterranean-wide perspectives. Beginning at the production sites, the research investigates the management and transportation of these wares from major ports in Africa Proconsularis to Mediterranean ports, and beyond. A chronological assessment of the evolution of cookware production and trade in relation to periods of political and economic change reveals the significant contribution these wares can make towards tracing and even anticipating major stages in the evolution and eventual decline of Roman economic systems. Other key achievements include the creation of a new illustrated typology with profile drawings of all the cookware forms; a gazetteer of all known African cookware production sites and the forms they produced; and a synthesis and catalogue of African cookware fabrics. The importance of this research lies in the fact that although the abundance of Roman African cookwares on Mediterranean sites is well recognised, a catalogue and analysis of production and trade has never previously been attempted.
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Da, Tos Loussia. "Orner le forum : décor des centres civiques d'Aquitaine, de Narbonnaise et de Tarraconaise sous le Haut-Empire". Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20127/document.
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Les recherches portant sur les fora provinciaux effectuées au cours des dernières décennies ont permis de redéfinir un certain nombre de leurs caractéristiques. L’étude du décor de ces centres civiques dans sa globalité constitue alors une approche susceptible d’apporter une meilleure compréhension de ces espaces. Cette première approche du sujet a pour objectif d’aborder la question du dialogue entre les images présentes sur le forum et leurs contextes. Le décor figuratif permet de définir les principales thématiques, qui sont souvent complétées par des décors non figuratifs, et qui participent à la diffusion de l’idéologie impériale. Ce décor doit ensuite être contextualisé, afin d’en comprendre la conception, et d’aborder la question de sa réception par le spectateurOver the last few decades, studies on provincial fora defined some of their characteristics. A global approach of their decor can bring about a better understanding of these spaces. The link between the images and their contexts will be examined. The study of the images will be associated with the study of non iconographical elements of the decor in order to define the main themes represented on the fora. The definition of several contexts will help to understand how the decor was conceived and seen at the time
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Still, Michael Charles William. "Roman lead sealings". Thesis, University College London (University of London), 1995. http://discovery.ucl.ac.uk/1317870/.
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This thesis is based on a catalogue of c.1800 records, covering over 2000 examples of Roman lead sealings, many previously unpublished. The catalogue is provided with indices of inscriptions and of anepigraphic designs, and subsidiary indices of places, military units, private individuals and emperors mentioned on the sealings. The main part of the thesis commences with a history of the use of lead sealings outside of the Roman period, which is followed by a new typology (the first since c.1900) which puts special emphasis on the use of form as a guide to dating. The next group of chapters examine the evidence for use of the different categories of sealings, i.e. Imperial, Official, Taxation, Provincial, Civic, Military and Miscellaneous. This includes evidence from impressions, form, texture of reverse, association with findspot and any literary references which may help. The next chapter compares distances travelled by similar sealings and looks at the widespread distribution of identical sealings of which the origin is unknown. The first statistical chapter covers imperial sealings. These can be assigned to certain periods and can thus be subjected to the type of analysis usually reserved for coins. The second statistical chapter looks at the division of categories of sealings within each province. The sealings in each category within each province are calculated as percentages of the provincial total and are then compared with an adjusted percentage for that category in the whole of the empire. The final chapter is based on the iconography found in the impressions on the sealings. This includes the styles of imperial portraits, deities, animals, inanimate objects, designs which may come from outside of the empire, similar impressions on other items, epigraphic styles and possible examples of matrices.
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Nicholls, Matthew. "Roman public libraries". Thesis, University of Oxford, 2005. http://ora.ox.ac.uk/objects/uuid:b13e1d31-e076-4923-b147-5074d7f85770.
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This thesis aims to investigate the development and functions of public libraries in Rome and the Roman world. After a preface with maps of libraries in Rome, Section I discusses the precursors for public library provision in the private book collections of Republican Rome, and their transfer into the public domain with the first public libraries of Asinius Pollio and Augustus. Section II contains three 'case studies' of public libraries' different roles. The Augustan library programme is used in Ch.II.l to examine the role of imperial public libraries in literary life and the connections between Rome's libraries and those of Alexandria. Chapter II.2 concentrates on the libraries of Trajan's Forum to explore the intersection of imperial public libraries and monumental public architecture. This chapter responds to an important recent article by arguing for the continued identification of the Forum's libraries with twin brick buildings at its northern end, and suggests a series of correspondences between these libraries and its other monumental components. The conclusions of this chapter are important when considering the public libraries of the wider empire, several of which seem to have been inspired by the Trajanic libraries. Chapter II.3 considers imperial public libraries and leisure by looking at the evidence for libraries within bath-house complexes, concluding that their presence there is consistent with the archaeological and epigraphic evidence and fits in well with what we know of the intellectual and cultural life of these structures. Section III examines various aspects of the practical function of Roman public libraries: their contents (books and archives), division into Latin and Greek sections, provisions for shelving and cataloguing, staff, usership, architectural form, decoration, and housing of works of art. The picture that emerges is of carefully designed and functional buildings intended to sustain public, monumental, and practical functions. Section IV uses a variety of texts to examine the way in which libraries were viewed and used. Ch. IV. 1 discusses the evidence for use of libraries by scholars and authors such as Gellius, Galen, Josephus, and Apuleius. Ch. IV.2 examines parallels between library collections and compendious encyclopaedic elements within Roman literature and considers how library collections came to be canon-forming institutions and vehicles for the expression of imperial approval or disapproval towards authors. The channels through which this imperial influence flowed are investigated in Ch. IV.3, which looks at the directors and staff of the public libraries of Rome. The final section (V) of the thesis concerns public libraries outside the city of Rome. Provincial libraries provide a useful case study in 'Romanisation': they reveal a range of influences and are shown to embody local, personal, and metropolitan imperial identities. There follows a brief conclusion, and a bibliography. There are also five appendices of numismatic and epigraphic material discussed in the text. This material has not been adequately or completely gathered elsewhere and is intended to assist the reader; where appropriate it includes illustrations, transcriptions, and translations.
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Eckardt, Hella. "Illuminating Roman Britain". Thesis, University of Reading, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431077.
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Sicart, Pierre-Alexandre. "Autobiographie, roman, autofiction". Toulouse 2, 2005. http://www.theses.fr/2005TOU20007.
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Cette thèse examine la question de l'autofiction, en trois parties. La première a pour objet de dresser un panorama de l'autofiction, en intension comme en extension, en diachronie comme en synchronie (origines littéraires et théoriques, et genres connexes). Sur la base des données ainsi réunies, la deuxième partie développe une problèmatique de l'autofiction, articulée autour des notions d'auteur et de lecteur (axe de traitement de l'information) puis de faits et de fiction (axe de l'information). Sur le modèle du Pacte autobiographique (1975) théorisé par Philippe Lejeune, nous dégageons un "anti-pacte" de lecture propre à l'autofiction, ce qui nous permet de définir celle-ci en tant que geste (démarche d'écriture) avant d'examiner en troisième partie ses racines psychanalytiques - notamment à travers l'étude de Fils (1977), de Serge Doubrovsky. Nous concluons sur l'élaboration d'une définition de l'autofiction en tant que genreThis doctoral dissertation studies the question of autofiction, in three parts. The first paints a panorama of autofiction, in intension and in extension, in diachrony and in synchrony (literary and theoretical origins, and related genres). The data thus collected allows the second part to address the problems of autofiction, through an analysis of the notions of fact vs. Fiction (axis of information) and author vs. Reader (axis of the processing of information). Building on the model of Philippe Lejeune's autobiographical pact (1975), it becomes possible to outline an "anti-pact" specific to autofiction ; autofiction is thus defined as an act (a writing process) before its psychoanalytical roots are revealed, in a third part, notably through a study of Serge Doubrovski's Fils (1977). The dissertation concludes with the elaboration of a definition of autofiction as a genre
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Granger, Remy Maud. "Le roman posthumain". Paris 3, 2006. http://www.theses.fr/2006PA030040.
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A travers l'analyse comparée des romans de Houellebecq, Dantec, Gibson et Ellis, cette thèse cherche à définir un nouveau genre littéraire transnational que j'appelle Le roman posthumain. L'accès à l'écriture des romanciers posthumains correspond à l'âge de la toute-puissance des médias. Leur statut d'écrivain s'inscrit dans une stratégie de manipulation de la couverture médiatique. Experts en scandale, ils sont l'illustration d'une double évolution : celle du statut de la littérature face à l'information, et de la posture de l'écrivain, entre engagement et star system. Ces textes peuvent d'abord se définir comme discours de la fin. Fin des temps et esthétique apocalyptique : les romans posthumains construisent une temporalité de l'imminence. Fin de l'homme et mort du personnage : l'âge posthumain signale le déclin de l'individu. Ce discours pessimiste s'élabore à travers un style éminemment satirique, qui révèle la posture prophétique des auteurs. La satire fonctionne à la fois comme une position morale, entre prophétie et dystopie, et comme une technique narrative qui fait entendre le langage global. Ces mutations linguistiques donnent lieu à une redéfinition générique du roman. Les phénomènes de simulation et de massification mettent en question les limites génériques des textes. L'espace virtuel met en question l'espace fictif, le thème du tourisme met en question la construction de l'intrigue, et le motif gothique contribue à la déréalisation de ces fictions. Les romanciers posthumains élaborent un modèle romanesque qui, bien qu'inspiré par le réalisme, se voit marqué par la désincarnation et l'immatérialité. Ces récits obsédés par l'actuel perdent de vue le vivantThrough a comparative analysis of the novels of Houellebecq, Dantec, Ellis and Gibson, this dissertation attempts to define the transnational literary genre that I call The Posthuman Novel. The posthuman novelists are children of the media-age. Their abilities to use and abuse media coverage makes them experts in the orchestration of various scandals, which illustrate the evolution of the status of literature at the mass media age, and the position of the writer, between intellectual engagement and star system. These texts can be defined first ideologically as discourses of the endings: End of the world and apocalyptic aesthetics; end of man and death of the character. The posthuman age is the defeat of the individual. Generally the posthuman writers are testifying to the loss of those modern conceptions of man, space and time inspired by transcendence and ideals. We will also observe the novels endings as they illustrate a problematic relationship with utopia. This pessimistic discourse is elaborated through a highly satirical style, which reveals the provocative and prophetic stance of these writers. The stylistic analysis of the satiric techniques shows that satire functions as a moral position, linked to prophecy, but also as a narrative technique which reveals the mutations of language and makes the global language audible. These linguistic mutations give way to a generic redefinition of the novel. Phenomena such as simulation and massification question the generic limits of the texts. The integration of virtual spaces in the narrative questions the fictional space, the staging of tourism questions the construction of the plot and the gothic pattern contribute to the derealisation of these fictions. In fact, the posthuman writers build the model of a disincarnated novel – a novel which has freed itself of the limits of realism, but has also lost touch with the flesh. Those narratives obsessed by the actual, are loosing sight of the living
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Coates, Jason McKrindey. "Times New Roman". VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1192.
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It is difficult to say that anything will be proven in this thesis of mine. I think of it more as an account of some things that happened in my artwork over the course of graduate school and my earlier development as an artist. Some influences are listed, but certainly not all of them. Likewise, the work that is mentioned in this paper represents a sampling rather than an in-depth survey. I don't have any tables or charts.
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Miller, Rebecca Anne. "The Roman Odysseus". Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467359.
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This dissertation investigates how Roman authors, especially of the Augustan period, comment on their literary relationship with their Greek literary predecessors through the complex character of Odysseus. It argues that Roman writers emphasize Odysseus’ deceptive qualities to distance themselves from the Greek literary tradition, and at the same time to underscore their own inheritance of and indebtedness to that tradition. Odysseus’ multi-faceted character and wide-ranging travels, I suggest, made him an ideal lens through which Roman authors, spanning from Livius Andronicus in the 3rd century BCE to Juvenal in the 1st century CE, could consider their own position as poets in a simultaneously Greek and Roman literary tradition.
The dissertation focuses on Odysseus as he is portrayed in extended scenes of Latin poetry and considers the evolution of Odysseus’ Roman character chronologically, beginning with Livius Andronicus’ translation of the Odyssey and the establishment of the Latin literary tradition. His next major appearance is in Plautus’ Bacchides, where he serves as an exemplum for the tricky slave as well as the playwright himself. Odysseus is later picked up in the comedic vein by Horace in Satire 2.5, in which the hero acts as a model for the duplicitous figure of the inheritance hunter. After Horace, Ovid employs Odysseus in two different works, first as the ideal Roman orator in Metamorphoses 13 and then later as a foil for the poet’s own trials and travails throughout his exile poetry. Lastly, there is a return to satire, where Odysseus is brought in by Juvenal as an antithesis to his own poetic authority in Satire 15.
All of these examples of Odysseus in Latin literature demonstrate how Roman authors use this particular Homeric epic hero to articulate issues that are temporally and culturally specific to Rome. Roman authors furthermore reimagine Odysseus in Roman terms and contexts in an effort to construct and tear down bridges between their own Roman culture and that of their Greek predecessors, which in turn renders Odysseus as a stand-in for the Latin literary tradition vis-à-vis the Greek literary tradition.Classics
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Eckardt, Hella. "Illuminating Roman Britain /". Montagnac : M. Mergoil, 2002. http://catalogue.bnf.fr/ark:/12148/cb39007842f.
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Spoerri, Butcher Marguerite Amandry Michel Burnett Andrew M. "Roman provincial coinage". London : Paris : British museum press ; Bibliothèque nationale de France, 2006. http://catalogue.bnf.fr/ark:/12148/cb40226892c.
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Texte remanié de: Thèse de doctorat--Lettres--Université de Neuchâtel, 2000. Titre de soutenance : Le monnayage des cités de la province romaine d'Asie à l'époque de Gordien III (238-244).Bibliogr. p. 317-324. Index. Résumé en anglais.
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Scalco, Luca. "RITRATTI DI FAMIGLIA SUI MONUMENTI FUNERARI ROMANI: COMMEMORAZIONE E RAPPRESENTAZIONE SOCIALE DI LEGAMI AFFETTIVI". Doctoral thesis, Università degli studi di Padova, 2017. http://hdl.handle.net/11577/3425357.
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The thesis analyses the family portraits on Roman funerary monuments (reliefs, altars, tombstones and statuary groups), coming from Rome and the Italian territory up to the Alps (Regiones V-XI) and dating from the 1st century BC to the early 4th AD. It aims to investigate the household composition and its relations with the funerary realm, by identifying the codification of iconographical features related to kin.
After a short introduction on family in Roman time, the analysis moves through the different types of monuments and delineates their complex geographical and chronological distribution. This is shared by the sepulchral iconography, which is characterized by a large variability: it has stressed the need to classify depictions in different schemas, drawn at the same time on the number of portraits, on their distribution and on gender and age differences. In this way it has been possible to delineate the geo-chronological evolution of the iconography and to discover its serial parental meaning. Later, the analysis addresses the familiar significance of dress, attributes and gestures, identifying age and gender distinctions according to the different schemas. In the last part, the social impact of such representations is investigated: it contributes to delineate the general tendencies of family funerary portraiture and helps to link them to “every-day” structure of Roman household.La tesi affronta lo studio delle raffigurazioni a soggetto familiare su monumenti funerari di epoca romana – rilievi, altari, stele, gruppi statuari –. Vengono considerati i segnacoli già editi provenienti dai territori tra Roma e l’arco alpino (Roma, Regiones V-XI), nel periodo compreso tra il I secolo a.C. e l’inizio del IV d.C. Il lavoro si pone l’obiettivo di indagare la famiglia del tempo ed il suo rapporto con l’ambito funerario, attraverso il riconoscimento dei criteri di codificazione dei legami di parentela nell’immagine sepolcrale, nel loro sviluppo crono-geografico. Dopo una breve disamina del concetto di famiglia in epoca romana, lo studio affronta l’evoluzione dei supporti monumentali, tratteggiando una complessa distribuzione che ricalca da vicino quella delle diverse varianti iconografiche. Le immagini sono caratterizzate, infatti, da un’ampia variabilità, che ha reso necessaria una classificazione degli schemi sulla base del numero di persone ritratte, dell’età, del sesso e della posizione reciproca: in tal modo si delinea non solo l’evoluzione complessiva delle iconografie, ma anche se ne definiscono i significati parentali ricorrenti. Successivamente si analizza il valore familiare di vesti, attributi e prossemica, riconoscendone i criteri di distinzione generazionale e di genere. Infine si indaga il valore sociale della raffigurazione e si individuano i criteri iconografici generali del ritratto funerario di famiglia, correlandoli successivamente alla realtà “quotidiana” dei nuclei domestici romani.
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Mallia, Marilyn. "L'Importance du Roman Gothique Anglais dans les premiers Romans de George Sand". Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/374730/.
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Guillaumie, Marc. "Le roman préhistorique à partir des premiers romans préhistoriques français (1872-1914)". Limoges, 2000. http://www.theses.fr/2000LIMO2001.
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Les romans dont l'action est censee se derouler dans la prehistoire refletent fort peu, malgre le serieux qu'ils affichent souvent, la science qui est celle des prehistoriens de leur epoque. Ces romans mettent en oeuvre des modeles et des << savoirs >> tres anciens, qu'ils combinent avec les stereotypes fixes par une tradition iconique et romanesque, et les cliches qu'offre la mode. Tout cela prendsens au sein de tensions ideologiques modernes : a la fin du xixeme siecle en france, ces romans etaient marques par l'anticlericalisme, le mepris de race ou de sexe, le colonialisme et l'esprit de revanche. Si les enjeux ideologiques sont aujourd'hui fort differents, ils sont loin d'avoir disparu. Les romans prehistoriques ne sont pas darwiniens. Ils sont principalement influences par l'evolutionnisme de herbert spencer : les supposees << races >>, les langues, les institutions, la valeur du bien et du mal, sont en evolution comme les organismes, les especes et les paysages. Le tout est ordonne suivant quelques axes bipolaires, en coherence avec les structures modernes de l'imaginaire. Les schemas narratifs du roman prehistorique et les principales figures du recit (dans lequel les especesanimales et les tribus sont de veritables personnages) obeissent a un modele contraignant, qui admet cependant des realisations variables. La parodie, l'humour, l'absence de violence ou la dimension ecologique par exemple, ne sont que d'apparentes transgressions du systeme et sont deja fort anciens dans le roman prehistorique. La << culture mediatique >> ressasse, bien au-dela du seul champ litteraire, les principaux traits de cette prehistoire de fiction, apparue avant toute science. Cela justifie certaines questions sur les rapports entre science et fiction, sur la reprise inlassable des memes images, et sur le positionnement litteraire et social complexe des auteurs et des oeuvres qui relevent de ce genre minuscule.
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Züll, Stephanie [Verfasser]. "Romane als Sittenlehren - Zum Verhältnis zwischen galantem und empfindsamem Roman / Stephanie Züll". Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2020. http://d-nb.info/1217062890/34.
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Alaimo, Katrina-Kay Sepulveda. "An archaeology of temple assemblages and social practice in early south-eastern Roman Britain". Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/24914.
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This research focuses on artefactual assemblages from temples in the south-east and east of England from 50 BCE to 250 CE. In order to evaluate these data, which primarily consists of faunal remains, coins, and items of personal adornment, quantitative methods to perform intra-site and inter-site analyses are utilised. As a result of the analyses conducted, a range of social practices were identified, including those specific to individual temples, and those that were shared to varying degrees across the breadth of the study area. The study also examines how a site’s unique environmental and political conditions characterised the assemblages of each temple. Moreover, it reveals that the pre-Roman Eastern and Southern kingdoms continued to influence the nature of practices on temple sites into the Roman period, and that the impact of Roman conquest was much less persuasive as might be expected from previous research on religion in Roman Britain. The conclusions of this study emphasise the significant future potential of the finds evidence to illuminate studies of religion in the Roman empire, as well as highlighting the diverse nature of religion in early Roman Britain.
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Huchet, Jean-Charles. "Du poème au roman : genèse et fortune du roman occitan médiéval". Paris 4, 1990. http://www.theses.fr/1990PA040027.
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A côté de son homologue français, le roman occitan médiéval fait pâle figure (quelques spécimens seulement). On s'inscrit en faux contre l'opinion largement admise suivant laquelle nombre de romans auraient été perdus. Le statut minoritaire du roman occitan s'explique par la prépondérance de la lyrique qui a étouffé les autres genres et pris en charge des fonctions anthropologiques dévolues ailleurs au roman. L'originalité du roman occitan tient à son dialogue constant avec la lyrique dont il est une manière d'appendice. On étudie les emprunts formels et thématiques ainsi que la distance prise avec la lyrique, notamment la promotion d'une érotique plus réaliste. Le roman escorte la poésie et met en fonction une véritable théorie du "trobar", de l'acte poétique et, à travers son dialogue avec la lyrique, construit sa propre théorie. Le roman occitan médiéval se mesure aussi à son homologue français, notamment arthurien, qu’il met a mal pour saisir sa propre identitéIn medieval Occitany, there was few novels, as show manuscripts and words used by the writers to designate their texts. We try to explain the reasons of this lack: the dependence on troubadours’ poetry, and we negate the common opinion that believes that medieval novels were born before in Occitania than in France and that most of them were lost. We learn the nature of the strict dependence with the troubadours’ poetry and we show that the novel is a manner of "theoric fiction" of poetry which appears at the beginning of the XIIIth century, a period of literary and cultural crisis. The poetry is also a looking glass in which the novel tries to catch his own identity and clears - throw a fiction - his own theory. Against a common opinion, we maintain that the relations between French and Occitan medieval novels are not imitation but literary struggle (rewriting. . . )
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Yagli, Ali. "Le roman turc au regard du roman français au XIXe siècle". Toulouse 2, 2004. http://www.theses.fr/2004TOU20029.
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Dans ce travail, nous avons étudié la période de la littérature du Tanzimat (1850-1910) qui s'est développée sous l'influence de la littérature occidentale. Les réformes du Tanzimat, qui a donné son nom à cette littérature, ne sont pas seulement un évenement historique, social et politique pour la Turquie, mais aussi une vraie transformation sur le plan littéraire, idéologique et artistique. Grâce à ces réformes (1839) l'empire ottoman ouvrit ses portes aux idées et conceptions occidentales. Parallèlement à ces développements, le roman turc apparut dans la littérature turque à partir de la seconde moitié du XIXe siècle. Durant cette période la plupart des auteurs qui connaissaient la civilisation occidentale cherchaient à produire des oeuvres différentes dans le domaine littéraire pour préparer le peuple aux réformes politiques et sociales, ainsi que pour lui faire connaître les idées de l'Occident. Parmi ces écrivains, Ahmet Mithat Efendi a réussi grandement à accoutumer au roman le lecteur turc qui, depuis des années, avait l'habitude de goûter, en les écoutant, des contes populaires qui se composent de Mesnevis, de légendes ou d'épopées. Il écrivit en 1872 le premier roman populaire turc nommé Denizci Hasan (Hasan le Marin) sous l'influence du Comte de Monte-Cristo de Dumas Père. A la lumière de cette influence, en faisant une étude comparative entre Denizci Hasan et Monte-Cristo, nous avons tenté de découvrir comment Ahmet Mithat a uni les caractéristiques du roman occidental à celles des contes populaires turcs, et comment il est resté sous l'influence de ce chef-d'oeuvre de Dumas Père. Cette thèse contient cinq parties et elle met en évidence, en commençant par les premières relations historiques et politiques avec l'Occident -surtout avec la France- l'apparition du roman turc sous l'influence du roman français au XIXe siècleIn this work, we examined the literary period called Tanzimat(1850-1910), which was developed under the influence of European Literature. This period is a fundemantal change not only in history, politics, and society but also in art and literature. Thanks to these changes (Reforms in 1839) Ottoman Empire was introduced to the European ideas in literay and social areas. As a consequence of cultural or social relations with the western world, novel form entered the Turkish literature in second half of the 19 th century. During this period, many Turkish writers knowing western civilisation produced literary works especially novels to prepare the society for social and political reforms as well as to introduce western ideas. Among these writers, Ahmet Mithat Efendi was the most prolific pioneer in creating a new novel-reading society which was formerly a reader of national literature such as epic, folk tale, Mesnevi, and others, mostly in verse originating from Divan Litearture and Folk literature. Ahmet Mithat Efendi wrote Denizci Hasan in 1872, the first Turkish novel, borrowing its elements from Alexandre Duma's Monte-Cristo. Under the light of this influence, we did a comparative study between the two novels: Denizci Hasan and Monte-Cristo. Especially we focused on how seccessfuly Ahmet Mithat Efendi did this when he combined the western narrative elements making use of Dumas Père's Monte-Cristo as his original simple with those of Turkish folk tales into new novel form. This dissertation having 5 parts gives detail about the rise of Turkish novel under the influence of western literature especialy 19th century French novel in the main parts, and the beginning of the first historial and poltical relations with the western world, especialy France in the introductory parts
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Pichot, de la Marandais Thibault. "Monsieur Ouine de Georges Bernanos : le roman d'une initiation, roman d'initiations". Bordeaux 3, 2010. http://www.theses.fr/2010BOR30044.
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Le personnage éponyme de Monsieur Ouine est-il forcément voué à la géhenne ? La plupart des critiques le pensent. Pour notre part, nous proposons une autre interprétation de ce roman de Georges BERNANOS en montrant que l'agonie ouinienne – dans laquelle les échanges verbaux entre le vieil homme et Steeny jouent un rôle primordial – peut au contraire constituer une sorte d'initiation. Cette dernière donne au mourant la possibilité de changer, de renaître – en retrouvant l’enfant qu’il fut – et de connaître finalement la douce Pitié divine au moment de son grand passage : « je me suis retourné », dira-t-il au terme de son pèlerinage terrestre. Siège d’un éprouvant combat entre le Bien et le Mal, cet ancien professeur de langues représente une allégorie de l’homme, de cet homme pécheur pour le rachat de qui le Christ est mort et ressuscité. Espérer au-delà de tout espoir, tel est le leitmotiv parcourant l’ensemble des écrits de l’auteur. Terminant l’œuvre romanesque de celui-ci, Monsieur Ouine nous apparaît alors comme l’apocalypse bernanosienneIs the eponymous character of Monsieur Ouine bound to be doomed to Gehenna ? Most critics think so. As far as we are concerned, we suggest another interpretation of this novel by Georges BERNANOS to show that the ouinian agony, in which the verbal exchanges between the old man and Steeny are of paramount importance, may very well be a kind of initiation rite. This rite gives the dying man the opportunity to change, to be born again by finding again the child he used to be and to eventually know the sweet Divine mercy just as he is passing away : « I have sorted myself out », he will say at the end of his earthly pilgrimage. As he is the seat of a testing fight between Good and Evil, this former language teacher represents an allegory of the man, and a sinful one as he is, for the redemption of whom Christ died and rose from the dead. Have faith beyond anything we hope for, this is the pervasive leitmotiv of the author’s works. As it finishes off his novels, Monsieur Ouine then appears to us like a bernanosian apocalypse
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Psaltopoulos, Brigitte. "L'écriture de José Manuel Fajardo : entre roman d'aventure et roman historique". Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE2021/document.
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Cette thèse présente l’analyse de la trilogie de José Manuel Fajardo (1957) constituée par les trois romans, Carta del fin del mundo (1996), El Converso (1998) et Mi nombre es Jamaica (2010). Ces trois œuvres font partie du sous-genre, roman istorique d’aventures. À travers l‘étude du temps, de l’espace et des personnages, ce travail de recherche a pour objectif de délimiter la part de l’histoire et de l’aventure au sein de ces trois œuvres qui renvoient à des périodes marquantes de l’histoire de l’Espagne (la conquête, le Siècle d’or). Les nombreuses références à l’expulsion des Morisques ou à la diaspora sépharade témoignent de la volonté de l’auteur de faire œuvre d’historien en sauvant de l’oubli certains pans de l’histoire d’Espagne délaissés par l’Histoire officielle. Cette récupération historique va de pair avec une fictionnalisation de cette matière historique (la découverte de l’Amérique, la piraterie au XVIIe siècle, dans les Caraïbes et en méditerranée) qui permet à l’auteur de créer de l’aventure. Cette aventure est vécue par les héros comme une quête identitaire qui les conduit, à travers la traversée d’innombrables espaces, vers leur Terre promise ; ce qui leur confère une indéniable épaisseur humaineThis thesis introduces the trilogy by José Manuel Fajardo (1957) composed of Carta del fin del mundo (1996), El Converso (1998) and Mi nombre es Jamaica (2010).These three works are part of the historical adventure novel sub-genre. Focusing on time, space and characters, this research work is aimed at making a distinction between history and adventure in these three works that refer to significant periods in the history of Spain (the conquest, the Golden Age). The numerous references to the expulsion of the Moriscos or the Sephardic diaspora show the author's willingness to work as a historian by saving fromoblivion some parts of Spanish history neglected by official history. This historical exploitation goes hand in hand with fictionalizing the historical matter _such as the discovery of America or piracy in the seventeenth century in the Caribbean and the Mediterranean seas_ which makes it possible for the author to create adventure. This adventure is experienced by the heroes as a search for identity that leads them, through the crossing of countless spaces, to their promised land; whichgives them potent human depth
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Holdsworth, Benjamin Evans. "Reading Romans in Rome : a reception of Romans in the Roman context of ethnicity and faith". Thesis, Durham University, 2009. http://etheses.dur.ac.uk/214/.
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This thesis primarily addresses one question: “To what extent can Romans be heard and understood by a readership in Rome within its religio-economic, socio-political, and ethnic context, especially by non-Judeans?” To address this question, certain presuppositions regarding the audience are re-examined. This first is how the epistle’s audience, as residents of Rome, may have understood their ethnic identity, and how they constructed and negotiated that identity as Greeks, Romans, and Judeans. Chapter 1 focuses on this question for Greek and Roman identity formation and negotiation, since both groups are integral to reading Romans in Rome. The chapter concludes that Hellenization and Romanization were simultaneously shaping life in Rome prior to and during the time the initial hearers interacted with the Roman epistle. The second chapter concurrently tests two presuppositions. The first is whether Judean treatment in Rome was any different from the experience of any other ethnic minority – whether Rome was anti-Semitic. This is tested by developing a comparative review of Judean life in relation to contemporaneous Egyptian treatment in Rome, in conjunction with Appendices 2 and 3. The second presupposition tested in this chapter is a tangent of the first – that is whether Wiefel’s hypothesis is a valid foundation for assumptions regarding the audience experience in Rome, prior to and at the time of the epistle’s reception. The chapter concludes that Judean and Egyptian ethnicities were in competition in Rome, and based upon ongoing change in circumstances experienced a range of acceptance and rejection. It also concludes that Wiefel’s hypothesis – the eviction in 49 CE of all Judeans and Judean Christ-followers from Rome – does not reflect the reality of the Judean situation. Chapter 3 tests the presupposition, that the epistle received in Rome was interpreted by listeners primarily through an oft-assumed Judean lens – that of Judean tradition and the LXX. The chapter reexamines a sample of key ethnic semantics of the epistle – the interaction of honor, faith, piety, and righteousness in Rome’s way of life. It concludes that honor was a key driver in the Roman socio-cultural experience. Faith-making and faith-keeping were integral frameworks for human and divine relationships, and piety and righteousness were enmeshed in faith and faithfulness in the Roman way of life as the foundation of right relationship between humanity and deity. Chapter 4 integrates these ideas in reinterpretation of Romans as an audience recipient, by “sitting in the audience,” primarily as a non-Judean listener. It follows the flow of the discourse, noting the ethnic interplay, and the use of honor, faith, and righteousness as key Roman language to engage in ethnic reconstruction. This re-hearing of the sampled terms in Romans 1:1-17 is only an example of future work to examine extended readings of Romans in Rome, re-viewing the text through a Romanized lens.