El acercamiento de la monarquía castellana a la Orden de los Predicadores durante el reinado de Juan II de Castilla (1406-1454)

Desde la llegada al trono de la dinastía Trastámara los diferentes monarcas castellanos llevaron a cabo una serie de actuaciones respecto a las órdenes religiosas. Durante los primeros años, éstas estuvieron dirigidas, en su mayoría, a la orden franciscana, a lo que habría que sumar la introducción en Castilla de la orden de la Cartuja y las primeras fundaciones jerónimas. Sin embargo, las reinas Beatriz de Portugal y Catalina de Lancaster, junto al infante Fernando de Antequera, fueron los protagonistas del cambio devocional que se produjo en Castilla y que alcanzó su cénit al alcanzar la mayoría de edad Juan II. Desde finales del siglo XIV vieron la luz una serie de fundaciones dominicas y se reformaron algunos conventos por parte de estos personajes; de manera progresiva, comenzaron a confiar en los frailes de esta orden diferentes cometidos espirituales, sociales y políticos.

Between "uxor", "mater" and "concubina". Profile and identity of the Emperor Constantine in Late Roman legislation

We aspire to shape the Constantine’s personality in particular by analyzing his loving relationship, first with Minervina and then with Fausta, and not forgetting the bond with his mother Helena, hence the reference to uxor, mater and concubina in our title. We will analyze if these women exercised any influence on the composition of his production rules and, if so, to what extent they were able to determine the historical development of the following decades. From this point of view we must consider in general the emperor had to combine their political claims and government with these relationships, showing great skill in handling times and ways, always putting the first to the second.

El ritual en los "Textos de las Pirámides": sintaxis, texto y significado

Este trabajo pretende explorar la dimensión ritual en los Textos de las Pirámides, el corpus de literatura religiosa extensa más antiguo de la humanidad. La naturaleza variada de sus componentes textuales ha impedido que los egiptólogos comprendan en profundidad las complejidades de la colección y los contextos originales en los que estos textos (ritos) aparecieron. La aplicación de la teoría del ritual, principalmente la aproximación de la sintaxis ritual, ofrece a los investigadores un marco excelente de análisis e interpretación del corpus, su estructura y función. Sujeto a las reglas de la sintaxis ritual es posible exponer los múltiples niveles de significado en el corpus para la resurrección y salvación del difunto.

Population and Government in Colonial Buenos Aires. An Approach to the Study of the Tensions Generated by Demographic Growth in the City (1740-1776)

The relationship between population and government in the City of Buenos Aires is analyzed, focusing on the tensions generated by the arrival of new individuals, a local elite with great interests in commerce and in charge of community affairs, and Spanish functionaries that progressively adopted the ideals of the Bourbon Dynasty, despite also being implicated in local logics. It interests us to observe the governors’ perspectives with respect to everyday developments in the city, their preoccupations and interests, and how they would vary the mechanisms to which they resorted in order to organize daily life, in the period defined between 1740 and 1776.

L'Idéologie politique des empereurs flaviens (69-96) à travers les sources épigraphiques et numismatiques

La dynastie des Flaviens est souvent mal connue et appréciée en raison de sa situation chronologique, « coincée » entre la famille des descendants de César et d’Auguste et celle allant de Trajan à Marc Aurèle. Elle passe parfois pour une simple dynastie de « transition » qui aurait uniquement servi de passerelle entre deux familles considérées comme plus brillantes qui ont par ailleurs laissé un souvenir plus durable. En un peu plus d’un quart de siècle (69-96), Vespasien, Titus et Domitien ont pourtant davantage fait pour la stabilité de Rome et de l’Empire que certains de leurs prédécesseurs ou successeurs. Sorti vainqueur des troubles civils de l’année des quatre empereurs (68-69), Vespasien ramena la paix en Orient et en Italie en plus de s’attacher à stabiliser les institutions et de reconstituer les finances de l’État, passablement écornées par les dernières années du Principat de Néron (54-68) et la guerre civile elle-même. Plus que la paix et la stabilité à l’intérieur et aux frontières de l’Empire, il fit cependant en sorte de refonder les bases institutionnelles du Principat en assumant sa transformation en un régime monarchique et héréditaire. Un principe parfaitement admis puisque ses deux fils adultes, Titus et Domitien, lui succédèrent sans difficulté. Davantage peut-être que les récits laissés par les sources littéraires anciennes, les inscriptions romaines et italiennes ainsi que les monnaies émises par l’atelier de Rome sont probablement le meilleur témoignage permettant de saisir le plus précisément et le plus profondément l’idée que les Flaviens se faisaient d’eux-mêmes et du pouvoir dont ils étaient investis. Le contenu de leur titulature officielle comme leurs choix iconographiques permettent ainsi de dégager leurs différents thèmes de propagande qui laissent finalement apparaitre une vraie continuité dans leur idéologie du pouvoir et leur manière de gouverner. Vespasien a ainsi posé des fondations idéologiques et politiques que ses fils ont globalement poursuivies et respectées, ce qui renforce l’idée selon laquelle les Flaviens ont effectivement suivi un « programme » qui les distinguait de leurs prédécesseurs et de leurs successeurs. Malgré des différences parfois importantes dans leurs pratiques, les inscriptions et l’iconographie monétaire permettent ainsi de mettre en lumière le fait que Titus et Domitien ont finalement moins cherché à faire preuve d’originalité qu’à s’inscrire dans la continuité de l’œuvre de leur père afin de garantir le maintien de la paix et avec elle la prospérité et la stabilité de l’État, et avec elles la satisfaction et la tranquillité de l’ensemble de la société.

Reproducing Women: Female Bodily Narratives and English Patriarchies, 1600-1660

During the early Stuart period, England’s return to male monarchal rule resulted in the emergence of a political analogy that understood the authority of the monarch to be rooted in the “natural” authority of the father; consequently, the mother’s authoritative role within the family was repressed. As the literature of the period recognized, however, there would be no family unit for the father to lead without the words and bodies of women to make narratives of dynasty and legitimacy possible. Early modern discourse reveals that the reproductive roles of men and women, and the social hierarchies that grow out of them, are as much a matter of human design as of divine or natural law. Moreover, despite the attempts of James I and Charles I to strengthen royal patriarchal authority, the role of the monarch was repeatedly challenged on stage and in print even prior to the British Civil Wars and the 1649 beheading of Charles I. Texts produced at moments of political crisis reveal how women could uphold the legitimacy of familial and political hierarchies, but they also disclose patriarchy’s limits by representing “natural” male authority as depending in part on women’s discursive control over their bodies. Due to the epistemological instability of the female reproductive body, women play a privileged interpretive role in constructing patriarchal identities. The dearth of definitive knowledge about the female body during this period, and the consequent inability to fix or stabilize somatic meaning, led to the proliferation of differing, and frequently contradictory, depictions of women’s bodies. The female body became a site of contested meaning in early modern discourse, with men and women struggling for dominance, and competitors so diverse as to include kings, midwives, scholars of anatomy, and female religious sectarians. Essentially, this competition came down to a question of where to locate somatic meaning: In the opaque, uncertain bodies of women? In women’s equally uncertain and unreliable words? In the often contradictory claims of various male-authored medical treatises? In the whispered conversations that took place between women behind the closed doors of birthing rooms? My dissertation traces this representational instability through plays by William Shakespeare, John Ford, Thomas Middleton, and William Rowley, as well as in monstrous birth pamphlets, medical treatises, legal documents, histories, satires, and ballads. In these texts, the stories women tell about and through their bodies challenge and often supersede male epistemological control. These stories, which I term female bodily narratives, allow women to participate in defining patriarchal authority at the levels of both the family and the state. After laying out these controversies and instabilities surrounding early modern women’s bodies in my first chapter, my remaining chapters analyze the impact of women’s words on four distinct but overlapping reproductive issues: virginity, pregnancy, birthing room rituals, and paternity. In chapters 2 and 3, I reveal how women construct the inner, unseen “truths” of their reproductive bodies through speech and performance, and in doing so challenge the traditional forms of male authority that depend on these very constructions for coherence. Chapter 2 analyzes virginity in Thomas Middleton and William Rowley’s play The Changeling (1622) and in texts documenting the 1613 Essex divorce, during which Frances Howard, like Beatrice-Joanna in the play, was required to undergo a virginity test. These texts demonstrate that a woman’s ability to feign virginity could allow her to undermine patriarchal authority within the family and the state, even as they reveal how men relied on women to represent their reproductive bodies in socially stabilizing ways. During the British Civil Wars and Interregnum (1642-1660), Parliamentary writers used Howard as an example of how the unruly words and bodies of women could disrupt and transform state politics by influencing court faction; in doing so, they also revealed how female bodily narratives could help recast political historiography. In chapter 3, I investigate depictions of pregnancy in John Ford’s tragedy, ‘Tis Pity She’s a Whore (1633) and in early modern medical treatises from 1604 to 1651. Although medical texts claim to convey definitive knowledge about the female reproductive body, in actuality male knowledge frequently hinged on the ways women chose to interpret the unstable physical indicators of pregnancy. In Ford’s play, Annabella and Putana take advantage of male ignorance in order to conceal Annabella’s incestuous, illegitimate pregnancy from her father and husband, thus raising fears about women’s ability to misrepresent their bodies. Since medical treatises often frame the conception of healthy, legitimate offspring as a matter of national importance, women’s ability to conceal or even terminate their pregnancies could weaken both the patriarchal family and the patriarchal state that the family helped found. Chapters 4 and 5 broaden the socio-political ramifications of women’s words and bodies by demonstrating how female bodily narratives are required to establish paternity and legitimacy, and thus help shape patriarchal authority at multiple social levels. In chapter 4, I study representations of birthing room gossip in Thomas Middleton’s play, A Chaste Maid in Cheapside (1613), and in three Mistris Parliament pamphlets (1648) that satirize parliamentary power. Across these texts, women’s birthing room “gossip” comments on and critiques such issues as men’s behavior towards their wives and children, the proper use of household funds, the finer points of religious ritual, and even the limits of the authority of the monarch. The collective speech of the female-dominated birthing room thus proves central not only to attributing paternity to particular men, but also to the consequent definition and establishment of the political, socio-economic, and domestic roles of patriarchy. Chapter 5 examines anxieties about paternity in William Shakespeare’s The Winter’s Tale (1611) and in early modern monstrous birth pamphlets from 1600 to 1647, in which children born with congenital deformities are explained as God’s punishment for the sexual, religious, and/or political transgressions of their parents or communities. Both the play and the pamphlets explore the formative/deformative power of women’s words and bodies over their offspring, a power that could obscure a father’s connection to his children. However, although the pamphlets attempt to contain and discipline women’s unruly words and bodies with the force of male authority, the play reveals the dangers of male tyranny and the crucial role of maternal authority in reproducing and authenticating dynastic continuity and royal legitimacy. My emphasis on the socio-political impact of women’s self-representation distinguishes my work from that of scholars such as Mary Fissell and Julie Crawford, who claim that early modern beliefs about the female reproductive body influenced textual depictions of major religious and political events, but give little sustained attention to the role female speech plays in these representations. In contrast, my dissertation reveals that in such texts, patriarchal society relies precisely on the words women speak about their own and other women’s bodies. Ultimately, I argue that female bodily narratives were crucial in shaping early modern culture, and they are equally crucial to our critical understanding of sexual and state politics in the literature of the period.

L'Idéologie politique des empereurs flaviens (69-96) à travers les sources épigraphiques et numismatiques

La dynastie des Flaviens est souvent mal connue et appréciée en raison de sa situation chronologique, « coincée » entre la famille des descendants de César et d’Auguste et celle allant de Trajan à Marc Aurèle. Elle passe parfois pour une simple dynastie de « transition » qui aurait uniquement servi de passerelle entre deux familles considérées comme plus brillantes qui ont par ailleurs laissé un souvenir plus durable. En un peu plus d’un quart de siècle (69-96), Vespasien, Titus et Domitien ont pourtant davantage fait pour la stabilité de Rome et de l’Empire que certains de leurs prédécesseurs ou successeurs. Sorti vainqueur des troubles civils de l’année des quatre empereurs (68-69), Vespasien ramena la paix en Orient et en Italie en plus de s’attacher à stabiliser les institutions et de reconstituer les finances de l’État, passablement écornées par les dernières années du Principat de Néron (54-68) et la guerre civile elle-même. Plus que la paix et la stabilité à l’intérieur et aux frontières de l’Empire, il fit cependant en sorte de refonder les bases institutionnelles du Principat en assumant sa transformation en un régime monarchique et héréditaire. Un principe parfaitement admis puisque ses deux fils adultes, Titus et Domitien, lui succédèrent sans difficulté. Davantage peut-être que les récits laissés par les sources littéraires anciennes, les inscriptions romaines et italiennes ainsi que les monnaies émises par l’atelier de Rome sont probablement le meilleur témoignage permettant de saisir le plus précisément et le plus profondément l’idée que les Flaviens se faisaient d’eux-mêmes et du pouvoir dont ils étaient investis. Le contenu de leur titulature officielle comme leurs choix iconographiques permettent ainsi de dégager leurs différents thèmes de propagande qui laissent finalement apparaitre une vraie continuité dans leur idéologie du pouvoir et leur manière de gouverner. Vespasien a ainsi posé des fondations idéologiques et politiques que ses fils ont globalement poursuivies et respectées, ce qui renforce l’idée selon laquelle les Flaviens ont effectivement suivi un « programme » qui les distinguait de leurs prédécesseurs et de leurs successeurs. Malgré des différences parfois importantes dans leurs pratiques, les inscriptions et l’iconographie monétaire permettent ainsi de mettre en lumière le fait que Titus et Domitien ont finalement moins cherché à faire preuve d’originalité qu’à s’inscrire dans la continuité de l’œuvre de leur père afin de garantir le maintien de la paix et avec elle la prospérité et la stabilité de l’État, et avec elles la satisfaction et la tranquillité de l’ensemble de la société.

Tutankamón

O presente trabalho pretende apresentar e descrever a metodologia processual e respectivas relexões que sustentam a criação de um artefato digital interativo construído de forma a que alguns dos elementos bidimensionais que o constituem sejam manipuladas de forma a que criem ao jogador a ilusão de tridimensionalidade. Em 1992 a Id Software com o jogo Wolfenstein 3D, introduziu uma referência visual à tridimensionalidade, utilizando para o efeito tecnologia 2D, a qual, através de um sistema de redimensionamento e posicionamento de imagens, consegui transmitir a noção de tridimensionalidade, utilizando na altura um tipo de jogo em primeira pessoa, ou seja, o jogador experiência uma campo visual que visa reproduzir a própria experiência do mundo táctil na relação que dispõe entre os espaços e objetos. Através do Processing, uma linguagem de programação que assenta no Java, estes objetivos conceptuais serão reproduzidos, que procuram, por um lado, transmitir esta aparente ilusão de tridimensionalidade e por outro não utilizar um tipo de artefacto digital que proporciona uma jogabilidade em primeira pessoa mas sim possibilitam ao jogador uma experiência visual que aborda todo o espaço em que é lhe permitido circular, no qual é lhe exposto as adversidades que precisa de superar para progredir. Para que isto seja possível o jogador assume o papel de um personagem e através da sua interação com o artefato, vai ediicando uma narrativa visual que visa o seu envolvimento com a temática representada. Como tema é utilizada uma representação da busca pelo Sarcófago do faraó da 18ª Dinastia Tutankamón (1332 - 1323 AC) pelo explorador britânico Howard Carter (1874 - 1939) cuja expedição no Vales do Reis em 1922 constitui ainda hoje a mais célebre descoberta arqueológica relacionada com Antigo Egipto. Ao longo desta Dissertação são abordados temas que visam resoluções tanto no campo técnico e tecnológico, através da programação e sua linguagem, como no campo visual e estético que visa uma conexão consciente com a temática a representar e a ser experienciada

Vihara architecture: defining the existential foothold of VIII century Buddhist monastery "Somapura Mahavihara" of ancien Bengal

Lost in history, the ruin of ‘Somapura Mahavihara’ was not recognized separated from its birthplace, i.e. nature, for more than 700 years. Yet, within its silent presence, the monument dominated the name of the region: ‘Paharpur’ (land of hillock), according to its appearance surrounds by its flat land topo¬graphy. Discovered in 1919, the single largest Buddhist Vihara (monas¬tery) of ancient Bengal came into light, pronouncing the flou¬rishing minute of Buddhist architecture, once dominant religious force of the subcontinent. The earliest historical monumental architecture of greater Asia, had long been deriving itself from the Buddhist monastic architecture as early as VI century BC. In line of history, the discovery of ‘Somapura Mahavihara’ contributed attesting the sensitivities of a highly sophisticated architectonic typology of Vihara Architecture in the land of ancient Bengal. The recovery of ‘Somapura Mahavihara’ was not only from its cradle of nature, but also from its remarkable existence imprinted in the reign of Pala dynasty (750 - 1155 AD) announcing the existential foothold of man in his nature. The existential foothold of ‘Somapura Mahavihara’ comprises the factors, responsible in shaping the anchorage of the mo¬nument since the birth of Vihara architecture, as early as 530 BC. These factors not only denote the building technology in response to its environment but also the amalgamation of be¬lief, upon which the dwellers transformed the site as a place announcing their existence on earth. This research paper aims at exploring the existential foothold of ‘Somapura Mahavihara’, in terms of its territorial, functional, structural, social, cultural, religious sym¬bolic hierarchies of human achievement while clarifying the architectonic typology that shaped ‘Somapura Mahavihara’ through evolution process of ‘Vihara Architecture’. This understanding intends to combine the archaeological knowledge with comparative architectural analysis of contem¬porary Viharas of ancient Bengal, to define the singularity of ‘Somapura Mahavihara’. In consequence, the glorious past of ‘Somapura Mahavihara’ is intended to portray through iden¬tifying the relation of religious and functional rationalism with the connotation of art, architecture and belief moulded within natural forces, as one complete entity; RESUMO: Vihara Arquitetura: Definindo a posição existencial do século VIII Budista mosteiro “Somapura Mahavihara” de Bengala antiga. Perdidas na História, as ruínas de ‘Somapura Mahavihara’ foram confundidas com uma montanha durante mais de setecentos anos. Contudo, no seu silêncio presente, o monumento marcou a toponímia da região; ‘Paharpur’ significa ‘a terra do outeiro’, evidenciando a singularidade deste monumento numa região dominada por uma extensa planície. Em 1919, foi descoberto o maior mosteiro budista da antiga região de Bengal, demonstrando a prosperidade da arquitectura budista. Tem¬poralmente, a descoberta de ‘Somapura Mahavihara’ contribuiu para atestar a evolução e a sofisticação da tipologia arquitectónica denominada ‘Arquitectura Vihara’, existente na antiga região de Bengal. A noção de pegada existencial de ‘Somapura Mahavihara’ compreende os factores responsáveis por moldar a ancoragem do monumento ao lugar em que se insere desde o início da arquitectura Vihara, que remonta a 530 a.C. Estes factores evidenciam a tecnologia construtiva empregue para responder ao ambiente envolvente mas também a evolução da religião, factores estes que os monges construtores consideraram ao transformar o lugar e anunciar a sua existência na Terra. Esta investigação tem por objectivo explorar a noção de pegada existencial de ‘Somapura Mahavihara’, nas suas dimensões territoriais, funcionais, estruturais, sociais, culturais e nas hierarquias simbólicas das realizações humanas para clarificar a tipologia arquitectónica que deu forma a ‘Somapura Mahavihara’ durante a evolução da arquitectura Vihara. Este entendimento pretende combinar/cruzar o conhecimen¬to arqueológico com estudos arquitectónicos comparativos de Viharas na antiga região de Bengal, com o objectivo de definir a singularidade de ‘Somapura Mahavihara’. Neste estudo estudar-se-á também o confronto entre a dimensão religiosa e a artística (divino vs. humano), integrados na arquitectura de ‘Somapura Mahavihara’ em perfeita harmonia.