En 1993, l’eglise du monastere Humor et six autres eglises du nord de la Moldavie (Roumanie) ont ete classifies comme patrimoine de l'UNESCO, en particulier en raison de leurs caracteristiques iconographiques et architecturales uniques. Construit au seizieme siecle, le monastere Humor est devenu un riche centre religieux et culturel sous le patronage du prince Petru Rares de Moldavie. Ce centre a encourage les innovations architecturales ecclesiales, ainsi qu’un programme tres prolifique de fresques, exterieures et interieures, exprimant une creativite au-dela du canon de la peinture de l'epoque. La presente these est concentree sur ces innovations architecturales et iconographiques, comprises a la lumiere du contexte historique de ce moment unique dans l'histoire de la Moldavie, dans le siecle qui suivit la chute de Constantinople (1453).
Tandis que la premiere partie de la these est concentree sur ces circonstances historiques, et plus precisement sur l'impact du patronage du Prince Rares, la deuxieme partie de la recherche est concentree sur l'analyse des sources litteraires et de la theologie d’une serie unique de fresques, place dans la gropnita (chambre funeraire) de l’eglise monastique d’Humor, evoquant la vie de la Mere de Dieu. La serie est un exemple extraordinaire d’interaction des textes, le Protevangile de Jacques et le Synaxarion, avec l'iconographie.
Une attention particuliere a l'iconographie du monastere Humor demontre le besoin de la correlation entre texte et icone d'une part, ainsi que la necessite d’une correlation entre les etudes theologiques, l'art et l’histoire d’autre part. Un autre avantage de la recherche est de contribuer a une appreciation plus riche des tresors culturels et religieux des communautes chretiennes de l'Europe de l'Est aux points de vue religieux et culturel, en reponse a leur reconnaissance comme patrimoine de l’UNESCO.

The Political and Artistic Program of Prince Petru Rares of Moldavia (1527-1538 and 1541-1546) and the Fresco Series Depicting the “Life of the Mother of God” in the Church of Humor Monastery

At the heart of present literacy, and narrative, learning paradigms are the "literate behaviours" usually associated with aspects of learning to encode and decode print. These paradigms have been criticized for placing written and verbal language in a privileged position. Furthermore, whilst an increasing number of theorists and educators are asking for the inclusion of multimodal approaches to learning narrative, current curricula, and the research that informs it, continue to be founded on "verbocentric" approaches and linear forms of narrative expression. Through the development and evaluation of a curricular approach to narrative learning for 7-8 year-olds based on the visual arts, this study aims to ascertain whether there is a need for broader conceptions of narrative as well as for complementary modes of narrative composition than those currently being used in primary schools. Documentation in the form of the children‘s painted narratives and transcripts of the children's oral accounts of their narratives was the major component of data collection. Individual and small group interviews and participant observation were supplementary sources to assist in the interpretation of the narrative paintings the children composed. The children‘s narratives were analysed using a narratological semiotic model, which divides narrative into 'discourse' and 'story' and distinguishes between the 'content' and 'form' of each of these elements.

Supporting children's narrative composition : the development and reflection of a visual approach for 7-8 year-olds

Abstract Narrative has often been considered “an art of time.” This essay traces some of the historical reasons for this state of the field, or fields, of narratology, pinpointing spots in classical, postclassical and contemporary narrative theory where compensation was attempted or is being made through a focus on space instead of time. It suggests that as geography and geographers have become increasingly interested in narrative approaches in dealing with concepts, visualization, and digitalization, it is perhaps (once again) time narratology itself, while continuing to focus on and explore space and place, took account of its history of treating them and looked at how geography has implemented narratological concepts in its technical and philosophical approaches.

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What we talk about when we talk about space and narrative (and why we’re not done talking about it)

According to Tacitus, Petronius' last act was to send to Nero a list of the latter's sexual partners and activities. Petronius' list in Annals 16 illuminates the structure of the Book, which conveys the tyranny of Nero's last years as a list of deaths and punishments. The nature of these lists—series of elements whose connection their authors decline to spell out—mirrors the arbitrary nature of imperial power under Nero and Domitian, which punishes according to no le- gitimate judicial logic. Tacitus' interest in Petronius extends beyond the latter's list to his function as Nero's elegantiae arbiter, a seemingly superficial position that Tacitus suggests actually illustrates the important function of pleasure in the principate. I. WHAT'S IN A LIST? alt H oug H incomplete as we H ave it, what remains of Book 16 of the Annals can be read as a list of the deaths, suicides, and punishments that occurred in the last part of Nero's principate. The narrative compo- nent of this book is supplied in the accounts Tacitus gives of the victims' backgrounds and the circumstances of their demise, but otherwise he pro- vides little that relates one death to the next or makes one episode follow consequentially upon the previous. The connection he draws between the first three scenes of death is exemplary: at 16.5 many of the spectators of Nero's performance at the Quinquennial Games are either trampled to death in the disorganization of the crowds or succumb to illness rather than offend Nero by leaving the venue; at 16.6 Nero murders Poppaea. The lead-in to the latter is simply post finem ludicri ("after the end of the festival"). Following this, Cassius and Silanus are exiled (16.9) with a mere tunc ("then . . ."). While there is nothing uncommon about a historian using temporal clauses or connectives to move his narrative along, the death and destruction Tacitus relates in Book 16 are particularly unal- leviated by a sense of the emplotment of these episodes in some larger scheme. About the closest we come is his statement at the beginning of the

The Tyrant Lists: Tacitus' Obituary of Petronius

What are the ramifications of human beings transmogrified, by the stigma of disability or celebrity, into objects of cultural fascination, and how can we begin to define the consequences of this pr...

Writing Celebrity as Disability: Las Meninas, Performing Dwarfs, and Michael Jackson Fan Day

A reading of art books, critical essays or interpretations of paintings reveals that various writers frequently approach figurative painting in narrative terms. For some writers narrativity is the main core of the interpretation of a painting, while for oth ers it is of lesser importance. However, even those critics for whom narrativity is a marginal aspect of interpretation consider it an inseparable part of understanding a painting as a whole.1 Looking at paintings from the viewpoint of the narrative interpretations given to them renders an equivocal feeling. On the one hand, seeing a picture as an evolving sit uation seems natural, yet, on the other, there remains a persistent gap between the pic ture and the narrative discourse it entails. Despite the apparent connection between the narrative discourse and the painting, it appears that from the moment the discourse is uttered and stands on its own feet, there is an inevitable disruption between this dis course and the painting which brought it about. Narrative interpretation, by definition, produces a coherent stable structure of meaning. Viewing a picture, however, is frag mentary by nature; its temporality is not necessarily successive and does not correlate with the strict criteria that narrative structure demands. It seems that juxtaposing a pic ture with its narrative interpretation always produces a visual surplus that cannot be ver balized, so that a kind of hiatus exists between the two as a result of their positioning. What is the relation between painting and narrativity? Does narrativity by defi nition contradict visuality, and if so, why is it so prevalent in the context of painting? Furthermore, how can one explain the complicated relationship of attraction and re jection that has always existed between painting and narrativity? 2 In the hundreds of years during which the term narrative was used solely as a characteristic of literary texts, thinking about narrativity in painting entailed a

Efrat Biberman

Papers

On Narrativity in the Visual Field: A Psychoanalytic View of Velázquez's Las Meninas