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The present study shows the excavation results at the Yarcoq archaeological site, located on the eastern flank of the Cordillera Negra in the department of Ancash. The site is a cemetery composed of 18 funerary structures, where 14 are linked to the wari period and the other 4 to the recuay period. Two types of funerary architecture are evidenced, underground tombs and chullpas, each one with its particular characteristics and degree of sophistication, which were based on the resources that each group had access to build these monuments. These groups would have participated in a constant dynamic of exchange of products between the mountains and the coast, by which they would politically form a unit., En el presente estudio se muestran los resultados de excavación en el sitio arqueológico de Yarcoq, ubicado en el flanco oriental de la Cordillera Negra en el departamento de Ancash. El sitio constituye un cementerio compuesta por 18 estructuras funerarias, de las cuales 14 se vinculan a la época wari y las otras 4 a la época recuay. Se evidencia dos tipos de arquitectura funeraria, las tumbas subterráneas y las chullpas, cada una con sus características particulares y grado de sofisticación, los cuales se encontraban en función a los recursos que cada grupo tuvo acceso para construir estos monumentos. Estos grupos habrían participado en una dinámica constante de intercambio de productos entre la sierra y la costa por lo que políticamente conformarían una unidad.

International audience; Through her investigation of fragile entities, philosopher of science Vinciane Despret sheds new light on our relationship to the deceased. Through a relation of obligations, the dead put the living to work. The living take care of their deceased by choosing to respond to the call. Practices of memory modify, densify and colour our under-standing of our living environment and create specific ambiances. Focused on the singular link of a Georgian family with their deceased, Nino Kirtadze’s film, Tell my friends that I’m dead, enlightens the full scope of these fragile entities at work on the existing. Through this documentary, we identify the invisible chains that generate ambiances above ground and outside time. Furthermore, transgenerational psychoanalyst Christine Ulivucci conducted critical analysis showing that ambiance memories, sensitive impressions are rooted in our personal history. The encounter with familiar places or objects activates reminiscence and produces what we call: fragile ambiances.

The so-called private apotheosis or consecratio in formam deorum is an original phenomenon among funerary practices in Rome from the late 1st century A.D. Mostly visible through tomb sculpture and architecture, it was interpreted as the expression of beliefs relating to post mortem destiny or alternatively as a peculiar way of commemorating the dead. This paper goes back over some of its religious aspects, by replacing them into the frame of the ritualism proper to Roman cult of the dead. It deals especially with two famous cases, Claudia Semne’s mausoleum in Rome and a dedication from Gabii. Despite equivocal and limited sources, we can put forward some hypothesis about the religious implications of these practices, which, in different ways, were aiming at the construction of the status of the dead, not so much in the hereafter as in the community of the living., Le phénomène désigné comme apothéose privée ou consecratio in formam deorum par les études modernes est une manifestation originale de la sphère funéraire à Rome à partir de la fin du Ier s. ap. J.-C. Perceptible surtout à travers la sculpture ou l’architecture, il a été interprété comme l’expression de croyances relatives au sort post mortem ou comme une forme particulière de commémoration des défunts. Cet article revient sur certains de ses aspects religieux en le resituant au sein du ritualisme propre au culte romain des morts. Il s’attache plus particulièrement à deux exemples privilégiés, le tombeau de Claudia Semnè à Rome et une dédicace de Gabies. Malgré l’ambiguïté ou les limites des sources, il est ainsi possible de formuler quelques hypothèses sur les implications religieuses de ces pratiques qui, selon des modalités variables, participent à la construction du statut des morts, moins dans l’au-delà que dans la communauté des vivants.

International audience; At the end of the 1830s, embalming became fashionable in France. Unlike traditional embalming reserved to the elites since the Middle Ages, the new, private form of embalming concerned ordinary people who could not bear seeing their passed beloved ones decompose and return to ashes. This rise went hand in hand with the multiplication of timeless plots allocation within cemeteries created by the decree of 1804, on which families could build tombs destined to shelter their dead. Embalming hence belonged to the ‘funeral transition’ between the eighteenth and the nineteenth century as described by R, Bertrand: the concern for the dead was not characterised by the concern for their soul but rather for the material remains. The cult of the dead focused on the grave in the nineteenth century: embalming was perhaps a necessary step within this materialisation: during a limited period of time, the certainty of having a fully preserved body under the grave was necessary in order to function as a place of memory and as a cornerstone of the cult of the dead.

The funerary ceremony arouses a special interest for the researcher, preserving itself until today in obvious and expressive traditional forms, as an example being, on this respect, the multitude of ritual-magical practices and the archaic elements that they encompass. This ceremony attests the crisis moment from each human’s life, constituting a warranty and, in the same time, the remaining of the individual inside the group of belonging, which is the same and, yet, different. The keeping almost unchanged of the funeral rites and rituals, from ancient times until nowadays, is explained though the belief that any deviation from the norm could trigger the loss of the efficiency of “passing”, a belief that imposed itself over all the traditions, with different coercive power. There can be therefore found, exquisitely coherent, archaic gestures, ceremonial acts, beliefs and funeral ritual songs that have continually been performed until today, in most of the folkloric areas from our country.

Starting from the existence of different theoretical traditions of study on ways of dealing with death, this paper analyzes the reflections by the Portuguese historian Fernando Catroga, indicating how the topic becomes relevant to the theory of history when questioning the relationships between mortuary rites and historiography. It mainly emphasizes the dialogue with specific traditions in the fields of sociology and anthropology, which allow resume deepest philosophical questions about death and historicity from a perspective focused on the specificity of the historical view and its close association with a way to reflect on our own experiences considering the responses given to human existential problems by men of other times and cultures. In this context and in addition to historicity, the problem of otherness becomes the central focus for historiography, which is understood as one among other collective practices of ritualization of time, characterized by the specificity of its critical vocation. Partindo da existência de diferentes tradições teóricas de estudo das formas de lidar com a morte, este artigo analisa as reflexões produzidas pelo historiador português Fernando Catroga, indicando como o tema ganha relevância para a teoria da história por suas interrogações sobre as relações entre os ritos mortuários e a historiografia. Destaca-se, principalmente, o diálogo com tradições determinadas no campo da sociologia e da antropologia, que permitem retomar questionamentos filosóficos mais profundos sobre os temas da morte e da historicidade numa perspectiva atenta às especificidades do olhar histórico e sua vinculação com uma forma de refletir sobre as próprias experiências considerando as respostas fornecidas a problemas de natureza existencial humana pelos homens de outras épocas ou culturas. Nessa perspectiva, além da historicidade, o problema da alteridade ganha relevância central para a historiografia, entendida como uma entre outras práticas coletivas de ritualização do tempo, caracterizada pela especificidade de sua vocação crítica.

Partindo da existência de diferentes tradições teóricas de estudo das formas de lidar com a morte, este artigo analisa as reflexões produzidas pelo historiador português Fernando Catroga, indicando como o tema ganha relevância para a teoria da história por suas interrogações sobre as relações entre os ritos mortuários e a historiografia. Destaca-se, principalmente, o diálogo com tradições determinadas no campo da sociologia e da antropologia, que permitem retomar questionamentos filosóficos mais profundos sobre os temas da morte e da historicidade numa perspectiva atenta às especificidades do olhar histórico e sua vinculação com uma forma de refletir sobre as próprias experiências considerando as respostas fornecidas a problemas de natureza existencial humana pelos homens de outras épocas ou culturas. Nessa perspectiva, além da historicidade, o problema da alteridade ganha relevância central para a historiografia, entendida como uma entre outras práticas coletivas de ritualização do tempo, caracterizada pela especificidade de sua vocação crítica., Starting from the existence of different theoretical traditions of study on ways of dealing with death, this paper analyzes the reflections by the Portuguese historian Fernando Catroga, indicating how the topic becomes relevant to the theory of history when questioning the relationships between mortuary rites and historiography. It mainly emphasizes the dialogue with specific traditions in the fields of sociology and anthropology, which allow resume deepest philosophical questions about death and historicity from a perspective focused on the specificity of the historical view and its close association with a way to reflect on our own experiences considering the responses given to human existential problems by men of other times and cultures. In this context and in addition to historicity, the problem of otherness becomes the central focus for historiography, which is understood as one among other collective practices of ritualization of time, characterized by the specificity of its critical vocation.

Ce mémoire propose d’étudier les caractéristiques thématiques, formelles, structurelles et fonctionnelles des monuments commémoratifs du XXe siècle. Basée sur un corpus précis d’œuvres exemplaires et illustratrices des tendances contemporaines de représentations, notre recherche portera sur la transformation idéologique de la commémoration en Occident. En effet, au cours de ce siècle, nous assistons au passage d’une célébration des victoires à la commémoration de drames, relatifs aux conflits mondiaux. Nous développerons en un premier temps notre réflexion en analysant le travail des artistes qui eurent la charge de cristalliser et de maintenir la mémoire collective, de l’Antiquité à la Première Guerre mondiale. En un deuxième temps, à l’aide des écrits de James E. Young, nous étudierons les perspectives nouvelles apparues au début des années 1980, du concept de contre-monument à celui du monument-musée, qui tentent de répondre à la crise de la représentation des évènements tragiques du siècle dernier., This thesis proposes a study of thematic, formal structural and functional features of twentieth century commemorative monuments. Based on a specific corpus of exemplary and illustrative works about the contemporary trend of representation, our research will focus on the ideological transformation of commemoration in the Western world. During the last century, a shift from the celebration of victory to the commemoration of tragedies related to international conflicts has been observed. In a first instance, an analysis will be developed around works made by artists whose task was to maintain and crystallize collective memory. The works studied will cover the period from Antiquity to World War One. Then, using as case studies James E. Young’s works, we will study the new perspectives that appeared at the beginning of the 1980s. This period has witnessed a transition from the concept of counter-monument to the monument-musée, which offers an answer to the representative crisis caused by the tragic events of the last century., Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal

Este artículo explora la relación entre vivos y muertos en los cien años de existencia del Cementerio Universal en Bucaramanga (1910-2010). La realización de análisis cuantitativos y cualitativos de las losas sepulcrales y las boletas de exhumación, permitieron identificar la presencia significativa de iconografía religiosa y mensajes asociados a la incorporación del difunto en el más allá, con resultados inesperados para un camposanto laico. Adicionalmente, se develó la profunda preocupación por la transcendencia experimentada por los deudos vinculados a este camposanto, y de la cual dejaron testimonio en la cultura material fúnebre. This article explores the relation between alive and dead men in hundred years of existence of the Universal Cemetery in Bucaramanga (1910-2010). The accomplishment of quantitative and qualitative analyses of the sepulchral slabs, and the ballots of exhumation, they identified the significant presence of religious iconography and messages associated with the incorporation of the deceased in beyond, with unexpected results for a lay churchyard. Additional, the deep worry was demonstrated by the significance experienced by the kinsmen linked to this churchyard, and of which they left testimony in the material funereal culture.

Dans cet article, nous approchons les pratiques sacrificielles effectuées à l’occasion de repas collectifs dans les hautes terres mazatèques (Sierra Madre Oriental) au Mexique, en comparant celles qui ont lieu à l’occasion des festivités de saints (mayordomías) et des rituels funéraires. Considérant que le sacrifice, catégorie problématique, regroupe de multiples formes d’échanges, nous analysons les logiques sacrificielles en œuvre dans ces deux contextes cérémoniels. Si ces commensalités rituelles ont en commun de participer au culte des morts et des saints, elles impliquent différentes mises en relation avec les non-humains. Le type de sacrifice ainsi que le statut de l’animal mangé en commun reconduisent à la frontière entre deux espaces rituels : celui de l’Eglise, où les festivités se caractérisent par l’ostentation et la démesure ; et celui, plus souterrain du chamanisme, où les rituels de guérison et d’oblations sont convoqués pour les pratiques agricoles, les infortunes de la vie et les maladies du corps. In this article we will deal with the sacrificial practices on the occasions of commensality in the Mazateques Highlands (Sierra Madre Oriental) in Mexico. We will compare those which take place during the festivities of the Saints (Mayordomías) and the funeral rituals. Taking into account that sacrifice, in itself a problematic category, is made up of multiple forms of exchanges, we shall analyze the sacrificial logic at work in these two ceremonial contexts. If these convivial ritual gatherings participate in common with the Cult of the Dead and that of the Saints, then this would seem to imply that both cults have their own relationship with non-humans, with the type of sacrifice this entails, together with the status of the animal eaten at the shared meal. These common practices lead back to the frontier between two ritual spheres : that of the Church, where the pretentious festivities are characterized by ostentatiousness ; and that more subterranean aspect of Shamanism, where the rituals of healing and oblations play their part in the agricultural life, in averting misfortune, and in curing the afflictions of the body.

Issue d’une première tentative de synthèse portant sur la peinture monumentale religieuse à Lille dans la seconde moitié du XIXe siècle, cette étude permet d’exhumer l’œuvre d’artistes régionaux, mais également belges et néerlandais, mettant en évidence le rôle de carrefour de l’actuelle métropole lilloise. Dans une région fortement marquée par le catholicisme, les sujets traités sont à la fois le reflet des dévotions nationales et de cultes plus locaux, que ce soit à travers la figure de saint Vincent de Paul, le rôle de la Vierge ou la dévotion aux âmes du purgatoire qui prend une importance particulière à partir du foyer de Loos. Cette expression artistique et religieuse se développe sous la forme de grands cycles dont la réalisation connaît son apogée sous la IIIe République, en particulier de 1880 à 1900. Une fois ce panorama dressé, il devient possible d’interroger les catégories traditionnelles de l’art à cette époque, la notion centrale de primitivisme et les jugements de valeur auxquels cette peinture est encore souvent soumise.This article is based on a synthetic analysis of monumental religious painting at Lille during the second half of the 19th century. This study led to the rediscovery of many regional artists, but also Belgian and Dutch artists, underlining the long history of Lille’s present-day position as an international crossroads. In a region which was strongly marked by Catholicism, the subjects dealt with offer a reflection of national devotional practices but also draw attention to more local cults. Examples here include the figure of Saint Vincent de Paul, the role of the Virgin Mary and the devotion to souls in purgatory, which is particularly important in Loos. This artistic and religious expression develops according to major cycles which reached a high point during the Third Republic, and particularly from 1880 to 1890. Once this general overview has been established, it becomes possible to take a closer look at the traditional categories of art at the time, at the central notion of primitivism and at the negative value judgements from which this kind of painting still often suffers.

On the eastern Adriatic the cult of the dead is best known in Liburnian culture (from the river Raša to the river Krka), besides Histrian culture (Istria). However, Liburnian funerary rites and beliefs are not well known because of poor state of exploration and the nature of the "archaeological" culture. That is why only chosen aspects of that cult are analysed on this ocassion, which are also (possibly) symbolic. I The meaning of the grave recipients Liburns do not put them beside the deceased. That is why the exceptions are very important: a) using just one small pot as a grave offering in some graves from the beginning of the Iron Age, b) using greater amount of pots in certain large Hellenistic family vaults (Nadin) dating to 4-1 century BC. All cups/glasses are local products, but some of them (grave 85 from Nin) imitate foreign ones, e.g. forms from Picenum "kothom". Sometimes they are replaced by an imported form such as an Apulian askos (grave 23 from Nin), which is a type often presented on Daunian stelae in funerary rite scenes (banquet, libation). Liburnian cups/glasses point to a rite with a liquid intended for the deceased. In the Hellenistic concentration of the recipients (Nadin) imported forms for mixing and drinking wine are dominant. Therefore it is possible to offer thesis about Liburnian concept of the « funerary» banquet of the deceased in the context of similar funerary phenomena on the (western) Adriatic and in the wider region. Potential funerary banquet is most evident (for now) in the necropolises of the planned type (system of the funerary celae), appearing in Liburnia and elsewhere (Picenum and southern Italy) since the 4th century BC in the context of Hellenization. Poorly known problem of the spatial structural relations of Liburnian necropolises (flat ones, with mounds) during the entire Iron Age is also discussed briefly. II Infant funerals Special (ritual?) meaning of the infant graves is emphasized, either in traditional cist (Nadin etc) or "enchytrismos" type, in a large clay pot (Nin, Ričul). III Proposition of an ideal reconstruction of "male" and "female" (funerary) clothes IV Liburnian "system" of signs and potential iconic symbols Remains of such system are: swastika, anthropomorphized swastika, wheel/disc, bird ("bird boat/cart"), horse, man. Dynamics of the Liburnian culture is well presented by iconographic-stylistic (and semantic) changes of the anthopomorphic presentation, from long-lasting Liburnian geometrism and non-figurativity to relatively pronounced Hellenistic "concreteness", often presented in silver. The symbolics of motifs bird/horse boat, man, swastika is most probable, which are applied on unique Liburnian artifacts (pectorals, some fibula types, belts, pendants) in funerary context.

Der Beitrag beschäftigt sich mit der Heldenverehrung und dem politischem Totenkult in der Zeit des Nationalsozialismus. Als Gedächtnisort dafür wurde 1933 in Halle/Saale das „Museum der nationalsozialistischen Erhebung“ gegründet. Die Forschungsskizze beschäftigt sich mit der Entstehungsgeschichte, Entwicklung und Bedeutung des Museums bis 1938 anhand von Archiv- und Zeitungsmaterialen., The article deals with hero worship and political death cult in the time of National Socialism. The "Museum of the National Socialist Elevation" was founded in Halle in 1933 as a place of remembrance. The research sketch deals with the history, development and significance of the museum until 1938 using archive and newspaper material.

The iconography of purgatory in liturgical manuscripts between the thirteenth and fifteenth centuries. Purgatory was invented by Parisian theologians. The researches of J. Le Goff allow us to date this invention from the turn of the twelfth century. It is interesting to follow the emergence of the imagery of purgatory through about twenty examples of liturgical manuscripts, dating from the end of the thirteenth century up to the early fifteenth century (the list of the illuminated manuscripts comprising the study corpus is appended to this article). The invention of purgatory during the twelfth and thirteenth centuries suggests the increasing importance of the individual dimension of salvation, and opens up a third possible alternative in the after-life. It is an invention which sets forth a place and a space which refute an earlier liturgical dualism, which had only allowed for judgment, followed by heaven or hell. The appearance of the image of the purifying fire in these liturgical manuscripts was encouraged by the development, since the fifth century, of the cult of the dead in the canon of the Mass. However, most of the images identified in the early iconography of purgatory are associated with texts that make no reference to a purifying fire after death. The image functions in an active manner, in order to guide the reading of the text. It pedagogical role is clear when the fire of purgatory is associated with the vision of God (known as the « beatific vision »). The image-makers of the Middle Ages had to invent the space and the place of purgatory, these details being left uncertain by the theologians. In these representations, the author of the present article has identified four main strands. He also underlines the image of the souls themselves : their attitude of prayer, for examples, suggests an identification between the living (the owner of the manuscript) and the dead. The belief in the beatific vision and in the opening of purgatory towards heaven both reinforce the belief in an individual salvation., Virgitti François. L’iconographie du Purgatoire dans les manuscrits liturgiques du XIIIe au XVe siècle. In: Histoire de l'art, N°20, 1992. Iconographie. pp. 51-65.