A finalidade deste trabalho é realizar um comentário à 7ª Ode Olímpica de Píndaro. Adicionalmente, procura demonstrar a maneira como a obra desse autor foi citada ou aludida no mundo de língua grega, até a publicação, em 1515, da edição de Zacarias Calierges, e como se formou a crítica pindárica nos séculos XIX e XX. / This work aims to present a comment to Pindar\'s 7th Olympian Ode. Additionally, it intents not only to demonstrate the way Pindar\'s work was mentioned or referred to in Greek language until the publication of Zacarias Calierges\' edition, in 1515, but also show how the pindaric criticism of XIX and XX centuries was shaped.

O presente trabalho aborda uma região bem delimitada, circunscrita aos afloramentos calcários do alto curso do rio São Francisco no estado de Minas Gerais (1500km²). Depois de um período inicial exploratório com levantamentos de superfície intensivos, resultando na descoberta de 120 sítios, duas cavernas, a Loca do Suim e a Gruta do Marinheiro, foram escolhidas para receberem escavações. O objetivo foi comprovar a existência de uma ocupação caçadora-coletora arcaica na região estudada, utilizando como principal elemento descritivo a indústria lítica produzida por esses grupos, envolvendo aspectos como tipologia, tecnologia e cronologia do material. Buscou-se assim colocar em evidência algumas particularidades da região estudada, assim como apontar para eventuais semelhanças com as grandes tradições arqueológicas do período arcaico conhecidas no centro e sul do Brasil. / This project is located in the carstic region (1500km²) of the upper São Francisco river valley, in the southeastern portion of the Brazilian highlands, 250km to the southwest of the well known Lagoa Santa region, State of Minas Gerais. After a period (5 years) of intensive search for sites, discovering more than 120 of them, two caves (Loca do Suim and Gruta do Marinheiro) where excavated. The objective was to prove the existence, also in this area, of archaeological material related to arcaic hunter-gatherers. For being abundant, the lithic industry produced by these pre-historic groups was chosen as main descriptive element. The analysis, based on typological, technological and chronological characteristics of the sample, points out the similarities and differences that exist between this industry and the main lithic archaeological traditions of central and southern Brazil during the arcaic period.

In this thesis I explore how physical and socio-cultural factors interact to shape domestic architecture by analysing the form, layout, and construction of houses from Sicily dating from the Neolithic to the end of the Hellenistic period. This time range encompasses two primary domestic building traditions: single-spaced round houses that dominate from the Neolithic through to the end of the Late Bronze Age, and large, multiple-spaced rectilinear structures that characterise the Archaic period onwards. As such the domestic architecture of Sicily provides the opportunity to study not only two distinct ways of building, but also the dynamics within them and the changes that occurred as one evolved into the other during the Early Iron Age: a period of transition that is often studied in isolation or only in relation to the earlier or later context, rather than as an integral part of this island’s history. A critical analysis of building techniques and materials in the context of available resources and their material properties alongside local environmental conditions reveals correlations between the choice of materials, construction techniques, and topographical and climatic conditions, as well as the form taken by the building as a whole. Comparative analyses were also carried out of house size, form, and degree of subdivision within and between the building traditions. The picture presented shows an increase in total size and subdivision (despite the relatively stable size range of individual spaces within the houses) from the Neolithic to the Hellenistic period and implies a developing desire for options to separate people and activities. Finally, close diagrammatic studies of the layout and spatial organisation of the houses bring to light the structuring of these domestic spaces: the use of architectural features and artefacts to provide a sense of division in single-spaced buildings; greater layers of access and control of movement incorporated into the larger, rectilinear houses with their multiple spaces; and the arrangement of these to allow for the lighting of interior rooms. Combined with the results above, these reveal patterns in the development of building traditions on Sicily and how they relate to, encompass, and entangle the dynamic socio-cultural and physical parameters that make up the wider landscapes they are a part of: notions of identity and its formation and transmission, social structure and stratification, topography and climate, and material structural properties. Altogether this allows for the development of a deeper and more holistic understanding of the relationship between building and living, of how physical and socio-cultural parameters integrate and influence the construction of houses, and how these all come together in the building traditions that are both shaped by us and shape us.

Les recherches précédentes sur la coroplathie de Métaponte ont abordé ce matériel comme un objet de culte circonscrit dans le sanctuaire. Face à l'abondance des données dont on dispose, ce travail cherche à actualiser nos connaissances en le considérant d'abord comme une production artisanale. L'étude se centre sur les VII0-VI° siècles avant J.-C., époque durant laquelle la polis structure progressivement son territoire et met en place ses lieux de culte. Le choix d'un corpus provenant de plusieurs sanctuaires a conduit à la définition de types techniques et à l'analyse de leur diffusion dans la cité. L'étude combine trois approches complémentaires visant à éclaircir les spécificités du matériel métapontin : en premier lieu, les chaînes opératoires et les espaces artisanaux qui introduisent la question des ateliers locaux et des moyens d'identifier leurs productions; ensuite, la diffusion du matériel dans le Métapontin et au-delà, mettant en évidence les réseaux de contacts ; enfin, les spécificités fom1elles de ce corpus et les dynamiques créatives qui s'inscrivent dans des courants à plus grande échelle. Les résultats obtenus sont placés en dernier lieux dans une perspective plus large à travers trois axes: la place de l'artisan, l'analyse iconographique et l'emploi de l'artisanat dans la définition de l'identité des ltaliotes. Cet exercice méthodologique ouvre de nouvelles perspectives en considérant la production d'une cité dans son ensemble. Il met en évidence l'intérêt d'analyser la globalité du contexte de déposition et de replacer le matériel à l'intérieur des dynamiques productives et communautaires qui lui sont propres. / Previous research on metapontian coroplastic material has focused on their ex voto dimension, circumscribed to the sanctuary. Given the abundant data that we have, this work aims to update our knowledge considering this material first of ail as a craft production. The study focuses on the VII1h-VI1h centuries B.C., period during which the polis progressively structured its territory and established its places of worship. The constitution of a corpus with material from different sanctuaries enables us to define technical types and analyse their diffusion within the city. The study combines three complementary approaches aimed at determining the specificities of metapontian materials: on the first place, the operational chains and craft spaces which introduce the question of local workshops and how to identify their productions; then, the diffusion of the material within Metaponto and beyond, highlighting the contact networks; lastly, the formal specificities of the metapontian corpus and the creative dynamics the city integrates on a larger scale. Finally, these observations are placed on a wider perspective from three different angles: the place of the craftsman, the iconographic analysis and the use of crafts in the definition of the ltaliote identity. This methodological exercise seeks to bring new perspectives by considering the city's production as a whole. JI brings out the appeal of analysing the entire depositional context and approaching the material through its own productive and communitarian dynamics.

Consoante aos estudos recentes sobre a lírica grega arcaica, hoje podemos aduzir a ocasião de performance como um elemento central para a definição de um gênero poético. A partir dessa concepção mais ampla de gênero, este trabalho visa à tradução e estudo dos fragmentos elegíacos de Tirteu, tendo em vista o caráter estritamente político de suas elegias narrativas e marciais e seus vínculos temáticos com a tradição épica, de modo que possamos ensejar uma reflexão outra sobre a função e estatuto dessa poesia em suas determinadas ocasiões de performance. / According to modern studies on archaic greek lyric, occasion of performance was a main feature to the definition of a poetic genre. Thus, this work seeks to translate and analyze the elegiac fragments of Tyrtaeus, considering the strictly political aspect of his martial and narrative elegies and its thematic resemblances with epic tradition, in order to raise a different comprehension on the function and meaning of this poetry, given its occasions.

Cette recherche propose de dresser le portrait de la production et de la diffusion des céramiques de style à bandes (waveline) produites en Égée du Nord aux périodes archaïque et classique par le biais de l'étude de matériel inédit recueilli sur sept sites de colonies grecques établies entre le Strymon et le golfe de Maronée et six sites de l'arrière-pays thrace. Elle vise à rassembler, au moyen de données archéologiques et archéornétriques, des informations sur les milieux de production, les réseaux d'échanges et les habitudes de consommation de la clientèle à l'égard de ces céramiques. Le volet archéologique vise d'abord à définir le répertoire des formes, des décors et des pâtes, puis à déterminer l'étendue et le cadre chronologique de la production. Le volet archéométrique porte sur des analyses physico-chimiques en laboratoire (spectrométrie de fluorescence par rayons X) visant à caractériser et à déterminer l'origine de 200 des 540 céramiques recensées. Le corpus est constitué d'échantillons mis au jour sur les sites d’Argilos, de Thasos, de Bergè et de Phagrès, quatre sites de Macédoine orientale. L'inédit de la recherche réside dans l'opportunité qu'elle offre aux archéologues de dater et d'identifier l'origine des céramiques à bandes nord-égéennes, entraînant du coup des répercussions directes sur les discussions portant sur les milieux de production, les réseaux de circulation et les relations interrégionales entre les différents sites étudiés. Considérée dans une perspective de circulation et d'échanges, l'étude des céramiques à bandes contribue à faire progresser l'état des connaissances sur l'histoire économique, culturelle et artisanale du nord de l'Égée entre les VIIe et IVe siècles av. J. -C. / This research aims to shed light on the production and diffusion of the Waveline style pottery made in the Northern Aegean during the Archaic and Classical periods based on the study of unpublished material recovered from seven Greek colonies established between the Strymon River and Maronea, and six sites of the Thracian hinterland. More specifically it seeks to gather information regarding workshops, trading networks, and consumption habits through typo-stylistical, distribution, and archaeometric analyses. The primary goal of this study is the detailed analysis of the finds according to their stratigraphic context in order to define the range of shapes, stylistic patterns, and clay fabrics of the ceramic series, and to establish diffusion patterns and chronology. A second objective, based on laboratory analysis. is to characterize the geochemical composition of 200 of the 540 identified vessels in order to determine their provenance (using X-ray fluorescence spectrometry). The corpus contains samples from Argilos, Thasos, Berge, and Phagres, four of the main site covered by this study. The novelty of this research lies in the opportunity it provides for archaeologists to date and identify more precisely the origin of the North-Aegean waveline pottery, leading to direct impact on discussions related to workshops, trading networks, and inter-relationships between the studied sites. Considered from the perspective of circulation and ex change, the study of the waveline pottery contributes to advancing knowledge on the economic, cultural, and social history of the Northern Aegean between the 7th and 4th centuries B.C.

Sediment samples were collected from 3 rock shelter sites and one natural pond on the Upper Cumberland Plateau. Samples were processed to quantitatively and qualitatively evaluate pollen and charcoal abundance as well as other palaeobotanicals. The analysis was to determine when prehistoric Native Americans began controlled burns to enhance resources acquisition. Samples were also analyzed for the presence of pollen to determine vegetation changes that may accompany the use of controlled burns and to determine the onset of horticulture. The Upper Cumberland Plateau is often considered a marginal area used only seasonally by Native Americans; however, management practices may have been highly refined to maximize resources acquisition. Results show evidence of overt land management and usage of the area by Native Americans over several thousand years. Remains indicate reliance upon nut producing trees. This reliance led to land management practices designed to maximize availability of said resources.

The purpose of this project was to record the private archaeological collection of the Keene family, which was previously unknown to the professional community. While at the two sites, Keene Redfield site (8Ja1847) and Keene Dog Pond site (8Ja1848), in Jackson County, northwest Florida, USF archaeologists also conducted field investigations to look for prehistoric cultural materials in undisturbed contexts. This research was conducted at the request of the Keene family. The field crew systematically documented, cataloged and photographed each artifact in the Keene collection while at the sites. Surface survey and testing were also carried out in order to determine site boundaries, occupation and function. Over 1,000 artifacts from every time period from the transitional Paleo-Indian/Early Archaic through the Mississippian were documented from the collection. Field investigations resulted in the location and investigation of undisturbed cultural strata below the plow zone, enabling the researchers to obtain radiocarbon dates from these deposits. Evidence of hunting and gathering activities and of tool processing including repair, sharpening and possible re-use was found at both sites. This work allowed for the publication of two previously unknown, rich archaeological sites and for a better understanding of the prehistoric activities and functions of this region of the southeast. While participating in this public archaeology project, several other similar opportunities presented themselves, providing USF archaeologists with the ability to maintain a presence in the area to continue public archaeology efforts to engage the community and encourage appropriate participation and good stewardship of these types of private sites.

Η παρούσα εργασία έχει ως θέμα τις συνθήκες ναυσιπλοΐας και την έκφραση του ναυτικού βιώματος στις ελληνικές περιοχές κατά την περίοδο μεταξύ των μέσων του 9ου και του τέλους του 6ου αιώνα π.Χ. Η βάση εκκίνησης της έρευνας ήταν τα ομηρικά έπη, ενώ για την επεξεργασία του θέματος χρησιμοποιήθηκαν αρχαιολογικά και γραμματειακά δεδομένα προερχόμενα από τη συγκεκριμένη εποχή, αλλά και στοιχεία σχετικά με το θέμα προερχόμενα από προγενέστερες ή μεταγενέστερες εποχές. Επίσης συχνά έπρεπε να ανατρέξουμε σε πληροφορίες προερχόμενες από περιοχές εκτός του ελληνικού κόσμου, ώστε να μπορέσουμε να σχηματίσουμε την αναγκαία γενική εικόνα εντός της οποίας έγινε η πραγματεία του θέματος. Αρχικά, εξετάζονται τα ναυπηγικά δεδομένα, με βάση γραμματειακές πηγές (κυρίως, την περιγραφή του τρόπου ναυπήγησης της σχεδίας του Οδυσσέα), πρωτογενή ευρήματα (ναυάγια) και απεικονίσεις ή ομοιώματα καραβιών. Στο δεύτερο κεφάλαιο εξετάζεται το ομηρικό λεξιλόγιο για τα καράβια: λέξεις για τη μορφή, το σχήμα, τα δομικά στοιχεία, την πλεύση με κουπιά και με πανί, τα συστήματα διεύθυνσης, τον κατάπλου, ώστε να σχηματίσουμε μια όσο το δυνατόν λεπτομερή εικόνα για τα πλοία της Ιλιάδας και της Οδύσσειας. Στο τρίτο κεφάλαιο, η έρευνα εστιάζει στο το φυσικό περιβάλλον εντός του οποίου έπλεαν τα καράβια της ομηρικής εποχής: καιροί, ρεύματα, μορφολογία των ακτών, ορατότητα• επιπλέον, θα εξετάσουμε τις στρατηγικές πλεύσης που καθορίζονταν από το φυσικό περιβάλλον. Στο τέταρτο κεφάλαιο προσπαθούμε να διακρίνουμε τα κίνητρα που οδηγούσαν τους ναυτικούς στην επιλογή της μίας ή της άλλης διαδρομής, καθώς και να εξετάσουμε κάποιες βασικές ρότες. Στο πέμπτο κεφάλαιο διερευνώνται οι γενικότερες αιτίες που οδηγούσαν τους ανθρώπους της ομηρικής εποχής στο θαλάσσιο ταξίδι. Τέλος, στο έκτο κεφάλαιο, και μέσα στο πλαίσιο του θαλάσσιου ταξιδιού, εξετάζονται είναι οι σχέσεις που συνδέουν τον Οδυσσέα με την Ιθάκη, καθώς και η θέση της Ιθάκης στην αντίληψη των ναυτικών της αρχαιότητας. / The subject of this dissertation is the conditions of navigation and the expression of nautical experience in Greek societies between the middle of the 9th and the end of 6th centuries B.C. The base of the research is the Homeric epic. The main tools of research were archaeological and literary data from this era; also, we used relevant complementary evidence from earlier and subsequent ages. From time to time it was necessary to use the informatory context of non-Greek societies, in order to enlighten some obscure points and construct the big picture of our subject. At first, we discuss the construction of a ship, using literary sources (mainly, the account of raft building, in the second book of Odyssey), archaic ship relics and ship images or clay models. In the second chapter, we discuss the Homeric nautical vocabulary: words for the shape, the form, the construction of a ship, the sailing, the rowing, the rudder, the rigging and the harborage. The natural environment is the subject of the third chapter; weather, sea currents, coastlines, visibility from the sea and in the sea; besides, we tried to figure out the navigation strategies of Homeric era sailors in this environment and in these conditions. Consequently, we attempted to discern and understand the motives of a sailor to follow a sea route and we try to describe some of these routes. In the fifth chapter, we discuss the main reasons of sea venturing in Homeric era. Finally, we tried to look into the links between Odysseus and Ithaca, as well as the place of Ithaca in Greek nautical cosmos.

Si les fouilles archéologiques menées depuis la fin des années 1960 ont enrichi nos connaissances sur Marseille grecque, la documentation relative à la période archaïque demeure restreinte dans le domaine des productions locales. L’artisanat de la sculpture est très peu représenté : seuls les quarante-quatre édicules en calcaire, trouvés rue Négrel au XIXe s. dans un même contexte, témoignent de l’activité d’ateliers locaux. Ces œuvres appartiennent à un type créé à Marseille à partir d’un modèle grec d’Asie Mineure, probablement introduit en Occident par les Phocéens, ou peut-être par d’autres colons ioniens, après 545 av. J.-C. : dans un naïskos (petit temple ou chapelle en grec), est assise une divinité féminine. Les études antérieures ont porté principalement sur l’identité de la déesse : plusieurs possibilités ont été envisagées avant que soit privilégiée l’interprétation comme Cybèle, mais cette attribution reste très controversée. La description et l’analyse de la série marseillaise sous tous ses aspects, pour la première fois présentée ici, offrent le point de départ d’une étude de l’ensemble des naïskoi à femme assise dans les cités phocéennes, ioniennes et éoliennes à l’époque archaïque. Pour comprendre les sculptures de Marseille, il est indispensable de retracer la circulation et les variantes du type depuis sa création à Milet, au plus tôt dans le 3e quart du VIe s. av. J.-C., jusqu’à son adaptation dans les cités de Grèce de l’Est et dans leurs colonies respectives. Malgré des différences stylistiques imputables aux ateliers régionaux et l’ajout, dans de rares cas, d’un petit lion, les naïskoi à femme assise forment un ensemble relativement homogène. / Although the archaeological excavations, carried out since the end of 1960’s, have substantially increased our knowledge on Greek city of Marseilles, our documentation on the Archaic Period remains restricted in the field of local productions. Sculture and its craft are poorly represented and the important series of 44 aedicules in limestone, found in the rue Négrel during the 19th century, still the only testimony for the existence of local workshops, which produced an iconographic type directly derived from a Greek model, created in Asia Minor, and most probably introduced through the Phocaeans – or perhaps by other groups of Ionian settlers – after 545 BC. These pieces of sculptures represent of small temple or shrine (naiskos in greek), within which a female deity is seated. The previous studies have focused on the identity of the goddess : several possibilities were envisaged before the interpretation as Cybele was privileges, but this attribution has raised a considerable debate. The present research is devoted to the analysis of this ensemble and more generally, to the study of aedicules with seated woman in the Phocaean, Ionian and Aeolian cities in the Archaic Period. As a matter of fact, the series from Marseilles can only be understood within a large-scale reflection, embracing the whole development of the type, from its creation at Miletus in the third quarter of the 6th century to its diffusion in the cities of Eastern Greece and in their colonies. In spite of stylistic differences attributable to regional workshops and of the addition, in a few cases of a small lion, the naiskoi with seated woman form a relatively homogeneous series.