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Au VIe siècle de notre ère, Choricios de Gaza est l’un des derniers représentants de la sophistique et de la rhétorique grecque de l’époque impériale et tardive. Successeur de Procope à la tête de l’école de Rhétorique de Gaza, Choricios est une figure essentielle à la compréhension de la culture de cette période. Connu surtout pour ses fameuses descriptions des deux églises de Gaza, Saint-Serge et Saint-Stéphane, pour son Apologie des mimes et son éloge funèbre pour Procope, Choricios de Gaza a longtemps été injustement ignoré par les chercheurs. Cette thèse propose la traduction française et le commentaire littéraire et historique de l'Éloge pour le duc Aratios et le gouverneur Stéphanos (op. III F./R) précédés par une riche introduction générale. Celle-ci aborde et développe le contexte de production de l'éloge et de la dialexis, la fortune et la réception du discours, la prosopographie des dédicataires, le genre littéraire, la structure et les circonstances de récitation, ainsi que la langue et le rythme de la prose. / In the VIth century AD, Choricios of Gaza is one of the last representatives of the sophistry and the Greek rhetoric of imperial and late period. Successor of Procope at the head of the school of Rhetoric of Gaza, Choricios is an essential figure in the understanding of the culture of this period. Known especially for his famous descriptions of both churches of Gaza, Saint Serge and Saint Stéphane, for his Apology of the mimes and his funeral oration for Procope, Choricios of Gaza was ignored for a long time by the researchers. This thesis proposes the French translation and the literary comment and the history of the Praise for duke Aratios and governor Stéphanos (op. III F / R) preceded by a rich general introduction. This one approaches and develops the context of production of the praise and the dialexis, the fortune and the reception of the speech, the prosopographie of the dedicatees, the literary genre, the structure and the circumstances of recitation, as well as the language and the rhythm of the prose.

The subject of this study is a number of women in the Latin Literature of the Augustan Age and Early Empire who used magic. Such figures occur in the following works: Virgil <I>Eclogue </I>8 (character not named), <I>Aeneid </I>4 (Dido and the priestess), Horace <I>Satire </I>1.8 and <I>Epodes </I>5 and 17 (Canidia, Sagana, Veia and Folia), Ovid <I>Amores </I>1.8 (Dipsas) and <I>Fasti </I>2.571 (an old woman performing rites to Tacita), Lucan <I>Pharsalia </I>6 (Erichtho), Petronius <I>Satyricon </I>(Proselenus and Oenothea) and Apuleius <I>Metamorphoses </I>(Meroe and Pamphile). The aim of the thesis is to understand first who these figures were and second why they existed in Latin literature. This requires first a study of the figures themselves within Latin literary tradition: there are nine main texts and they will be studied in order to see who the women were (age, social status), physical appearance, the activities they perform and the powers they attain through such activities. Secondly, it is necessary to see the debt of these aspects to both Greek literary tradition and to Roman social evidence. Previously most of the work on this topic has been in commentaries on these figures within literature, and some theorising on their reality as witches. Terminology is also important. The way in which the ancients understood these figures can be discovered not only in their physical portrayal, but in the Latin terms used to refer to them and what these terms meant. Equally care must be taken in translating such terms into English. On the whole scholars seem to use a variety of English words when referring to these figures, such as "witch", "sorceress", "magician" and "enchantress"; usually without precise definition. Of this group, "witch" is the most problematic as the term has several meanings, one of which implies complex social phenomena.

This Commentary seeks to elucidate the backgrounds and careers of the Emperors Galba, Otho and Vitellius, each of whom in succession briefly ruled the Roman Empire within the period June, A.D.68, to December, A.D.69. The origins and rise to prominence within the Roman state of the families of the Sulpicii Galbae, the Salvii Othones and the Vitellii are examined in detail and, in dealing with the individual Emperors themselves, an attempt has been made to assemble and comment upon virtually everything known about them. Within the period 68-69 the major concern has been with matters of chronology: the course of the revolt of Vindex in Gaul is analysed and a new timetable is proposed for events leading up to the battle of Vesontio; dates and a route are suggested for Galba's journey to and arrival in Rome; the background of the uprising of Vitellius is examined and the traditional account of this is destructively analysed; a detailed chronology is worked out for the latter part of the Principate of Otho and this, perhaps the most complex part of the thesis, seeks to incorporate and make sense of all of Otho's known actions in March-April, 69. The Vitellian invasion of Italy is examined in a similar manner and a framework is established for events up to Vitellius' arrival in Rome. In addition, the policies, appointments and relative success or failure of each of the Emperors are examined and commented upon. An attempt is also made to test certain current theories about the nature and interrelationships of the source materials underlying the extant accounts of this period.

This thesis presents a commentary on the first 253 lines of book 4 of Lucan's epic poem, the Pharsalia, and is split into four parts. Part one forms the main introduction, which outlines the methodology and focus of the commentary; there the question of Lucan's 'epicness' is posed, and the plus quam motif of the poem is related to the passage under discussion. Also contained in part one are sections on the structural format of the commentary, a review of particularly important scholarship, a brief discussion of Lucan's style, and notes on the text. The remaining three parts of the thesis form the commentary proper: each section of commentary is prefaced with an introductory discussion, which outlines key events and themes in that segment of the episode, and discusses Lucan's interaction with a particular type of literature. The introduction to part two is primarily concerned with Lucan's use and/or abuse of historical sources. It compares the version of the episode at Herda provided by Lucan with that narrated by Caesar in his account of the Civil War, and suggests possibilities for differences between the two (such as Lucan's characterization of Caesar). It then briefly outlines the other extant sources which refer to the Herda conflict. and considers the question of whether Lucan was responding directly to Caesar's account, or whether there may have been an intermediary source (such as Livy). The commentary on lines 1-47 follow. The introduction to part three assesses Lucan's response to didactic and philosophical texts. It argues that an underlying dialogue with Virgil's Georgics can be found throughout the episode at Herda, and that this intertextual relationship is established in order to contrast the destructive civil war behaviour of the soldiers with the productive agricultural activity which they could be undertaking. Another section of the introduction considers the similarities between Lucan's deluge scene and those found in Ovid's Metamorphoses and Seneca's Natural Questions. It proposes that Lucan alludes to the cataclysmic imagery of these texts in order to suggest a new world order, which is then undermined when the post-deluvian world is proven to be worse than that which went before. The commentary on lines 48-143 follow. The introduction to part four argues that Lucan deliberately underpins the fraternization scene with the imagery of love, sex and marriage, and that his decision to end the scene with a mass slaughter forms part of a wider concern linking sex, marriage and death within the Pharsalia. It assesses the importance of Concordia as a goddess in social, political and philosophical terms, and concludes that her presence may imply that the kinsmen are in some way participating in a pseudo-marriage ceremony. The commentary on lines 143-253 follow. The commentary demonstrates that throughout the Herda episode Lucan engages with a wide range of texts, and that his decision to respond to genres which are not 'traditionally' epic shows him both as an inheritor of Virgil and Ovid's style of multilayered epic, and as an author pushing the boundaries of epic poetics.

Plato appears to have used the genre of the philosophical dialogue in a unique way. It could be interpreted as philosophy with dramatic elements, or drama with philosophical arguments, or possibly a mixture of both. This has made it difficult for scholars to gain a clear understanding of Plato and his dialogues. To date, little attention has been paid by commentators to the dramatic and literary aspects of Republic Books II to X. This study has been inspired by the recent debates concerning the dramatic and literary aspects of Plato's dialogues and especially the debates concerning the connections between the philosophical, dramatic and literary aspects of these works. It attempts to add to the scholarship to date by carrying out a detailed investigation of the Republic as a whole, rather than focusing primarily on Book I. This enquiry considers the philosophical and dramatic role of the respondents and Socrates in the Republic. Particular attention is paid to the theme of uncertainty and problematising which runs through the dialogue in the different methods of enquiry adopted by Socrates and the respondents. The examples considered of the input from the respondents, especially Thrasymachus, Glaucon and Adeimantus, together with Socrates' reaction to these, alert the reader to some important connections between the philosophical and dramatic aspects of the Republic. These connections would not become evident from a study of the work from a purely philosophical or literary perspective. They help the reader to gain a broader understanding of the work as a whole and what message or messages Plato may have been trying to convey. They also suggest the need for caution in selecting a particular interpretation of the dialogue as a whole

This thesis investigates the presentation of Apollo in Greek tragedy. Apollo is chosen as a particularly important tragic god because of his uniquely high profile in extant plays, and because of the continuing critical debate over his characterisation. Existing approaches to studying the god figure will be challenged. Traditionally these often found a `negative' god but gave limited consideration to the fifth-century context and were often judgemental in terms of twentieth-century morality. Recent studies have been more nuanced and against a wider contextual base but have generally been limited to studying Apollo in a single play. There will be new emphases in the questions asked, focusing on how the Apollo figures are created in the texts, how these figures are experienced by an Athenian audience, and how and why Apollo's presentation changes through the fifth century. The methodology is new in examining Apollo across all extant tragedies in which he has significant textual presence; also in showing how we can relate Apollo's tragic presentation to a wide range of aspects of the socio-cultural and religious contexts. The figure of Apollo is thus seen as being constructed within both the dynamics of tragedy and the social and religious contexts of Athens, bringing internal and external together in the experience of the spectators. Apollo is found to have potential for certain kinds of problematic tragic treatment. His morality and effectiveness are questioned in the earliest extant plays, but representations of the god in tragedy continue to shift and develop through the fifth century, in the distinctive approaches of new tragedians, and in engagement with new aspects of the Athenian context. The approach in this thesis aims to add to our understanding of how Apollo, and religion, function in tragedy for the fifth-century Athenians for whom the plays were produced

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