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Xenophon of Athens probably did not write his Anabasis until thirty years or more after the events which it describes. This remarkable gap, taken together with the absence of a prologue, the presence of a number of prominent themes and authorial concerns, and the complex literary construction of the work, has made the task of explaining it problematic. Situating the text in the context of Xenophon's later life and wide-ranging literary output, in this dissertation I argue that apologia is the defining element in the work. Through his elaborate narrative structure and representation of his own character, Xenophon is defending himself, his social class, and his teacher, Socrates. In Books 5 and 7 (of 7) he is occupied with a rigorous defence of his conduct on the retreat, answering charges of deceiving the soldiers, hubris, corruption, and mercenary service, while in Books 3 through to 7, he is defending the memory of Socrates. For from the point of his introduction into the text at the opening of Book 3, following the decapitation of the Greek High Command at the Greater Zab River, Xenophon the character is acting as a pupil of Socrates would have done had he found himself in similarly dire circumstances. His actions, counsel, and moral bearing during the course of the retreat are a testimony to the value of his teacher's training, and powerfully undermine the charges of impiety and corrupting the youth levelled against Socrates in 399. At the same time, the outstanding leadership performance on the retreat of Xenophon's character reflects on himself as the historical figure behind the exemplar. By highlighting its different forms and bringing out its pervasiveness, the dissertation demonstrates that apologia is the major factor in the formation of the text.

The aim of this study is to determine and define the Persian Achaemenid style produced in the North-Western satrapies (imperial provinces) of Anatolia (modern Turkey) in the period of the Persian dominion of the area, roughly 550 - 300 BCE. The North-Western Anatolian satrapies are the II. nomos of Herodotus - Sardes, and Hellespontine Phrygia (the III. nomos). The roots of the Achaemenid style emerge from the rich artistic traditions of the cultures in the area of modern Iran influenced by Mesopotamian sources as well as nomadic handicrafts. The expansion of the Empire towards the Aegean resulted in extensive contacts with the creative expression of the Anatolian kingdoms and especially the Greek sphere. A unique style of luxurious ware, designated for customers of the local elite and Persian immigrants, is created. The depiction of the Persian court iconography is modified according to the local art-school customs. The clearest representation of the Achaemenid style is observed in the metalware production. The forms and designs of golden and silver vessels are specific. Despite their wide geographic distribution, the majority of the workshops were supposedly located in the area of modern Turkey. The production of jewelry and gems was most likely concentrated in the same workshops. The creative...

La thèse présente la première édition complète et commentée des textes de l'archive de la famille Gallabu, une archive provenant de la ville d'Ur, au sud de la Babylonie. Il s'agit d'une famille de prébendiers-barbiers qui ont laissé la plus longue archive privée du Ier millénaire avant J.-C. Les documents de l'archive s'étalent sur 260 ans et couvrent les périodes néo-babylonienne, achéménide et hellénistique. La thèse présente une réflexion sur la nature de l'archive des Gallabu et étudie l'histoire particulière de la famille et de son patrimoine. La famille des Gallabu est placée par la suite dans un contexte politique et socio-économique plus large pour étudier de différents aspects de la vie socio-économique des notables urbains à Ur au Ier millénaire avant J.-C., la seconde ville méridionale la plus importante à cette époque. / This work presents the first complete and annotated edition of the texts from the Gallabu family archive, from the city of Ur in southern Babylonia. It is a family of prebendaries-barbers that left the longest known private archive in the first century BC. Documents of the archive cover over 260 years and include Neo-Babylonian, Achaemenid, and Hellenistic periods. The thesis provides an insight into the nature of the Gallabu archive and examines the history of the family and its heritage. The family of Gallabu is considered within a political and socio-economic context in order to study different aspects of the socio-economic life of the urban elite of the city of Ur in the first millennium BC, the second most important city in southern Babylonia at the time.

De la conquête de Cyrus II en 547 av. J.-C. à celle d'Alexandre le Grand en 334 av. J.-C., l'Asie Mineure occidentale a fait partie de l'empire achéménide. Les Grecs d'Asie ont donc vécu pendant plus de deux siècles en contact avec des populations perses, qu'il s'agisse des satrapes ou des membres de la diaspora impériale venus s'installer dans les régions conquises. Cette proximité géographique a donné lieu à de très nombreux échanges institutionnels, culturels et personnels. Cette thèse s’intéresse à la diversité des relations ayant existé entre les membres des deux communautés. Elle s'efforce de montrer de quelle manière deux peuples souvent présentés comme des ennemis héréditaires ont vécu dans un même espace géographique. / Western Asia Minor was part of the Achaemenid Empire from the conquest of Cyrus II (547 B.C.) to that of Alexander the Great (334 B.C.). Thus, during more than two centuries, Asian Greeks have lived in touch with Persians, either satraps or members of the imperial diaspora who settled in the conquered regions. This geographical closeness gave rise to a number of institutional, cultural and personal exchanges. This thesis explores the variety of relationships having existed between members of the two communities. It seeks to show how two peoples traditionally presented as enemies actually cohabited in the same geographical space.

Les empires néo-assyrien et perse achéménide qui ont conquis le Proche-Orient au 1er millénaire av. J.-C., ont eu un besoin constant en équidés. Ces animaux sont non seulement utilisés dans les cadres militaires et cynégétiques, mais ils apparaissent également lors des défilés. Objets de prestige et convoitise, ils représentent une part importante des tributs livrés aux rois conquérants. Victorieux, les souverains ont orné les murs de leurs palais de bas-reliefs narrant leurs hauts faits. Les équidés, tant domestiques que sauvages, y occupent une place centrale. Ce travail doctoral propose une étude iconographique centrée sur la figure de l’équidé afin de procéder à un déplacement analytique qui permet d’appréhender les images impériales sous un autre angle. Ainsi, après avoir enregistré et décrit formellement les équidés, nous avons procédé à diverses analyses précises des détails de leur figuration. Les résultats attestent notamment du caractère réaliste et naturaliste des représentations, qui permet de renforcer l’adhésion des observateurs. Ces figurations prennent part au discours politique et idéologique véhiculé par les reliefs car elles développent un langage visuel spécifique qui montre une armée disciplinée, invincible et victorieuse, à l’image du monarque qui la mène. Enfin, les équidés apparaissent dans les scènes de défilés, leur pas assuré et digne ajoute encore à la gloire de celui vers lequel ils se dirigent : le souverain. / Neo-Assyrian and Achaemenid empires that conquered the major part of the Near East in the 1st millennium B.C., had a constant need for equids. These animals are indeed not only used in military and hunting actions but they also appear during parades. Prestigious objects, they represent an important part of the tributes delivered to the conquering kings. Victorious, the rulers adorned the walls of their palaces with reliefs recounting their deeds. Equids, both domestic and wild, appear to be central in these images. This doctoral thesis proposes an iconographic study centred on the equids figure in order to carry out an analytical displacement that allows imperial images to be viewed from another angle. Therefore, after having recorded and formally described the equids, we proceeded to several precise analyses of the details of their figuration. The results attest in particular to the realistic and naturalistic aspect of their representations, which makes it possible to enhance the support of the observers. These images take part in the political and ideological discourse conveyed by the reliefs because they develop a specific visual language that shows a disciplined, invincible and victorious army, just like the monarch who leads it. Finally, the equids appear in the parades scenes, their confident and dignified steps add once more to the glory of the one they are heading for: the king himself.

L’objet de cette étude est de réexaminer l’histoire de la famille de gouverneurs perses qui ont détenu l’office de satrapes de Phrygie Hellespontique sous l’Empire achéménide aux Ve et IVe siècles avant J.-C., et d’évaluer leur influence sur la sphère politique égéenne et anatolienne. Étant donné que l’étude des Pharnacides n’est pas seulement une étude généalogique, mais qu’elle comporte des questions d’ordre politique, il nous faut distinguer leur rôle de satrapes de l’histoire de leur famille. Nous traitons donc dans un premier temps les origines des Pharnacides. Ensuite, nous présentons une chronologie des satrapes de Daskyleion, traités sous l’angle politique. En troisième partie, il est question de mettre en avant les caractéristiques des détenteurs de l’office satrapique de Daskyleion. Enfin, la dernière partie a pour but de présenter ce que nous avons pu déduire sur la notion de famille chez ces notables perses et de mettre en avant la place des femmes, tout en présentant un épilogue de leur destin après la chute de l’Empire achéménide. / The purpose of this study is to reexamine the existence of the family of Persian governors, who were in charge as satraps of Hellespontic Phrygia in the age of the Achaemenid Empire in the Vth-IVth C. BC. and to assess their influence on Egean and Anatolian politics. As the examination of the Pharnacids is not only a genealogical study, but includes also political topics, it is necessary to distinguish their role as satraps from their family history. Accordingly, the first part addresses the origins of the Pharnacids, followed by a chronology of the satraps of Dasykleion from a political point of view. The third part exposes the permanent and recurrent features among the titleholders of the satrapy of Daskyleion. Finally, the last part presents our conclusions on the notion of family among the prominent Persians and focuses on the role of women, and it ends with an epilogue on the family’s fate after the fall of the Achaemenid Empire.