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The Fractured Imaginary: Popular Thinking on Citizen Soldiers and Warfare in Fifth Century AthensPritchard, David Unknown Date (has links)
This dissertation establishes how different citizen soldiers were employed and evaluated in the imaginary of fifth century Athens and gives explanations why popular thinking on military personnel was organised in this way. In so doing it emerges that a particular citizen soldier figured in Athenian conceptions about many aspects of martial activity. Also, it has proven necessary to analyse several other conceptions concerning the waging of war in which military personnel strictly play no part because of their indirect but important influence on how this or that class of Athenian fighters was judged. As a result this study ends up throwing light on the ways in which fifth century Athenians conceived not only of citizen combatants but also of warfare in general. The dissertation begins by outlining the primary sources for the Athenian imaginary and its major characteristics. The numerous tragedies and comedies surviving from the fifth century are shown to be sure evidence for the imaginary and the funeral oration of the period to have had a vital role in the transmission of key elements of Athenian self-identity and their understanding of warfare. Although playwrights and public speakers were invariably members of the Athenian elite, the particular contexts in which they performed compelled them to take up and articulate the values and conceptions of their overwhelmingly non-elite audiences. The imaginary then had a decidedly popular character. It was also a sprawling cultural melange within which incongruous and even patently contradictory ideas could subsist side by side. The second part of this dissertation exposes that the citizen hoplite enjoyed a central and paradigmatic role in the popular thinking of fifth century Athens. It was only ever to the heavily armed soldier that poets and orators turned when they wanted to consider general aspects of warfare, the military obligations of citizenship, and gallant and fainthearted behaviour on the battlefield. The Athenian hoplite also served as the pivotal reference point for the marking out of age and gender distinctions within the city and of the differences in military morality between Greeks and barbarians. Critically, as the prevailing definitions of bravery and cowardice were modelled exclusively on the phalanx warfare of the hoplites, Athenian lightly armed troops, cavalrymen and perhaps even sailors with their very different modes of combat were judged one way or another to be cowardly. Yet the final part of this dissertation demonstrates that this normative status of the heavy infantryman in no way prevented citizen sailors from gaining recognition and positive evaluation of their metier and themselves in the Athenian imaginary of the fifth century. The citizen masses of this period saw their city as the major seapower in the Mediterranean and well understood that its formidable might and security rested on its navy. Fifth century Athenians also had a high regard of seamanship in general and great pride in the naval dominance of their city in particular. Indeed, superlative nautical skills were thought to be 'national' traits of the citizens of imperial Athens which they had enjoyed even in the esteemed age of the heroes. Contemporary citizen sailors themselves were also held to be the saviours of the city and were accorded extraordinary esteem and an exalted status if they perished at sea fighting for Athens. Finally, despite the fact that it directly contradicted their hoplite centred conception of bravery, fifth century Athenians firmly believed that fellow citizens serving as sailors could display gallantry in battle.
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Le roman policier grec (1953-2013) : les enjeux littéraires du genre policier en Grèce / Greek crime fiction (1953-2013)Marcou, Loïc 25 October 2014 (has links)
Contrairement à ses homologues occidentaux (le detective novel britannique, le roman de détection français, le roman noir anglo-américain, le giallo italien), le récit policier grec est une terra incognita pour la recherche universitaire.Cette thèse ambitionne de combler cette lacune en s’intéressant à un genre qui, plus que tout autre, a eu mauvais genre en Grèce. Les deux questions qui constituent le fil d’Ariane de notre réflexion tournent autour de l’hellénité du genre (existe-t-il un roman policier grec doté de caractéristiques intrinsèques ?) et de son évolution en diachronie (y a-t-il continuum ou rupture entre l’ancienne et la nouvelle production policière hellénique ?). Notre thèse est construite en trois temps. Notre première partie s’intéresse aux raisons de la naissance tardive du genre en Grèce et à son histoire sur six décennies, de 1953 à 2013. Notre deuxième partie se penche sur la poétique du nouveau roman policier grec (1995-2013) en prenant pour point de comparaison l’ancienne production policière hellénique (1953-1967), celle de Maris et de ses épigones : Chairopoulos, Kakouri, Marakis, Markakis, Papagéorgiou. Au cours de cette deuxième partie, il est surtout question de l’identité générique du nouveau « polar grec » (roman de détection, roman noir, thriller, « polar méditerranéen » ?), des personnages qu’il met en scène et de la thématique de la ville. Enfin, notre troisième partie ambitionne de montrer que le nouveau roman policier hellénique mène une investigation sur l’histoire, la société et l’identité grecques. Plus qu’à l’anatomie d’un crime, le lecteur assiste en effet, dans la nouvelle production policière hellénique, à l’anatomie d’un pays. / In opposition to Western crime fiction (British and French detective novels, American hard-boiled crime fictions, Italian giallo), Greek crime fiction is totally unknown in the field of academic research (both in Greece and France).This thesis aims to fill this gap by focusing on a literary genre which, more often than not, has been badly seen by the Greek literary establishment. The two questions which drew our attention revolved around the Hellenic dimension of the genre (is there something as such as Greek crime fiction?) and around the evolution of Greek crime fiction over time (is there a continuity or a major shift between former and recent Greek crime fiction?).Our thesis is divided into three parts. The first part focuses on the belated emergence of the genre in Greece and on the history of Greek crime fiction from 1953 to 2013. The second part analyses the poetics of recent crime fiction production in Greece (1995-2013), in comparison to the novels or short stories of Greek writers of the fifties and sixties (authors such as Yannis Maris, Christos Chairopoulos, Athina Kakouri, Andronikos Markakis, Takis Papageorgiou). In our second part, we also try to identify the genre in which Greek crime fiction expresses itself (detective story? Hard-boiled story? Thriller? Mediterranean Noir?). Finally, we analyse the main characters who appear in the plot and the theme of the city. The third part aims at showing that contemporary authors of Greek crime fiction lead an investigation on the history of Greece (and its society) and on Hellenic identity. In a nutshell, recent Greek crime fiction is more focused on the anatomy of a country than on the anatomy of a crime.
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Représentations et réalités spatiales de la péninsule argolique aux époques archaïque et classique : de l'espace des cités à celui de l'Argolide / Representations and spatial realities of the Argolic peninsula in the archaic and classical periods : from the space of the cities to the space of the ArgolisWeber-Pallez, Clémence 10 December 2016 (has links)
Cette thèse s’inscrit dans une démarche de géographie historique et d’histoire des représentations de l’espace dans l’Antiquité. Elle vise avant tout à essayer de combler une lacune de l’historiographie contemporaine, à savoir celle d’une définition spatiale de ce que recouvre le terme d’Argolide et des réalités auxquelles il renvoie aux époques archaïque et classique. Cette région, située au nord-est du Péloponnèse, n’apparaît proprement sous le nom d'Argolide, dans les textes littéraires, qu’à l’époque romaine. Une unité territoriale préexistait-elle aux périodes plus anciennes ? L’Argolide est-elle un territoire ou une région aux époques archaïque et classique ou n’est-elle qu’une construction historiographique des Anciens et des Modernes ? En partant de l’analyse des territorialités qui se sont exprimées à ces époques dans la péninsule argolique, nous nous interrogeons sur les représentations spatiales qui touchaient cet espace, pour comprendre s’il formait alors chez les Anciens une unité géographique. La péninsule argolique est parcourue de nombreuses identités, qui forment autant de territoires à des échelles variées (celles de la kômè, de la cité ou encore du territoire ethnique), sans pour autant avoir une identité propre et affirmée qui ferait d’elle un territoire. L’Argolide est le résultat d’une intervention active d’Argos dans le domaine des représentations : elle correspond non seulement au lot de Téménos, qui constitua le mythe argien territorial par excellence, mais aussi à l’association des domaines sur lesquels règnent Agamemnon et Diomède dans le Catalogue des Vaisseaux. L’Argolide regroupe donc symboliquement l’ensemble du nord-est du Péloponnèse. Entité mythologique dans l’imaginaire argien qui se diffusa dans l’ensemble de la Grèce archaïque et classique, l’Argolide est également une réalité tangible, puisqu’elle forme une véritable région aux époques archaïque et classique, c'est-à-dire un cadre propice aux interactions économiques, cultuelles ou culturelles. / This thesis follows the methodology of historical geography and of the history of spatial representations in Ancient Greece. Its main goal is to fill the gap in contemporary historiography, regarding the spatial definition covered by the term of Argolid and the realities to which it refers in the archaic and classical periods. The Argolid, located in the north-east of the Peloponnese, only appears as a region in literature during the Roman period. Did a territorial unit exist in earlier periods? Is the Argolid a territory or a region in the archaic and classical periods or is it just a histographical construct by the Ancients and Moderns?Starting from the analysis of expressed territorialities at these times in the Argolic peninsula, we study the spatial representations related to this space, in order to understand whether it formed a geographical unit for the Greeks back then. In the Argolic peninsula, many identities coexisted, which formed as many territories at different scales (those of kome, of the city or of the ethnic territory). Nevertheless, the peninsula did not have a clear and strong identity that would have made it a territory.The Argolid is the result of active interventions of Argos in the field of representations: it is linked not only to the lot of Temenos, which constituted the famous territorial Argive myth, but also to the association of the areas under the rule of Agamemnon and Diomedes in the Catalogue of Ships. The Argolid hence symbolically includes all the cities of the northeastern Peloponnese. Originally a mythological entity in Argives’ minds, which was later diffused throughout the archaic and classical Greece, the Argolid is also a concrete reality, since it forms a real region in Archaic and Classical periods, that is to say, a favorable environment to economic, worship or cultural interactions.
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La série Cn de Pylos: contribution à l'étude de l'économie de la Messénie à l'époque mycénienneGodart, Louis January 1971 (has links)
Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished
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La représentation du paysage dans la poésie et les arts visuels chinois et occidentaux / The Representation of Landscape in Occidental and Chinese Poetry and Visual ArtsFan, Jiani 04 November 2016 (has links)
Cette thèse consiste en une recherche sur la représentation du paysage dans les arts poétique et visuel, à partir d’un éclairage réciproque entre cultures occidentale (principalement française et antique) et chinoise. Notre recherche est inspirée par la définition canonique du paysage: le paysage est une portion de l'espace terrestre, représentée ou observée à l'horizontale comme à la verticale par un observateur. En conséquence, pour les chercheurs de la littérature moderne, c’est le surgissement de la notion de « sujet » qui engendre la notion du paysage dans son sens étymologique. En revanche, dans la poésie chinoise ancienne dont la syntaxe est nominale, l’être, comme prédicat dominant qui structure la vision du sujet vis-à-vis du paysage, est souvent absent. Le langage chinois reflète une perspective non-anthropocentrique du paysage en Chine ancienne. Une deuxième étude significative conduit à la révision de la conception canonique du paysage: Celle de l’art visuel et poétique ancien, qui permet d’écrire une préhistoire du paysage (les éléments naturels) et de proposer une théorie de l’émergence du paysage dans l’Antiquité. Cette tentative proposant la naissance du paysage dans l’Antiquité se distingue dès lors de celle qui la fait naître à la Renaissance. Je m’efforce d’esquiver « le grand récit » proclamant une vérité universellement valable, pour préconiser « les petits récits » qui précisent « les représentations localisées du domaine restreint ». J’ai choisi un certain nombre de thèmes fondamentaux concernant le paysage - le sublime, la Stimmung, les ruines et le vide -, que j’interroge sur des problématiques comme celle du lien entre sujet et objet, la conscience de l’histoire et le lieu de mémoire, etc. / This dissertation focuses on the representation of landscape in poetry and visual arts, with the reciprocal illumination of Western (mainly French and Antiquity) and Chinese culture. This research is inspired by the canonical definition of landscape that the landscape is a portion of space represented or observed horizontally or vertically by an observer. Accordingly, for researchers of modern literature, the emergence of the concept of "subject" generates the notion of landscape in the etymological sense. However, in ancient China, “be” as a predicate is often absent in poetry, especially in the nominal syntax. The Chinese language reflects a non-anthropocentric perspective of landscape, about which Stimmung and Qingjing (the emotion-landscape) deconstruct the notion of landscape structured by the “subject“. The Approach to the revision of the canonical landscape concept is to introduce the ancient visual art and poetry so as to write a prehistory as well as a history of landscape (natural elements) and to propose about the emergence of the landscape in Antiquity, even if I can not find a term corresponding exactly to the modern landscape. This attempt, proposing the birth of the landscape in ancient times, is different from the well-known claim that the landscape was born in the Renaissance. In this research, I try to dodge the "grand narrative" proclaiming a universally valid truth, but to advocate "small stories" that specify "localized representations of the restricted area." Thus, I chose four fundamental themes such as sublime, Stimmung, ruins and vide, so as to discuss the relationship between subject and object, consciousness of history and place of memory, etc.
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« Ὥσπερ τὸ θεοὺς εἶναι… » : étude des « petits » sanctuaires oraculaires en Anatolie romaineBouillot, Kevin 11 1900 (has links)
No description available.
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Oslněni helénským sluncem. Recepce antiky v české literatuře v letech 1880-1910 / Dazzled by the Hellenic Sun: Reception of the Classical Antiquality in the Czech Literature Between 1880 and 1910Čadková, Daniela January 2016 (has links)
The theme of the dissertation is the reception of the Classical Antiquity in the Czech Literature between 1880 and 1910. The aim was to analyse the ways in which Czech culture related to the Classical Antiquity in the period of increased concern with Classical topics, motifs and forms. The first, largest part, methodologically inspired by the demythicizing perspective of Vladimír Macura and Jiří Rak, concerns with stereotypical views of the Classical Antiquity particularly prominent in the contemporary discourse: the antithetical image of noble Greece and corrupted Rome, the topos of bright Hellenic Sun and clear Sky, the ideology behind the common opinion that Ancient sculptures were all white (and the reactions to the discovery that they were, in fact, polychrome), the topos of a Greek athletic body and its employment in the policy of the Czech sports movement 'Sokol' (Falcon), and last but not least the topos of a man unspoilt by civilization and living in accordance with the Nature. Separate chapters are also devoted to two then important intermediaries of reception, grammar schools and translation. In the second part, attention is drawn to the representation of the Classical Antiquity in dramatic plays by Jaroslav Vrchlický, especially the dramatic trilogy Hippodamie, and their reception in...
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<i>Priest of Wisdom</i>: A Historical Novel Studying Ancient Greek Culture through Creative WritingDorsten, Sara E. 07 May 2015 (has links)
No description available.
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Nástin dějin lidských práv do jejich všeobecné deklarace / The Outline of History of Human Rights to the Universal DeclarationPilátová, Lucie January 2015 (has links)
The thesis is focused on the history of human rights, and their evolution since the time of ancient Greece and Rome to the Universal Declaration of Human Rights of 1948. The aim of the work is to make reader acknowledged with major events which influenced the development of human rights. Described are the thoughts of philosophers and significant events that changed the course of development of human rights. There is depicted a situation in ancient Rome and Greece, the period of development of the Christian faith and the Middle Ages and significant modern milestones including French revolution and the emergence of Declaration of Human rights, the reign of Maria Theresa and her son Joseph II. who made o lots of reforms, or revolution of 1848 and finally the emergence of Universal Declaration of Human Rights of 1948.
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Ekon av det förflutna : En undersökning av den antika erotikens roll och tematisering i romanen och filmen Call Me by Your Name / Echoes of the Past : A Study of the Role and Thematization of Ancient Greek Eros in the Novel and Film Call Me by Your NameHall, Nina January 2019 (has links)
I den här uppsatsen utforskas André Acimans roman Call Me by Your Name (2007) och regissören Luca Guadagninos filmatisering av verket (2017) i relation till det antika begreppet eros (ung. begär). Det finns sedan tidigare en konstnärlig tradition i västvärlden att tillämpa antik tematik vid gestaltningen av manligt samkönat begär och för att åskådliggöra hur detta sker även i Acimans och Guadagninos respektive verk används i den här uppsatsen Platons Gästabudet (Symposion, ca 385 f. Kr) som en återkommande utgångspunkt i analysen. Utifrån ett urval tematiska inslag i Gästabudet, som alla anknyter till Platons övergripande behandling av begär ur ett filosofiskt perspektiv, riktas i det här arbetet uppmärksamheten mot hur dessa teman även förekommer i Call Me by Your Name, roman som film. Detta gäller inte minst Platons presenterade tanke att eros, under rätt omständigheter, har förmågan att leda filosofen mot upplysthet och förståelsen av en upphöjd och evig ordning. Utöver att visa på hur båda verken (som utspelar sig i relativt modern tid) genomsyras av denna antika begärstematik är ett annat mål med uppsatsen att genom en komparativ analys, och med ett genusvetenskapligt och queerteoretiskt perspektiv, blottlägga hur skillnaderna mellan romanförlagan och filmadaptionen påverkar bilden av den unge huvudpersonen Elio och dennes utforskande av sin sexualitet – även då bilden av sexualitet i en mer generell mening. Slutsatsen som den här uppsatsen leder fram till är att Acimans förlaga vid en första anblick framstår som mer utmanande i förhållande till en modern heteronormativ ordning (så som åskådliggjord av Judith Butlers heteronormativa matris) medan Guadagninos version – trots skildringen av samkönat begär i berättelsens centrum – innefattar mer konservativa indikationer. Samtidigt är de utmanande aspekterna i Acimans roman inte heller helt oproblematiska vid en andra anblick. I den mån Acimans skildring med hjälp av den antika tematiken gör motstånd mot moderna uppfattningar om sexualitet, begär och relationsformer leder nyttjandet parallellt till att andra diskriminerande och begränsande uppfattningar om kön, genusidentitet och könsmaktsordning snarare bekräftas inom berättelsens ramar mer än vad de utmanas.
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