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The “seeds of disease” theory that emerged in Europe during the Renaissance period was not an entirely novel concept at the time. Humans were aware of the contagious properties of certain afflictions long before it was possible for them to observe the microorganisms responsible for disease transmission, and ancient authors had already speculated about the existence of imperceptible creatures as a cause of illness. This thesis will show that through ancient literary works of every type permeates the recognition of disease contagion not only between humans, but also between animals of the same species, animals of different species and between humans and animals. Chapter One will examine cases of intra-species infection, beginning with those that do not specify precisely the manner in which the illness in question is passed from one being to another. Instances in which particular factors are noted as contributing to the spread of disease will also be presented, followed by examples highlighting the recognition of intra-species infection in animals. Chapter Two will address the three varieties of inter-species infection of which ancient people were evidently aware: zoonosis, anthroponosis, and xenoosis. Chapter Three will explore the prevalent belief among the ancients that uninterred corpses incited pestilences. Chapter Four will discuss ancient views concerning the contamination of drinking water, as well as cases of deliberate infection with disease— ancient precursors to bioterrorism. Chapter Five will feature numerous theories of ancient authors regarding the presence of disease-causing microorganisms in the air. A variety of literary evidence will be examined throughout this paper and will prove that there was indeed a pervasive knowledge of disease contagion in the ancient world. / Thesis (Master, Classics) -- Queen's University, 2013-09-09 09:27:06.882

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Thesis (doctoral)--Universität zu München, 1908. / Includes bibliographical references.

This thesis examines transformations of human characters into trees, stones, and water sources in Ovid’s Metamorphoses. The current climate crisis is partly the result of a view of nature as a passive object, or inert matter, that humans without consequences can exploit. Using primarily the ecocritical theory new materialism, this thesis is a study of how nonhuman organisms can be assumed to have agency in order to alter this view of nature. The characters in the Metamorphoses that transform have different forms of agency before and after transformation depending on the body they inhabit. With close reading of the transformations themselves and the portrayal of the characters after transformation, the thesis finds that the material reality of the body determines what a body can do. Thus, it is possible to use the Metamorphoses to do a contemporary ecocritical reading that shows how a narrative can portray nature and nonhuman organisms with as much importance as human organism. By understanding the agency of nature and find it to be an active subject instead of only an object, it can change the relationship humans have with nature to one that is less exploitative.

L'histoire de l'arboriculture en Grèce est encore mal connue et seuls la vigne et l'olivier ont bénéficié d'un intérêt de longue date. L'objectif de ce travail est de comprendre les processus de mise en culture des arbres fruitiers en Grèce entre le Néolithique et l'époque romaine. Pour ce faire, le matériel carpologique (restes de graines et de fruits) publié de 56 sites a été pris en compte dans une synthèse. Les mentions de fruits et de fruitiers ont été inventoriées dans les documents épigraphiques en grec mycénien et classique, ainsi que dans les textes d'auteurs antiques. Une étude de morphométrie géométrique a été réalisée sur les pépins de vigne et les noyaux d'olive archéologiques. La confrontation de ces sources révèle une évolution du cortège des fruitiers utilisés : vigne, olivier et figuier dominent à toutes les périodes, l'importance de certains fruits sauvages décroît après l'âge du Bronze et nouveaux fruits sont alors introduits. Les premières vignes domestiques apparaissent à l'âge du Bronze, tandis qu'une même forme sélectionnée d'olivier est présente du Bronze ancien à l'époque romaine. Les premières formes d'arboriculture (haies, lisières et parcelles en partie défrichées) sont complétées, au Bronze récent, par des plantations de fruitiers. De grands vignobles apparaissent à l'époque classique, et l'époque romaine voit se développer une agriculture plus spécialisée où le souci du rendement se fait jour dans les traités d'agriculture comme dans la recherche de nouvelles variétés de vigne et d'olivier. Enfin, le recours à des formes peu sélectionnées ainsi que l'intégration de fruitiers sauvages aux cultures se maintiennent jusqu'à la période romaine. / Little is known concerning the history of arboriculture in Greece; only the grapevine and the olive tree have been a subject of interest for a long time. The aim of this work is to understand how fruit trees were cultivated in Greece between the Neolithic and the Roman period. This is why published archaeobotanical data (seeds and fruits) from 56 sites were taken into account in our synthesis. A survey of all references to fruits and fruit trees in epigraphic documents (Mycenaean and classic Greek) and in ancient authors has also been achieved. Archaeological pips and stones were submitted to Geometric Morphometry. Our approach reveals how fruit trees were used from the Neolithic up to the Roman period; while the grapevine, the olive tree and the fig tree predominate ail the time, it is clear that the importance of certain wild fruits decreases after the Bronze Age as new others are introduced. The first domesticated grapevines appear during the Bronze Age while a single selected variety of olive tree is present from the early Bronze Age to the Roman period. The first manifestations of arboriculture concern woodland edges and partially cleared land plots, real fruit tree plantations appear during the late Bronze Age, at the latest. Extensive vineyards appear during the Classical period, while a more specialized agriculture aiming at maximum profit characterizes the Roman period, as testified by the works on agronomy and the search for new varieties of olives and grapevines. Despite the search for higher yields, the use of less selected domesticates and wild fruits remains a reality until the roman period.

This thesis discusses the differences in the descriptions of and the attitudes towards female courage in the literature of the Classical period. Male authors of this period wrote extensively of the martial and virtuous courage of men, andreíā, yet in some instances labelled courage instead as tólma or thrásos. Tólma and thrásos are even more commonly used in descriptions of female courage, audacity or rashness. How these three words could be used in relation to men and women is discussed, and the fundamental belief of the Classical period that women were not capable of courage is encountered. As courage was outside the nature, phúsis, of a woman, her actions were always more likely to be viewed as tólma or thrásos. To what extent the literature of the period can reflect the lived experience of the ancient Athenian is unknown. However, it is concluded that literary works both impact and are impacted by social and cultural values, such as the view that women should not or could not be courageous.

This thesis discusses the differences in the descriptions of and the attitudes towards female courage in the literature of the Classical period. Male authors of this period wrote extensively of the martial and virtuous courage of men, andreíā, yet in some instances instead labelled courage as tólma or thrásos. Tólma and thrásos are even more commonly used in descriptions of female courage, audacity or rashness. How these three words could be used in relation to men and women is discussed, and the fundamental belief of the Classical period that women were not capable of courage is encountered. As courage was outside the nature, phúsis, of a woman, her actions were always more likely to be viewed as tólma or thrásos. To what extent the literature of the period can reflect the lived experience of the ancient Athenian is unknown. However, it is concluded that literary works both impact and are impacted by social and cultural values, such as the view that women should not or could not be courageous.

La punition divine est un phénomène récurrent dans la mythologie grecque. L’hybris, commise par des individus vaniteux et orgueilleux aspirant à se comparer aux dieux ou même à se succéder à eux à la domination du Cosmos, provoque une série de châtiments atroces, imposés par les Olympiens à des hommes et à des femmes, à des humains et à des êtres mythiques, à des héros, à des rois et même à d’autres dieux sans discrimination. L’étude actuelle examine l’iconographie de divers types de châtiment divin dans l’art gréco-romain et la peinture occidentale (XVe-XIXe siècles). Elle analyse l’interaction entre les œuvres d’art et les sources littéraires antiques, médiévales et modernes, ainsi que les points communs remarqués entre les thèmes antiques du châtiment divin et certains épisodes bibliques ou chevaleresques. Elle se focalise enfin sur l’influence que l’iconographie de la punition divine antique a exercée sur la politique, la société et la religion aussi bien dans l’Antiquité qu’à l’époque moderne. / Divine punishment constitutes a recurrent phenomenon in Greek mythology. The hubristic behaviour of vain and selfish individuals, who aspire either to compare themselves to the gods or to succeed them to the domination of the Cosmos, provokes a series of atrocious tortures inflicted by the Olympians to men and women, to humans and mythical creatures, to heroes, kings and even to other gods equally.The present PhD study examines the iconography of a variety of types of Divine Punishment in the Greek and Roman art and the occidental painting (15th-19th centuries). It analyses the interaction between the various works of art and the ancient, mediaeval and modern literary sources. It pinpoints the resemblances between the ancient themes and certain biblical or chivalrous episodes. It focuses finally on the influence wielded by the iconography of divine punishment in politics, society and religion, both in Antiquity and in modern times.