In the past twenty years there has been a sustained theoretical challenge to issues of Roman identity in the western provinces. However, despite this body of work, the towns of Roman Britain are still primarily defined by the extent to which they embraced a set of supposedly Mediterranean urban features. This research uses the medium of water to thoroughly explore the reasons behind this approach and the disparity it has created in respect to studies of prehistory. While water is undoubtedly a thread of continuity in human settlement, scholars of the Roman period have been particularly concerned with outlining its urban utilisation as a sign of familiarity, or shared civilisation, between the Roman period and modernity. Subsequently, Roman era structures related to water (such as aqueducts, wells, bridges and bathhouses) have been portrayed as examples of a cultural advancement that was distinct from previous activity within the immediate landscape. This approach has therefore discounted the rich and powerful associations pertaining to water throughout the temperate European prehistory. Through analysis of twenty one of the most influential Roman towns of Britain, this thesis shows how local beliefs would have been an integral part of how one perceived and experienced urban water features. It will be emphasised that the entanglement between these associations and complex, but receptive, incoming cultural influences would have played a key role in creating hybrid waterscapes within these settlements. Fully acknowledging this complex cultural presence of water underlines how the experience of towns in Roman Britain was a product of a number of different perspectives; meaning these places cannot be fully understood without a careful consideration of local context.

This thesis offers three case studies of religious representations of the natural world in Strasbourg from 1510 to 1541 from the perspective of the interactive model of socioeconomic metabolism. This model proposes that long-term environmental instability will exert a negative effect on human/social biophysical structures and may provoke changes in the manner in which the natural world is represented within that culture. Although direct causation is impossible to prove due to the autonomous nature of the cultural sphere, this thesis suggests that the two case studies of early sixteenth-century religious reforms in Strasbourg indicate the presence of theological innovations that changed the conceptual relationship between faithful Christians and Creation, thereby offering an enhanced capacity for adherents to exploit the metabolic opportunities in their natural environment. Further, it suggests that these cultural developments were supported and strengthened in part by the stresses society experienced from the natural world. The thesis begins with a description of the natural environment in Alsace during the late fifteenth and early sixteenth centuries, with particular attention given to the weather from 1473 to 1541. These decades spanned the coldest years of the Spörer Minimum, itself the second coldest trough of the Little Ice Age. Although weather was the most dynamic and influential element of the natural environment during this period, the model suggests that long term stress from the environment may provoke re-conceptualization of the entire natural sphere of causation. Three religious perspectives are taken as case studies in the thesis to test the model: Roman Catholic, Radical, and Evangelical Christianity. They were created temporally and geographically in proximity, but offer different theological representations of nature. Tentative conclusions arising from their juxtaposition with each other and the climatic conditions suggest that the model is helpful to better understand the complex social and cultural changes during the Reformation. The first case study focuses on Die Emeis, forty-one sermons delivered by Johann Geiler von Kaysersberg in the Liebfrauenmünster zu Strasbourg for Lent 1509. By reading against the grain of these sermons delivered by a well-known and highly respected Doctor of Theology, an orthodox Catholic representation of the natural world and the appropriate human relationship with it is revealed. This chapter also includes information about pre-Reform society in Strasbourg and Alsace, in order to provide a basis of comparison for later developments. The second case study explores three sources known to be popular with Alsatian peasants from 1515 to 1525: astrologist Leonhard Reynmann's Wetter Büchlin, Ein Fast schon büchlin by Clemens Zyegler, a lay theologian from Strasbourg, and Article IV of the Twelve Articles which formed the foundation of peasant demands during the German Peasants' War. The third case study focuses on Hexemeron Dei opus, written by Strasbourg Reformer Wolfgang Capito. An exegesis of Genesis 1-11, Capito writes explicitly of God's creation of the world for human salvation. The aftermath of the Peasants' War in Strasbourg and Alsace are described here, as well as social initiatives in Strasbourg favoured by Reformers such as welfare reform and education. The model of socioeconomic metabolism suggests that following an extended period of material insecurity and social instability caused by environmental uncertainty, cultural agents will modify the representation of nature in order to render human colonization of the natural world more effective. While it is impossible to firmly attribute causality for developments in the religious view of nature to environmental stress, it can be shown that the weather during the decades at the eve of the Protestant Reformation repeatedly limited or removed adequate metabolic intake from those disadvantaged by an increasingly unequal society, contributing to social instability which culminated in the 1525 German Peasants' War. Representations of nature in the examples studied from the new religious movements removed layers of spiritual mediation between humanity and nature which had been and continued to be accepted by the Roman Catholic Church, specifically articulating views which encouraged greater exploitation of the natural environment. Those who rebelled are known to have strongly favoured the new theologies, indicating the possibility that part of the widespread support in Alsace for reformed and radical theology may have been due to the enhanced conceptual opportunities they provided for exploiting the natural environment.

Several previously overlooked questions related to ancient Greek dedicatory practices are investigated in this thesis. The main questions addressed are: how do the contexts of Archaic, Classical and Hellenistic votive miniature vessels inform us about the Greek cults in which they are used, and the transmission of such cults? What role did miniaturisation play in the sanctuaries and the rituals in ancient Greek society, and why miniaturisation? A number of supplementary questions accompany the main questions, for example, what did miniaturisation mean in the context of votive dedications in sanctuaries? This thesis aims to demonstrate that earlier explanations arguing that miniatures are simply and profoundly cheap substitutes for more expensive objects do not work well, since many of these small objects are carefully made and some are elaborately decorated, and would thus not have been cheaper, or less time consuming to produce compared to full sized objects. The chronological time frame of the thesis is limited to the Archaic to the Hellenistic period, and its core is three case studies with different themes and different geographical locations in focus (Kalydon, Olympia, Kombothekra, various sites in South Italy, and other sites for comparison). The thesis addresses also issues relating to, for instance, miniaturisation, imitation and models, the functionality, and non- functionality of small votive objects, agency, trade, and colonization. The study of ancient Greek dedicatory practices within the scholarship of Classical Studies tends to concentrate on votive statues, religious architecture, inscribed metal dedications, and stelai. Little attention has been paid to less extravagant dedications even though these groups of material have been found in abundant amounts in sanctuaries throughout Greece. Moreover, in those cases where this material has been published interpretation and thoroughly analyses are often lacking. As a result, this study makes important contributions to two large questions within Classical studies: how did the Greeks view their gods and how did the Greeks interact with the gods. Miniature pottery contributes to our understanding of ancient Greek ritual practice as well of specific rituals. The work presented in this thesis accentuates that miniature pottery’s material meaning and symbolic importance can no longer be dismissed.

This thesis investigates evidence for the cultural lives of domestic objects in Late Antiquity. As such, it focuses on objects as meaningful possessions, rather than their practical, utilitarian functions. In particular, this research seeks to reveal the personal meaning for domestic possessions and their sentimental, as opposed to economic, value. This is something that has either been ignored or mentioned only in passing and without further qualification in existing studies of late antique material culture. This research is underpinned by specific theoretical approaches from the disciplines of archaeology, art history and anthropology. Object biography, or the understanding that events in the lives of objects can affect their meaning and value, is key to this investigation and provides the opportunity to approach the material evidence in a novel way. It allows the direct comparison of previously disparate textual and archaeological sources to better understand the relationships between people and their possessions across a broad social spectrum. It also governs the structure of the thesis, which has chapters on heirlooms, gifts, and souvenirs – all of which are defined by an element of their biography, namely the context of their acquisition. The case study chapter also examines a generally ignored artefact type – the basket – bringing this undervalued example of domestic material culture to the fore. This thesis reveals that personal domestic possessions had the capacity to function as material vehicles for intangible thoughts, memories, and relationships. This function was known and exploited by the people of Late Antiquity in order to create and possess meaningful domestic objects of various types. It provides a new interpretation of domestic material culture that is different to more traditional studies of economic and social status. As such, it allows an understanding of how material culture transformed dwellings into homes during this period.

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This thesis explores issues surrounding Barbadian cultural identity in the post-colonial period. Emphasis is placed on the role of history in constructing cultural identity. Beginning with the debate involving the Lord Nelson statue which stands in the capital of Barbados, the question of negotiating post-colonial space is closely examined in the three case studies that form the body of the research. These are based on evidence gathered from both archival and secondary sources, as well as personal interviews. The case studies review the following: the history of the usage of the 'Little England' motto and its renewed use in the post-colonial period; the historical development of the community group known as the Landship, whose trademark is to wear naval livery and dance their naval manoeuvres during their parades; the history of the Harvest Home/Crop Over festival of the slavery and post-slavery periods, as well as the history of the modern street festival that it has become. The thesis argues that elements of the colonial discourse gain new life in the post-colonial period because of the struggle between the colonial narrative of History and the emerging new histories. It proposes that in this Barbados example, the performance culture has provided new grounds for advancing the process of decolonisation.

The purpose of this thesis is to provide a thematic analysis of the historical, political, and economic context of Seleucid portraiture, namely that on coins, but with reference to gemstones, seals, and sculpture where evidence exists. No attention has been given to the aesthetic value of such items, as has been the habit of art historians, as a great deal of the evidence analysed here consists of bronze coins. Nor is this work intended to be a catalogue, as technical information on coins has been well documented in the many catalogues in this field. The first chapter provides a general survey of the issue of autonomy and its relationship to the Seleucids, whether among the Greek poleis of Asia Minor or other autonomous areas of the Seleucid empire. This is followed by an obligatory discussion of the influence of Alexander on the Seleucids, which has been kept deliberately short due to the amount of scholarship already completed in this field. The issue of warfare and its effect on Seleucid iconography follows this. The first three chapters cover issues affecting Seleucid iconography, whether for legitimate kings or otherwise, which leads on to a chapter covering the Seleucid usurpers. The function of this chapter within the thesis is twofold; firstly, it introduces the concept of usurpation and its effect on the iconography of legitimate kings; secondly, it contains extensive discussion of the coinages of the individual usurpers. The next four chapters serve to analyse the variation of the royal image for legitimate kings, assessing the effect of autonomy, warfare, Alexander, and usurpation on the changing royal image. The kings discussed in the respective chapters were chosen on similarities of iconography and factors affecting this. The final chapter is a discussion on Seleucid female iconography, affected by many of the same factors as male portraiture.

This thesis investigates the role of arts practitioners in cultural policy activity, both as a general concern for cultural policy studies and in the specific arena of post-war cultural policy in Britain. In so doing it challenges a common perception that arts practitioners have no such involvement, and seeks to discover the extent and form of their activity. it explores the history of practitioners’ participation in cultural policy formation and implementation; what obstacles they have faced and how their involvement could be better facilitated; and, importantly, why it matters whether they are involved. These issues have remained largely unrecognised among cultural policy researchers. Part II of the thesis examines the subject through a case study of new playwriting policy in England. Drawing on unpublished primary documents, interviews, and observation, it pays particular attention to playwrights’ organisations and their history of self-directed activity. These organisations and other agencies concerned with theatre writing are embedded in networks which cross the boundaries of policy and creative practice. The thesis argues that arts practitioners can enhance their place in the policy process through their own actions, and that participation in these networks increases their opportunity for policy input and influence. Of key importance is the question as to why the involvement of practitioners in cultural policy activity is of any significance. The thesis puts forward the view that arts practitioners and their organisations can be seen as part of the fabric of civil society, and their participation in policy activity as contributing to the maintenance and enlargement of democratic life. It is, then, not a marginal issue, nor of concern to the arts alone, but integral to a wider debate about sustaining democratic engagement and the civic arena in the twenty-first century.

Scholarly interest in travel literature has increased substantially in recent years. However, there has been a lack of sustained, cohesive commentary on the journey motif in German Romantic culture, particularly its origins and manifestations in literature and philosophy. My doctoral research fills this gap through a philosophically- and historically-informed reading of German Romanticism. The thesis examines 1) the paradigmatic template of the literary journey established by Goethe in Wilhelm Meisters Lehrjahre, 2) metaphors of movement and mobility within the Idealist philosophy of Kant and Fichte and their role, 3) the manner in which these metaphors migrate into the theoretical and prose writings of Novalis, 4) Tieck’s notion of the sublime and its relevance for the Romantic journey, and 5) the late Romantic satirization of the journey motif within Eichendorff’s prose. Additionally, the thesis serves to show how philosophical discourse of the Enlightenment had reached something of an impasse in its use of the journey motif, with the subject unable to evolve and renew itself beyond the strictures of particular models of subjective cognition. The Romantics thought literary practice was to supersede philosophy and it was mobility in the form of the journey as both metaphor and process, which helped bring about this transition and created a flexible self-authoring and self- renewing model of the subject. The study also recounts a particular history of Romanticism which charts, via the history of the journey, the movement’s youthful idealism, the fear of the pitfalls of human subjectivity, and its eventual self-distanciation through parody.

This thesis will argue that the contemporary educational system of Cyprus denies young people opportunities to participate in the creation of their culture, which can provide the nest for the exploration and understanding of their individual and collective lives. Culture, in schools, is treated not as a dynamic process in which the young people can play the main role but instead as a static field of knowledge that should be studied and learnt. This approach, however, contradicts the same principles that were the foundations of the ancient culture that the young Greeks have inherited from the past whose performative and participatory nature ascribed to it a proactive and democratic public life that guaranteed everyone the right to speak and act. This thesis argues that the Greek young people of contemporary Cyprus should be entitled to participation in recreating and reconstructing the meanings and values of those stories that have inherited from the past and that bind them together as one people in ways that help them make sense of their contemporary private and public roles. The thesis argues that the myths of the past should be reinterpreted and repositioned again in the present to respond to the immediate social context of the young people in a participatory and democratic way so as to enable a progress of this culture and a connection between the past, the present and the future. The thesis shows that culture is under continuous reconstruction taking on the example of fifth century BC Athens where theatre and public life fed one another and developed to respond to the current socio-historical context of the time. Throughout, the thesis shows in what ways theatre can provide the means for the investigation of the inherent meanings in the myths of the past and also its significance in playing the role of the social agent that can enable transformation and progress. The thesis consists of an introduction, eight chapters and a conclusion. In the Introduction I identify the problem that exists in the contemporary educational system of Cyprus concerning the way that the field of culture is approached and present the conceptual framework that provides the foundation for proposing a new Theatre of Myth. Chapter one provides a critical reflection on and analysis of the oral culture of Homer to the democratic fifth century BC Athens and the birth of tragedy. Chapter two studies, both from the ideal and the material aspect, the social role of the Athenian tragic theatre and its polis during the fifth century. Chapter three seeks to base the arguments made in the thesis of the educational and political role of the fifth century theatre through a critical analysis of its form and content. Chapter four identifies and supports the principles of the proposed Theatre of Myth, drawing from the twentieth century developments in Modem Drama whilst chapter five shows how the Drama-in-Education tradition attempts to bridge the practices in the Modem Drama paradigm to come closer to the proposed theatre model. Chapter six provides the methodology followed for a pilot case study that attempts to transfer the Theatre of Myth into practice, which is the preoccupation of chapter seven. Chapter eight discusses and analyses the findings of the case study to inform the theoretical lines of the model of the Theatre of Myth. Some conclusions are discussed concerning the potential and the limitations of the Theatre of Myth in the end of the thesis.