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In the nineteenth century, Orientalism functioned as a Western tool for dominating and restructuring the perception of the Orient. In France, where Orientalism found favor amongst artists, Orientalist works were produced in the literary and visual arts to inform and control the narrative about the East. Influenced by the Napoleonic imperial conquests and an increased French presence in the East, Orientalism became an integral movement in the French visual arts. The relationship between France and the Orient was one of power and domination, which was mirrored in that between the French and the Blacks. As a part of the Western perception of the Other, the black individual had a unique role in nineteenth-century France. To be black in nineteenth-century French society was to be a second-class citizen. The existence of slavery, the increase in French ethnography, and racism in French society objectified the black individual, turning them into another symbol of French power and conquest. The exploration of this project will focus on the symbolic representation of the black body in nineteenth-century Orientalist visual art. As two separate areas of exploration in Art History, Orientalism and Race Theory have seen growth in scholarship thanks to contemporary interests in race and post-colonial theory. However, the overlap between the two subject areas is limited in research. Through the analysis of black figures in nineteenth-century Orientalism, we can discover more about the role of the Black individual with respect to European society and the Eastern cultures in which they existed. This research project explores depictions of Blacks in nineteenth-century Orientalist art to clarify their societal roles and explore the imbalance of social perception and representation in nineteenth-century French society. This project will reveal the truths hidden within the depictions of the black form.

Erotic tokens or the so-called spintriae leave little to the imagination. These coin-like tokens depict acts of love making couples with Roman numerals on the reverse. The tokens are believed to have been in use during the 1st century A.D. and is often attributed to the reign of Tiberius. The material examined in the thesis are the four spintriae from Uppsala University Coin Cabinet. Due to the specific characteristics, scholars have been questioning the function of the erotic tokens. The most accredited hypothesis is that erotic tokens was used as payment in brothels. The purpose of this thesis is to discern whether the erotic tokens had a monetary value in Pompeii. The study also aims to examine if the tokens were used as payment in brothels instead of contemporary currencies and as to why the reason for this could be. To be able to discern a purpose, function and value of erotic tokens, three analyses on the basis of graffiti, iconography and ancient literature are made.

Panatenaicas. Tradição, permanência e derivação. O que são ânforas panatenaicas? Depois de mais de duzentos anos de notícias sobre esse tipo de vaso, tal questão parece ingênua; entretanto, a avaliação atual indica uma série de inconsistências. Considerando a importância desse tipo de vaso para a pesquisa ceramológica, arqueológica e da história política, cultural e econômica, é devido retomar a questão: o que são ânforas panatenaicas? O objetivo, aqui, é discutir a caracterização do vaso panatenaico desde o debate arqueológico (a tipologia), passando pelo contexto da produção (a tradição artesanal) e de inserção primária e secundária (seu significado no festival e fora dele) e, por fim, pelas constantes citações feitas a eles em vários contextos, a partir de duas questões básicas: sua delimitação frente a objetos similares e seu significado na composição da premiação nas Grandes Panatenéias. A compreensão dessa trajetória na perspectiva diacrônica será baseada em alguns elementos tradicionais, sobretudo a produção derivada desse tipo de vaso. / Panathenaics. Tradition, permanence and derivation. What are Panathenaic amphorae? After two hundred years of reports about this type of vase, this question seems naïve; however the current debate shows some inconsistencies. Thus, given the importance of this type of vase to the research of Ceramology, Archaeology and Political, Cultural and Economic History it is important to go back to this question: what are Panathenaic amphorae? The aim of this research is to discuss the characterization of the Panathenaic vase starting at the archaeological debate (the typology) and examining the production context (the tradition of the craftsman), the primary and secondary insertion (its meaning inside the festival) and lastly, the many mentions of it, dealing with two basic elements: the delimitation of Panathenaic vase against pseudo-Panathenaic vase and its meaning taking part of the prize at the Great Panathenaia. The understanding of this process from a diachronic x approach will be based on traditional elements, especially the production derived from this type of vase.

This study looks at graffiti in Pompeii that seems to indicate male prostitution, to find out whether this activity occurred in antiquity and whether it was meant for both men and women. The hypothesis, which formed the basis of this study, was that male prostitution was just as common as female prostitution in the city of Pompeii. The information that has been relevant to this study is the one which helps us understand the Roman sexuality and sexual morality, Roman sense of humour and their opinions on prostitutes. To get an answer, both primary and secondary sources that deal with these various subjects have been studied and analysed. The information provided and the discussion of them have been divided thematically, where the first part deals with graffiti that indicates prostitution. The graffiti that mentions male prostitution is compared with the graffiti announcing female prostitution as a means to analyse it. Ancient texts that talk about submissive men are also discussed and analysed. Information about infamia and what effect it has on prostitutes in society follows in the next section, a discussion and analysis about the graffiti that appear to be insults is also to be found. Finally, we have informative texts about the Roman sense of humour, examples of this humour both in ancient texts and graffiti are discussed and analysed. All discussion and analysis have then come to confirm my hypothesis. Male prostitution was just as common during antiquity as female prostitution in the city of Pompeii, it was also meant for both women and men. Graffiti that suggests male and female prostitution does not differ significantly; ancient texts also mention women who take part in these sexual services. Graffiti that mentions male names together with a sexual service and a price are the ones we can state verifies male prostitution. Similar graffiti that excludes a prize is most likely an insult or a joke between two Romans. Further studies are required to be able to discuss and analyse the names that arise in the graffiti mentioning male prostitution.

Realizamos um levantamento e um estudo dos vestígios de santuários construídos nas apoikias do Ocidente, analisando aspectos referentes à sua organização física e inserção no espaço urbano e no território ligado a ele para, a partir daí, procurar entender a relação do culto religioso com esse espaço construído. O período estudado compreende o intervalo entre os séculos VII e III a.C., quando identificamos movimentos de expansão e retração na frequentação das áreas sacras estudadas. A compreensão em profundidade da dinâmica de instalação e uso desses santuários nos proporcionou um melhor entendimento de como a sociedade grega estruturava a religião no espaço e como esses lugares serviam como mecanismos políticos de posse e controle do território, usados pelos gregos para se estabelecerem nessas novas áreas já ocupadas por populações autóctones ou por gregos provenientes de outras regiões. / We conducted a research of the remains of sanctuaries in the Western apoikias, analyzing aspects related to their physical organization and insertion into the urban space and the territory attached to it, in order to understand the relationship of the religious worship to this constructed space. The chronological scope of the study is from VII to III centuries BC, a time frame when we identify movements of expansion and contraction in the utilization of the sacred areas studied. The deep understanding of the dynamics of installation and use of these sanctuaries gave us a better understanding of how Greek society structured religion in space and how these places served as mechanisms of political control and possession of territory, used by the Greeks to settle in these new areas already occupied by indigenous communities or by Greeks from other regions.

Whilst Roman architecture has long stood as a discrete branch of classical studies, investigated for its artistic merit and cultural importance, the technical details of Roman construction have only recently started to receive considerable attention. This thesis contributes to a growing trend in Roman scholarship, that of the investigation of the processes, materials, and technologies behind the Roman built environment. The most prestigious buildings of the Empire often remain the focus of many of these studies, and so this thesis turns to explore the use of more everyday buildings and building materials, seeking a Romano-British vernacular, and investigating the processes of construction, building material production, and transport. It is argued, through using theoretical calculations of building material quantities, that even for relatively minor constructions, considerations of building material supply must have represented highly significant economic and logistical investment. To comprehend fully the subject it is asserted that building materials should not be treated, as they often are, as disparate artefacts, divided by substance into stone, ceramic, mortar, metal, etc., but rather they should be considered as related fragments of a building. They require synthetic analysis, through which a far truer understanding of the incredible effort involved in construction in the ancient world can be gained. The built environment of Roman Oxfordshire, and the Roman building material assemblage from Dorchester on Thames, are used as case studies. Primary analysis of building materials is carried out using an integrated analytical approach, combining thin section petrography with scanning electron microscopy and energy dispersive x-ray analysis. The outcomes of these analyses are interpreted against a background of archaeological and historical evidence for construction and material supply, in both the Roman and later periods, in the region and beyond.

<p>This thesis aims to investigate and discuss the possibility for women in the early Christian church to make music, which in the ancient Roman society was something complicated. Afemale musician was looked upon as decadent and dissolute. This idea, in combination with the music ideals of the church influenced by the Neoplatonic movement, and the Pauline statement (1 Cor. 14:34-36), cast women to be completely prohibited in participating even in the psalmody during the service. My purpose is to discuss how this was looked upon in different Christian regions, using the church fathers as the main material source, since this has not previously been well documented or studied.</p>

This thesis aims to investigate and discuss the possibility for women in the early Christian church to make music, which in the ancient Roman society was something complicated. Afemale musician was looked upon as decadent and dissolute. This idea, in combination with the music ideals of the church influenced by the Neoplatonic movement, and the Pauline statement (1 Cor. 14:34-36), cast women to be completely prohibited in participating even in the psalmody during the service. My purpose is to discuss how this was looked upon in different Christian regions, using the church fathers as the main material source, since this has not previously been well documented or studied.

Etruscan art was greatly influenced by Greek art, which is especially apparent in the Etruscan funerary art. A common motif within Greek funerary art is the prothesis, the lying in state, which appears in Etruria during the sixth and fifth centuries BCE. However, the Etruscan scenes differ from the Greek scenes in that they portray a wider flexibility when it comes to gender roles. Women and men are not limited to gestures or positions within the scenes of prothesis. This in turn, along with other factors not discussed in this paper, has led to discussions of a more gender equal Etruscan society. Yet there is a specific gesture within the Etruscan scenes that is not found in the Greek material. The gesture in question, portrayed with both hands on the chest either in fists or placed one on top of the other, appears in other funerary art outside of the prothesis scenes. The aim of this thesis is to examine this gesture and its relation to gender and whether it is gender constricted. By analyzing and comparing funerary art limited to Chiusi and Vetulonia that includes the gesture, found in reliefs, statuettes as well as sculptures, this paper sets out to deepen our understanding of Etruscan gender roles. Since the material being examined is extremely restricted, the only thing an analysis of this size can determine is that there is indeed a gender constriction within the funerary art from the cities of Chiusi and Vetulonia, speaking to a possible wider occurrence within the entire Etruscan society. To delve deeper into the questions of gender roles and how they affect the Etruscan art, it is necessary to broaden the scope of material – both in form and origin.