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Studien undersöker gudinnan Ate för att bilda förståelse för de antika grekernas föreställning om distribution av agens. Nära förknippade med Ate är Moirai (ödesgudinnorna) och Litai som Ates antites och dessa undersöks för en överblick över krafter som kan påverka en individs agens. För ändamålet används Homeros Iliaden och Odysséen samt Aischylos trilogi Orestien för att kunna följa hur religiösa gestalter skildras och utvecklas över tid. Materialet analyseras med textanalys utifrån perspektivet att religiösa uppfattningar påverkar sociala uttryck. Analysen beskriver de gudomliga aktörerna och redovisar skillnader i hur de skildras utifrån detvå författarnas tolkningar samt hur de mänskliga aktörerna påverkas av de skadliga handlingar de utfört och hur de uppfattas av sin omgivning. Resultatet av analysen visar att ingripande av Ate framkallas av individens bristande moral och det gudomliga hävdas för att göra en svår situation uthärdlig. Moirai hävdas på liknande vis och Ate ses som ett instrument för Ödets vilja. Litai lindrar skadan som Ate åsamkat. Utanför den trojanska cykeln upphör omnämnanden av Litai vilket förändrar Ates funktion. / The study examines the goddess Ate to understand the ancient greek view on the distribution of agency. Other deities closely connected to Ate are Moirai (the Fates) and Litai as the antithesis of Ate and these are examined for an overview of forces that can influence agency. For this purpose Homers Iliad and Odyssey are used along with Aeschylus Orestia to follow how the deities are depicted and how they evolve over time. The material is examined using textual analysis from the perspective that religious views affect social expressions. The analysis addresses how the deities were expressed and accounts for differences in depiction identified between the two authors along with how the actors are impacted by the damaging actions they’ve performed. The results of the analyses show that interventions by Ate are brought upon by an actor's own deficient morals and the divine is claimed in an attempt to make a bad situation manageable. The will of Moirai is claimed with a similar goal and Ate is wielded as an instrument for Moirai. Litai is used to mitigate the damage caused by Ate and their disappearance outside the Trojan cycle alters the very function of Ate.

Denna text diskuterar antagonistisk graffiti i Pompeji ur ett rumsligt perspektiv för att analysera spridningen av graffiti. Texten ämnar även att undersöka ifall det är vanligare att skriva förolämpande graffiti på specifika platser i staden. Ytterligare ett mål med uppsatsen är att undersöka ifall modern teoribildning kan bidra till en bättre förståelse av graffitins spridning genom disinhibitionsteorin. Antik graffiti jämförs med moderna beteenden online och kring graffiti. Graffitin verkar skrivas på platser där den är synlig av andra människor och den är vanlig på både privata och offentliga byggnader. Disinhibition kan vara en möjlig förklaringsmodell angående förolämpande graffiti orsakad av exempelvis anonymitet. / This text discusses antagonistic graffiti in Pompeii from a spatial perspective to analyse the spread of graffiti. The text also aims to study whether it is more common to write offensive graffiti in certain areas of the city. Another goal with this thesis is to study whether modern sociological theory can help understand the spread of graffiti through the disinhibition theory. Ancient graffiti is compared to modern behaviours online and around graffiti. Graffiti seems to be written in places where it could be seen by other people, and it is common on both private and public buildings. Disinhibition could be a possible explanatory model when discussing offensive graffiti caused by, for example, anonymity.

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.

The focus of this thesis is Roman bird-shaped glass vessels from the 1 st and 2 nd centuries AD. The vessels were containers for cosmetics and distinguished themselves from other types of unguentaria in that once they had been filled with cosmetic powder, the vessels were reheated and sealed shut by fire. The only way to extract the content was to break the tip of the bird’s tail; only then could the powder be sprinkled out. While ancient glass is a well-established field of research, studies concerning bird-shaped vessels are scarce. The present study, situated in Roman age Greece, is concerned with the sensory experiences that these objects evoked in their users and attempts to reflect the ancient lived experience of the vessels. In order to speculate on possible sensory stimuli, contextual aspects concerning where, why, and by whom these vessels were used are explored. Based on these contextual aspects, the bird-shaped vessels are studied in hypothetical scenarios where potential multisensory experiences are explored.

The purpose of this thesis project is to discuss and describe the transformation of the image of Roman Emperor through artistic representation and cultural demonstration. The ultimate goal is to determine why the presentation of the office changed so greatly. I have selected certain works of art depicting the first Roman Emperor, Gaius Octavian Caesar, best known as Augustus, and Justinianus, the greatest Roman Emperor. More than 500 years separates these two men, whose only connection, at first sight, is that both served as Roman Emperor. I will analyze each piece of art, discuss its history, determine what each piece represents and discuss the cosmetics of the Emperor in the work. Once both Emperors have been dissected artistically, I intend to answer the question of why the office of Roman Emperor changed so thoroughly over 500 years by observing cultural and world developments between the first and sixth centuries of the Common Era.

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The aim of this thesis is to analyse the meaning of instances of classical reception and uses of Antiquity within student clubs and societies at Stockholm University. The analysis is structured around a variety of factors, concerning the names and symbols of local student associations, as well as their social events and theatrical projects. There are notable differences to be found between societies targeting Classics students and those aimed at other student groups. Even though instances of classical reception are present in many different types of student associations, they take on a particular meaning for Classics students, who are more invested in the accuracy of the references than others. The theoretical framework of Swedish scholar Peter Aronsson is used to explain these differences. Furthermore, the study indicates that all student organisations are somewhat dependent on the classical tradition existent within academia.

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.

The excavation of the Sanctuary of Poseidon at Kalaureia in 1894 marks the beginning of Swedish archaeological fieldwork in Greece. During a couple of hot summer months, two philologists from Uppsala University, Sam Wide (1861-1918) and Lennart Kjellberg (1857-1936), worked in the sanctuary together with the architect Sven Kristenson (1858-1937), the Greek foreman Pankalos and around twenty local workmen. In 1997, the Swedish Institute at Athens began new excavations at the sanctuary. This thesis examines the beginnings of Swedish fieldwork in Greece. Within the framework of a cultural history of archaeology, inspired by archaeological ethnography and the New Cultural History, it explores how archaeology functioned as a cultural practice in the late nineteenth century. A micro-historical methodology makes use of a wide array of different source material connected to the excavation of 1894, its prelude and aftermath. The thesis takes the theoretical position that the premises for archaeological knowledge production are outcomes of contemporary power structures and cultural politics. Through an analysis of how the archaeologists constructed their self-images through a set of idealized stereotypes of bourgeois masculinity, academic politics of belonging is highlighted. The politics of belonging existed also on a national level, where the Swedish archaeologists entered into a competition with other foreign actors to claim heritage sites in Greece. The idealization of classical Greece as a birthplace of Western values, in combination with contemporary colonial and racist cultural frameworks in Europe, created particular gazes through which the modern country was appropriated and judged. These factors all shaped the practices through which archaeological knowledge was created at Kalaureia. Some excavations tend to have extensive afterlives through the production of histories of archaeology. Therefore, this thesis also explores the representations of the 1894 excavation in the historiography of Swedish classical archaeology. It highlights the strategies by which the excavation at Kalaureia has served to legitimize further Swedish engagements in Greek archaeology, and explores the way in which historiography shapes our professional identities.