Emotions differ between cultures, especially in their eliciting conditions, social acceptability, forms of expression, and co-extent of terminology. This thesis examines the psychological sensation and social expression of envy and jealousy in Classical Athens. Previous scholarship on envy and jealousy (Walcot 1978, Konstan and Rutter 2003) has primarily taken a lexical approach, focusing on usage of the Greek words phthonos (envy, begrudging spite, possessive jealousy) and zêlos (emulative rivalry). This lexical approach has value, especially in dealing with texts and civilizations from the past, but also limitations. These are particularly apparent with envy and jealousy in ancient Greece as: a) overt expression of phthonos is taboo; b) there is no Classical Greek label for sexual jealousy. Accordingly a different, complementary approach is required, which reads the expressed values and actions of entire situations. Building on recent developments in the reading of emotion episodes in classical texts, this thesis applies to Athenian culture and literature insights on the contexts, conscious and subconscious motivations, subjective manifestations, and indicative behaviours of envy and jealousy, derived from modern (post-1950) philosophical, psychological, psychoanalytical, sociological and anthropological scholarship. This enables the exploration of both the explicit theorisation and evaluation of envy and jealousy, and also more oblique ways in which they find expression across different genres. Topics examined include: 1. Aristotle’s analysis of the nature of phthonos and its relationship to other emotions; 2. the persuasion or manipulation of audiences using phthonos, both overt and masked, in Attic oratory; 3. the arousal of envy and moral indignation (as a ‘safe’ form of transmuted envy) by ‘Old’ Comedy; 4. phthonos scenarios and their destructive outcome in tragedy; 5. the nature of Greek sexual jealousy, especially as a gendered emotion in tragedy, and the use of tragic themes in other genres to manipulate audiences’ expectations.

This thesis examines the influences on the Stoics' development of their material principle. The thesis argues that the reasons for the Stoics' conceiving of a material principle as they did actually have their origins in metaphysical speculation rather than physics. While the natural philosophy of the Ionians, as interpreted by Aristotle and his followers, no doubt furnished the intellectual background for a persisting material substrate of all sensible change, it is in fact the concerns of Plato and his early followers with the non-sensible that exert the strongest influence on the Stoics. The thesis examines the concepts of space and matter in the Timaeus ultimately rejecting this work of physics as central to the development of Stoic thought on matter. Rather it is the metaphysical doctrines of Plato and his successors, and the use they make of an incorporeal matter, that exerted the greatest influence on the Stoics and their material principle. The interpretation of Platonic metaphysics argued for in the thesis, based on the Unwritten Doctrines and the Old Academy's teachings, challenges the majority opinion of the English speaking community; and as a result offers a novel understanding of the relationship of Stoicism to Platonic metaphysics. The thesis concludes that it is likely that the early Stoics developed their doctrine of a material substrate in the particular way they did because of the tendency in the Old Academy to simplify the doctrines of Plato. This simplifying tendency comes to a head in the early Stoics with the ultimate reduction of the Old Academic system of hypostases, making use of active and passive principles at various levels of reality, finally ending in one level of reality and a simple two principle system.

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This study investigates a special sub-section of the corpus of Greek magical papyri (PGM): the so-called Greek magical hymns, the metrical sections of PGM. In a corpus that is usually seen as a significant expression of religious syncretism and that shows strong Egyptian influence, these hymns were for long considered to be the ‘most authentically Greek’ contribution. My research focuses not so much on philology as on history of religions and aims at defining the nature of divinity displayed by these hymns according to its Greek or Egyptian origin. The most representative hymns are given a line-by-line commentary following an approach that takes into consideration language, style, religious concepts, and ritual practice. The methodology employed is to examine earlier Greek and Egyptian sources and religious-magical traditions with a view to finding textual or conceptual parallels, in order to determine which divine aspects can be ascribed either to a Greek or an Egyptian background. The collected data helps to answer questions such as: were the magical hymns composed in a Greek or Egyptian environment? Why were some Greek or Egyptian divine features preserved and others not? Can these reasons tell us anything about the mutual reception of the two cultures? The analysis, though expected to open a debate on the mechanics of assimilation, shows that at a conceptual level the nature of divinity described does not display any unambiguous trace of mutual religious influence. Contrary to the global religious trend, these hymns did not feel any urgency to escape the indigenousness of their deities, and were the expression of a world in which the theological incompatibilities between the Greek and Egyptian religions were far from being overcome. In spite of the apparent syncretism, Greek metre was used to convey two traditional and distinct religious imageries.

While Euripides’ women have attracted a great deal of attention in recent decades, it is now half a century since the last substantial monograph devoted to his male characters. The present thesis examines representations of manliness and male behaviour in Euripidean tragedy. It aims to revisit Euripidean men as characters in their own right, not simply as foils to powerful women, and in relation with ideals of manliness as expressed and experienced in fifth-century Athens. The Introduction is divided thematically into two parts. The first part deals with the emergence of Gender and Men’s Studies from the same theoretical thinking that shaped Feminist thought, and demonstrates how their rhetoric and ideas can be used in literary criticism. The second part uses the idea of masculinity as a cultural construct and focuses on the concept of ‚ideal masculinity‛ as promoted in ancient Greek sources. Four case studies constitute the four main chapters of the thesis, each one of them placing emphasis on different aspects of masculinity and male identity. Chapter 1 focuses on Herakles in Herakles, and deals with questions regarding his relation with femininity, gender balance of roles within the oikos, male domesticity and the existence of multiple definitions of manly courage. The second case study is Admetos; Chapter 2 demonstrates that in Alkestis courage is not necessarily synonymous with the male sex, while other positive elements of male identity such as propriety and hospitality are given prominence as equally important and praiseworthy. Chapter 3 focuses on Hippolytos and explores the implications of a narrow and distorted understanding of positive qualities such as sophrosyne and piety, which can place a man at odds with his familial and public role. Finally, Chapter 4 uses Jason in Medeia to highlight the ramifications of a failure to fulfill the male obligations to his oikos and its members.

Quintus scholarship has experienced something of a renaissance over the last decade. However, it is now seventy years since the last monograph that focused on the Homeric heroes of his epic (Mansur, 1940). It is time for a reappraisal and this thesis, which utilizes modern theoretical techniques and methodologies, seeks to meet this need. My study is predominantly concerned with the reception of the hero in Quintus’ Posthomerica, but I also use these receptions to explore Quintus’ epic poetics. Unlike Mansur, I explore not only Homer’s heroes but also heroes that did not feature in the Iliad, including the narrator himself. In my Introduction, I consider central questions relating to Quintus and his poem; for instance, who was he? when was he working? did he have access to the Epic Cycle? and did he engage with Latin literature? A brief summary of my thesis chapters is also included. The five chapters are sequenced in such a way as to suggest thematic developments in my study, and Quintus’ work. Each chapter begins with a character study of the eponymous hero, I then view the characters as signifiers – embodiments of centrally important ideas, regarding epic and beyond. Chapter I: Penthesileia - after exploring Penthesileia’s aristeia, I consider wider issues of women, gender and epic anomaly. Chapter II: Achilleus - I view Achilleus in action, as the model for other heroes and in reminiscence. Chapter III: Nestor – Nestor (with other gerontes, like Priam) becomes a paradigm for multiple meanings of ‘diminishment’, and traditional inter-generational degeneration is inverted. Chapter IV: Neoptolemos – Achilleus’ son challenges the negative portrayals which dominated the tradition and shows himself to be more than a worthy heir both to Quintus’ and to Homer’s Achilleus. Chapter V: Primary Narrator - Quintus’ Narrator reveals himself as poet-hero throughout. I explore his language, learnedness and character, as Neoptolemos’ heir.

This thesis examines the reception of Sophocles’ Antigone in Ireland from 1984 to 2004, in the light of the social and political developments that took place in the country during that period. Chapter 1 examines the textual elements of translation, as well as the different ways in which the mythic element of the tragedy and the characterisation are ‘translated’ in different versions. Chapters 2-4 explore particular dimensions of contextual significance: politics, religion, gender. Each chapter first offers a brief discussion of the relevant Irish circumstances, comparing and contrasting them with the socio-political context of Sophocles’ Athens. Then, it examines the extent, the degree and the different ways in which the translations reflect and engage with aspects of the writers’ contemporary reality. Chapter 5, finally, deals with the scenic representation of the plays as a different and complementary aspect of translation, looking at the degree and the ways in which the different stagings reflect the Sophoclean play, the translations in question and the larger social and political contexts of adaptation. Antigone proves to be a remarkably flexible medium for the expression of strikingly different social and political agendas over time. Overall the thesis finds that, while the writers of the earlier versions reflect through the Sophoclean tragedy the turbulent Irish society of the early 1980s, the writers of the turn of the millennium, living in a globalised era, and with a more settled Ireland, locate the reworking of the myth within a more international outlook. It argues however that the reworkings of Antigone produced in 1984 by Aidan Mathews, Tom Paulin and Brendan Kennelly - despite the significant differences between them - are more adventurous treatments of the original play than the ones produced later, between 1999 and 2004, by Declan Donnellan, Conall Morrison and Seamus Heaney. The thesis concludes that the new readings of the Antigone myth in Ireland after 2004 suggest that the potential of Sophocles’ tragedy within its Irish context is not exhausted yet.

This thesis considers how advances in optical network and optoelectronic technologies may be utilised in particle physics applications. The research is carried out within a certain framework; CERN’s Large Hadron Collider (LHC) upgrade. The focus is on the upgrade of the ”last-tier” data links, those residing between the last information-processing stage and the accelerator. For that purpose, different network architectures, based on the Pas¬sive Optical Network (PON) architectural paradigm, are designed and evaluated. Firstly, a Time-Division Multiplexed (TDM) PON targeting timing, trigger and control applica¬tions is designed. The bi-directional, point-to-multipoint nature of the architecture leads to infrastructure efficiency increase. A custom protocol is developed and implemented us¬ing FPGAs. It is experimentally verified that the network design can deliver significantly higher data rate than the current infrastructure and meet the stringent latency require¬ments of the targeted application. Consequently, the design of a network that can be utilised to transmit all types of information at the upgraded LHC, the High-Luminosity LHC (HL-LHC) is discussed. The most challenging requirement is that of the high up¬stream data rate. As WDM offers virtual point-to-point connectivity, the possibility of using a Wavelength-Division Multiplexed (WDM) PON is theoretically investigated. The shortcomings of this solution are identified; these include high cost and complexity, therefore a simpler architecture is designed. This is also based on the PON paradigm and features the use of Reflective Electroabsorption Modulators (REAM) at the front-end (close to the particle collision point). Its performance is experimentally investigated and shown to meet the requirements of a unified architecture at the HL-LHC from a networking perspective. Finally, since the radiation resistance of optoelectronic components used at the front-end is of major importance, the REAM radiation hardness is experimentally investigated. Their radiation resistance limits are established, while new insights into the radiation damage mechanism are gained.

The words of Medea or Alcestis may be the only thing we are left with. Yet it was not the only means Euripides had at his disposal to render them onstage; his dramatic toolkit included spatial staging. This aspect of his dramaturgy provides the lens through which I explore Euripidean tragedy and Euripidean females. The tragic female has been studied in depth in past and more recent scholarship, with vital insights gained. Nevertheless, what previous scholarship has rarely considered in any detail is the physical representation of the female (the particularities of her postures, movement, physical action and interaction) in physical and imagined dramatic space (what I term ‘female space’). My focus, both performative and gendered, falls on the staging techniques defining the female, explored against the background of fifth-century cultural values of original spectators. By combining analysis of theatrical features with readings of Euripidean females and plays, the thesis engages in a process of visualising female physicality in interactive theatrical space and exploring its thematic significance in the construction of character, theme, and action. An introductory chapter delineates my conceptual and methodological framework (theoretical background, approach, terms). Three case studies constitute the three main chapters: Helen, Iphigenia Taurica, and Andromache. In each of the chosen dramas, the female is placed away from home and homeland: in Helen and IT the Greek woman is displaced in foreign lands, in Andromache the non-Greek is transported into Greece. Dislocation to alien environments is the extreme form of the theatrical challenge to the female spatial experience; hence the need (and the choice) for special investigation. The examination of the different ways in which aspects of female experience are (literally) played out allows us to evaluate Euripides’ skill as writer and director from a new perspective.

My thesis aims to unite and elucidate the main themes of Euripides' Phoinissai, a late and highly sophisticated example of Athenian drama. After an introduction which establishes the main themes of the play and my general position on its substantial textual difficulties, the first chapter examines Phoinissai's rich intertextual background: Homer, fifth-century lyric, Sophocles, and in particular Aeschylus' Seven against Thebes. The second chapter focuses on Phoinissai's prominent political element, and how -and to what extent -the play reflects contemporary Athenian events. I analyse the play's relation to late fifth-century political and intellectual cultures, the nature and implications of power, the connections between the works of Euripides and Thucydides, and the extent to which the politics of the play can be considered allegorical or didactic. The third chapter is devoted to the city of Thebes, its functions and portrayals in tragedy, and especially to the scholarly contention that the city functions as an 'anti-Athens'. I see Thebes as functioning as any example of the 'other', and focus on the manner in which this examination of 'self' against 'other' reveals similarities as well as differences. , examine the presentation of Thebes specifically in Phoinissai as well as elsewhere in tragedy, such as Euripides' Supplices and Sophocles' Oedipus at Colonus. In the final chapter, on gender, I examine the unusually authoritative role of women in Phoinissai, which I see as being a good deal more complex than a simple inversion of male/female roles or stereotypes. I aim to show how the play's fractured gender dynamic is closely aligned with the theme of political upheaval and the conflict between private and public interests. Each chapter seeks to reach beyond the specific themes of the play and explore broader issues of the genre. Textual problems of the play are analysed in three appendices.