In this thesis I explore how physical and socio-cultural factors interact to shape domestic architecture by analysing the form, layout, and construction of houses from Sicily dating from the Neolithic to the end of the Hellenistic period. This time range encompasses two primary domestic building traditions: single-spaced round houses that dominate from the Neolithic through to the end of the Late Bronze Age, and large, multiple-spaced rectilinear structures that characterise the Archaic period onwards. As such the domestic architecture of Sicily provides the opportunity to study not only two distinct ways of building, but also the dynamics within them and the changes that occurred as one evolved into the other during the Early Iron Age: a period of transition that is often studied in isolation or only in relation to the earlier or later context, rather than as an integral part of this island’s history. A critical analysis of building techniques and materials in the context of available resources and their material properties alongside local environmental conditions reveals correlations between the choice of materials, construction techniques, and topographical and climatic conditions, as well as the form taken by the building as a whole. Comparative analyses were also carried out of house size, form, and degree of subdivision within and between the building traditions. The picture presented shows an increase in total size and subdivision (despite the relatively stable size range of individual spaces within the houses) from the Neolithic to the Hellenistic period and implies a developing desire for options to separate people and activities. Finally, close diagrammatic studies of the layout and spatial organisation of the houses bring to light the structuring of these domestic spaces: the use of architectural features and artefacts to provide a sense of division in single-spaced buildings; greater layers of access and control of movement incorporated into the larger, rectilinear houses with their multiple spaces; and the arrangement of these to allow for the lighting of interior rooms. Combined with the results above, these reveal patterns in the development of building traditions on Sicily and how they relate to, encompass, and entangle the dynamic socio-cultural and physical parameters that make up the wider landscapes they are a part of: notions of identity and its formation and transmission, social structure and stratification, topography and climate, and material structural properties. Altogether this allows for the development of a deeper and more holistic understanding of the relationship between building and living, of how physical and socio-cultural parameters integrate and influence the construction of houses, and how these all come together in the building traditions that are both shaped by us and shape us.

Cette thèse propose une synthèse autour des différents rôles de la lumière et de l'obscurité dans les Argonautiques d'Apollonios de Rhodes. Ce sujet comporte une forte composante lexicale, qui fait l'objet d'une étude dans la première partie, où les vocabulaires de la lumière et de l'obscurité chez Apollonios sont comparés aux emplois homériques. Ce thème interroge également les catégories de l'espace et du temps dans la mesure où lumière et obscurité structurent la narration autant qu'elles la déstructurent et proposent un itinéraire placé à la croisée de la barbarie et de la civilisation, état d'entre-deux qui reflète bien les craintes de l'époque alexandrine. La dialectique de la lumière et de l'obscurité permet aussi de mettre en perspective la notion d'héroïsme placée au cœur de l'épopée : la brillance des armes homériques fait alors place à l'éclat de la séduction, arme principale de Jason dont la valeur se mesure surtout dans le domaine érotique. Ce transfert des valeurs traditionnelles de la lumière sur le plan masculin s'accompagne d'une affirmation des pouvoirs féminins en contexte nocturne. Une quatrième partie interroge enfin le statut littéraire des Argonautiques à l'aune de la dialectique entre lumière et obscurité : l'épopée au long cours dénigrée par Callimaque peut en effet être lue comme un recueil poétique de pièces autonomes et une galerie de tableaux correspondant aux canons de l'esthétique hellénistique. Le dieu Apollon, dieu de la lumière et de la poésie placé au centre de l'oeuvre d'Apollonios, se fait le porte-parole privilégié d'un auteur au nom si proche du sien et devient le destinataire d'une sorte d'hymne atomisé qui mêle célébration poétique et réflexions métapoétiques. / Through this thesis, we aim to prove the various roles played by light and darkness in Apollonius Rhodius'Argonautica. In the first part, a lexical study specifically explores the terms expressing the ideas of light and darkness, in comparison to the Homeric references. Our thematic also tackles the issue of the construction of space and time, a notorious one in the Hellenistic period. The epic's structure is indeed based on the light and darkness' duality, but the threat of darkness symbolizing chaos is never far from the Argonauts who constantly struggle with barbarians and on the contrary symbolize Greek enlightment and civilization. The light and darkness'couple also allows us to give a new perspective on heroism, which is a central issue in Apollonius'poem. Whereas Homeric warriors project martial light due to their armour's glistening, Jason appears as love-hero shining with his purple cloak, an Hellenistic artefact replacing Achilles'shield described in the Iliad. At the same time, we can observe a kind of empowerment on the feminine side during the scenes occuring at night. In the fourth and last part, light and darkness endorse a metapoetical value, as they build a new kind of epic, like a collection of brief literary pieces joined together by a common celebration of Apollo, god of both poetry and light. Apollonius'Argonautica can therefore be seen as a prefiguration of Philostratus'Imagines, as it is built around a succession of vivid poetical paintings.

Por se tratar de um gênero flexível, o epigrama pode ser analisado em conjunto ou sozinho, propiciando diferentes recortes e abordagens metodológicas. Estudos acerca do epigrama fúnebre geralmente analisam os poemas de acordo com temas afins focando nos mortos: guerreiros mortos, mulheres mortas no parto, mortos no mar dentre outros. No entanto, uma abordagem dos epigramas fúnebres com visão descentralizada do morto permite investigação mais ampla de outros temas. Desse modo, a presente tese partiu dos estudos de Giuseppe Giangrande, Francis Cairns e Alexander Sens sobre epigramas fúnebres que lançam mão de elementos simposiais no intuito de analisar a função de tais elemento e verificar de que maneira os simposiais presentes nos epigramas fúnebres se perpetuam ou se modificam. Para tanto, foram selecionados epigramas do livro VII da Antologia Grega que possuem léxico simposial e fúnebre e, a partir dos identificados, foram configurados três grupos: 1) os dedicados ao poeta Anacreonte, 2) os dedicados às mulheres bêbadas e 3) os dedicados aos homens bêbados. Nos epigramas dedicados a Anacreonte, pode-se constatar que os elementos simposiais resgatam sua poesia e a filiam aos epigramatistas por meio da transformação do espaço funerário e das relações entre o transeunte-leitor e o poeta. Nos poemas dedicados às mulheres bêbadas, o consumo do vinho e o enterramento próximo aos locais de produção dele ressaltam a mobilidade das anciãs, o distanciamento de seus familiares e o caráter cômico das mortas por conta da caracterização da bebedeira. Por fim, nos epigramas fúnebres dedicados aos homens bêbados, evidenciam-se a moderação e a imoderação diante do consumo de vinho. Em alguns, a moderação está alinhada ao conceito poético de composição. Em outros, o excesso de vinho causa acidentes retratados com tom cômico e que advertem o transeunte-leitor a não cometer os mesmos erros. Outro grupo de epigramas se vale das referências simposiais para criar enigmas ao transeunte-leitor. O último, por sua vez, é composto por epitáfios para filósofos mortos por bebedeira. Evidencia-se aqui a tensão entre a moderação e os ensinamentos filosóficos, permeados pelos tons anedótico e cômico. Sugere-se, portanto, que a presença de elementos simposiais adquire função distinta de acordo com o grupo de mortos. Isto posto, observa-se que os epigramas do corpus de diferentes séculos lançam mão de simposiais que passam a ganhar nuances distintas. Isso permite afirmar que os epigramas fúnebres com elementos simposiais perpetuam a tensão criativa entre a tradição e a inovação, conceitos debatidos por Marco Fantuzzi e Richard Hunter, para além do período helenístico. / Because it is a flexible genre, the epigram can be analyzed in groups or alone. It provides researchers with different possibilities of epigram grouping and methodological approaches. Studies on funerary epigram frequently analyze the poems according to related themes focusing on the dead: dead warriors, women dead in childbirth, dead in the sea among others. However, an approach to funerary epigrams which does not focus on the dead allows a broader investigation of other themes. Thus, the present thesis was based on the studies of Giuseppe Giangrande, Francis Cairns and Alexander Sens on funerary epigrams that use sympotic elements in order to analyze the function of such elements and to verify how the sympotic found in funerary epigrams continue being used of if they suffer modifications. In order to do so, we selected epigrams from Book VII of The Greek Anthology that display sympotic and funerary lexicon and, departing from the , three groups of epigrams were identified: 1) those dedicated to the poet Anacreon, 2) those dedicated to drunk women and 3) those dedicated to drunk men. In epigrams dedicated to Anacreon, sympotic elements recover his poetry and connect it to the epigrammatists by means of the transformation of the funeral space and the relationship between the passerby and the poet. In poems dedicated to drunken women, the consumption of wine and their burial near places of wine production emphasize the mobility of old women, their distancing from their relatives and the comic character of the dead women due to the characterization of their drunkenness. Finally, in the funerary epigrams dedicated to drunken men, moderation and immoderation are evident. In some, moderation is aligned with poetic composition. In others, the excess of wine causes accidents portrayed with comic tone. These epigrams warn the passerby not to make the same mistakes as the dead they commemorate. Another group of epigrams uses sympotic references to create charades to the passerby. The last group, in turn, is composed by epitaphs for philosophers killed by drunkenness. Here we see the tension between moderation and philosophical teachings permeated by the anecdotal and comic tone. It is suggested, therefore, that the presence of sympotic elements acquires a different function according to the group of dead. Thus, it is observed that, although the epigrams were composed in different centuries, the portrayed gain different nuances, which allows us to conclude that funerary epigrams with sympotic elements also reflect the creative tension between tradition and innovation, as debated by Marco Fantuzzi and Richard Hunter.

This dissertation identifies and addresses key issues in Septuagint lexicography using case studies from the Greek version of Judges. The first chapter outlines the state of the question on the textual history of Judges in Hebrew and Greek, and also presents my lexicographical method and related matters. Chapter two surveys the history of Septuagint lexicography. I demonstrate how data about the meaning of Septuagint vocabulary has been insufficiently or in appropriately derived, expressed, and/or documented. I also highlight debates over the nature of post-classical Greek and the language of the Septuagint, which has predisposed scholars against viewing the Septuagint corpus as part of post-classical Greek in general. By pointing out methodological flaws that have plagued Septuagint lexicography-as well as theoretical problems in a Hebrew-priority view of the language-I argue for a Greek-priority view that evaluates Septuagint vocabulary in light of contemporary sources and emphasizes the importance of documentary evidence. The following chapters provide case studies from Greek Judges that demonstrate the benefits of a Greek-priority view. Many cases of consistent vocabulary disagreement in the textual history of the book cannot be explained on the basis of the Hebrew text nor given the data available in current lexicons. Examination of post-classical Greek evidence demonstrates that the motivation for the language change is multifaceted, but clearly includes matters of style and semantics in Greek independent from the source text. Chapter three focuses on παρατάσσω and παράταξις; chapter four on παιδάριον, παιδίον, νεανίας, and νεάνισκος; and chapter five on ἀπάντησις and συνάντησις. Each chapter concludes by discussing the relevance of the evidence for Septuagint lexicography, the motivation underlying the revision of Greek Judges, and the potential of Septuagint vocabulary to inform Greek lexicography in general. Chapter six summarizes my lexical analysis and discusses the benefits of a Greek-priority approach and its value for Septuagint lexicography. I posit a time-frame for the translation and revision of Greek Judges based on linguistic evidence. I conclude by emphasizing the need for renewed efforts in Septuagint lexicography to incorporate literary and nonliterary post-classical Greek sources. To address this need, I provide several sample lexicon entries for words discussed in the preceding study.

Notre étude porte sur les animaux dans la littérature hellénistique. Nous avons volontairement choisi de travailler sur un vaste corpus afin de mettre en lumière les multiples représentations de l’animal apparaissant dans les textes de la période. La première partie de cette étude est consacrée à l’imagerie animale à travers laquelle les auteurs décrivent les caractères et les qualités de l’homme, exposant, dans une moindre mesure, les rapports analogiques entre les animaux. La deuxième partie s’attache à montrer les relations existantes, symboliques ou réelles, entre l’homme et l’animal. La mise en scène des animaux dans le récit traduit les pratiques et les modes de pensée de la société hellénistique vis-à-vis de l’animal. Quant à la dernière partie de cette étude, elle présente les tentatives d’objectiver les comportements et les qualités de l’animal. En ce sens, elle met en avant l’essor des écoles philosophiques et des sciences de la période par l’approche philosophique et didactique de la nature animale. Au fil des textes, la pensée hellénistique révèle la tension continuelle entre croyance et connaissance, entre représentations culturelles et « données scientifiques » sur l’animal. Si les auteurs conçoivent l’homme comme appartenant au continuum biologique animal, ils s’en démarquent par l’affirmation de sa supériorité d’un point de vue intellectif. / Our study focuses on animals in Hellenistic literature. We deliberately chose to work on a large text corpus in order to highlight the multiple representations of the animal appearing in the texts of the period. The first part of this study is devoted to animal imagery through which the authors describe the characters and human qualities, exposing, to a lesser extent, the analogue relationship between animals. The second part aims to show existing relationships, symbolic or real, between man and animal. The staging of the animals in the story reflects thepractices and ways of thinking of the Hellenistic society towards the animal. The last part of this study presents the attempts to objectify the behaviours and qualities of the animal. In that sense, it shows the rise of philosophical schools and sciences of the period by the philosophical and didactic approach to animal nature. In texts, Hellenistic thought reveals the continual tension between belief and knowledge, between cultural representations and "scientific data" of the animal. If the authors conceive man as belonging to the animal biological continuum, they stand out by the assertion of their superiority in an intellective perspective.

Este trabalho pretende discutir de que forma a noção de heroísmo foi abordada nas Argonáuticas de Apolônio de Rodes em oposição ao conceito de herói presente nos poemas homéricos. A análise se baseará na distinção entre as personagens Jasão e Héracles como exemplos de modos de atuação díspares e conflitantes no poema. A tradução dos livros I e n das Argonáuticas complementa o estudo. / This work intends to discuss the notion of heroism present in Apollonius Rhodius\' Argonautica in opposition to the concept of hero in Homeric poems. The analysis is based on the distinction between the characters Jason and Heracles as examples of different and conflicting ways of action. The translation of Argonautica books I and n complements the study.

Le moulage en terre cuite est un procédé de fabrication qui permet de reproduire mécaniquement des objets, à l’aide de matrices. Aussi, en tant que procédé technique, la coroplathie est un exemple de fabrication et de diffusion d’images en nombre.Ma recherche est centrée sur la construction d’une typologie des statuettes en terre cuite de l’époque hellénistique, et principalement celles qui datent des IIIe et IIe siècles av. n.è. en Italie.Celles-ci se caractérisent par un renouvellement iconographique des figurines génériques, sans attribut, dont les plus emblématiques sont les représentations de femmes drapées, appelées aussi « tanagréennes ». En effet, à partir du milieu du XIXe siècle, avec l’apparition sur le marché de l’art des figurines de Tanagra (vers 1870) et de Myrina (vers 1880), le sujet a commencé à attirer l’attention des amateurs d’antiquités puis des scientifiques. Longtemps collectionnées pour elles-mêmes, ces statuettes ont souvent été désolidarisées de leurs environnements archéologiques. En Italie, c’est en grande partie par des études rétrospectives des statuettes conservées dans les musées qu’on parvient aujourd’hui à reconstituer des assemblages et des contextes de découverte (votif ou funéraire). La documentation ayant servi de matière première à cette thèse est disparate. Elle est constituée de catalogues d’objets et de notices de sites éparses dans lesquelles les statuettes sont souvent sous-exploitées. C’est toute la difficulté de cette démarche : ces figurines en terre cuite, à la fois nombreuses, répétitives et souvent fragmentaires suscitent peu d’engouement ; la dynamique de recherche s’attardant davantage sur des lots d’objets mieux conservés ou identifiés. Dans un certain sens, mon travail tente de revaloriser le multiple tant du point de vue de l’artisanat que des usages de ces statuettes dans leurs matérialités religieuses.Le terrain d’enquête de cette étude est celui de l’Italie hellénistique, indépendamment des contextes culturels (italiques, grecs, étrusques, romains) dans lesquels l’historiographie a parfois eu tendance à enfermer la petite plastique en terre cuite. En dépit de leur nombre et de leur diversité, ou plus exactement en raison de ces facteurs, ces figurines restent assez mal connues.Dans ma démarche, j’ai tenté d’échapper aux classements iconographiques et techniques habituels. Ces types tanagréens, largement constitués de figurines féminines drapées mais aussi de quelques sujets mythologiques (Eros, Aphrodite, Athéna, Hermès…) qui par des jeux d’attributs superposés personnalisent ces figurines, ont été observés et analysés en fonction de leur forme et présentés selon une typologie morphologique. Celle-ci a été conçue dans la perspective de proposer une nouvelle grille de lecture et d’interprétation afin de construire des instruments de recherche mieux à même de s’adapter à ces objets dépourvus d’apparentes significations, enchevêtrés dans une sérialité des formes d’où émergent des singularités. La forme et ses variations sont au cœur du sujet, donnant lieu à des développements sur les principales échelles de production de ces figurines et sur l’interprétation des images qu’elles ont véhiculées en fonction de leur environnement topographique, historique et culturel. / Terracotta casting is a process of manufacturing that allows the mass production of objects with the help of molds. As a technical process, coroplasty is an example of mass production and diffusion of images.My research is focusing on building a typology for terracotta figurines of the Hellenistic era, more specifically the ones dating back to the 3rd and 2nd Centuries BC in Italy. These generic figurines, with no specific characteristics, feature a renewal in statuette iconography. The most emblematic ones usually represent women wrapped in veils, also called Tanagra figurines.Around the middle of the 19th century, with the apparition of figurines from Tanagra (circa 1870) and Myrina (circa 1880) on the art market, the statuettes began to catch the attention of connoisseurs, then scientists. Collected for themselves for a long time, these figurines have often been torn apart from their archeological environment. In Italy, thanks in great part to a retrospective study of the figurines preserved in museums, we are able to re-establish connections with groups and contexts of discoveries (votive or funerary figurines).The materials gathered for the documentation of this thesis are heterogeneous. It consists of artwork catalogues and notes from various sites where the figurines are often underexposed. The main complexity of this research follows thus: the terracotta figurines, both abundant and repetitive, often incomplete, arouse little enthusiasm; all the energy in research usually focuses mostly on the group of objects best preserved or identified. In a way, my work tries to reassert the value of numbers, as much from the point of view of handicraft as from the different religious functions of the figurines.Italy during the Hellenistic era is the field of investigation for this research, irrespective of cultural context (Italic, Greek, Etruscan or Roman) from which sometimes historiography has a tendency to confine small terracotta figures. Despite their number and variety, or rather because of them, these figurines remain largely ignored. My approach tries to break free from the usual iconographic typologies and technical classifications. I tried to observe and analyze the Tanagra figurines – mostly consisting of veiled feminine silhouettes, but also including some mythologicaltopics (Eros, Aphrodite, Athena, Hermes…) personalized through an array of superimposed attributes – taking into account their shape, and presenting them according to a morphological typology. This typology has been created in the prospect of offering a new frame of reference and interpretation, in order to build tools of research better fitted to these figurines, all lacking in apparent meaning, entangled in the serialization of its shapes, from which sometimes uniqueness emerge. The form and its variations are at the heart of the topic, leading to developments on main production scales, or on the interpretation of the images they conveyed depending on their topographical, historical and cultural environment.

Il presente lavoro tratta delle trasformazioni edilizie nell'area centrale del santuario di Tas-Silġ a Malta (presso la baia di Marsaxxlokk), con particolare attenzione alla fase tardo-ellenistica (fine II inizio I sec. a.C.). il luogo di culto fu frequentato a partire dall'età preistorica, e il lobo centrale del tempio, costruito nella fase di Tarxien dell'eneolitico maltese (3000 2500 a.C.), fu mantenuto anche durante gli interventi successivi. L'arrivo sull'isola di genti fenicie (fine VIII sec. a.C.) determinò importanti trasformazioni edilizie riguardanti il tempio e lo spazio sacrificale (VII VI sec. a.C.), la più importante delle quali fu la messa in opera del ground altar arcaico all'ingresso del tempio. L'ultimo degli interventi che modellò il volto del santuario fino alla sua trasformazione in chiesa cristiana fu quello tardo ellenistico. L'intera area del santuario venne racchiusa da un muro di delimitazione dotato di torri e lo spazio antistante il tempio fu monumentalizzato con la costruzione di una corte-peristilio con portici sui quattro lati, la cui ipotesi ricostruttiva è stata affrontata nella tesi attraverso l'analisi dei frammenti di decorazione architettonica conservati. / The present work deals with the architectonic transformations in the central area of the Tas-Silġ sanctuary in Malta (close to Marsaxxlokk bay), with special focus on the late-Hellenistic phase (late 2nd early 1st b.c.). The cult site had been attended since the prehistorical age, and the central lobe of the temple erected in the Tarxien phase (3000 2500 B.C.) of the Maltese eneolithic was maintained during the following transformations. The arrival of Phoenician people on the island (end of VIII century) determined important architectural transformations involving the temple and the sacrifical praecinct, (VII VI cent.), which most important was the construction of the archaic ground altar at the entrance of the temple. The last of the major works which modelled the sanctuary face, transforming it into Christian church, was the late-Hellenistic one. The entire sanctuary area is delimited by an enclosure wall with towers and the space in front of the temple is monumentalized with a peristyled court with porches on the four sides, which reconstruction hypothesis was developed in the present thesis through the analysis of the architectural fragments.

At least 64 shipwrecked stone transports have been discovered throughout the Mediterranean region dating primarily to the Roman period. Few have been excavated and even fewer have had more than scant hull remains recovered. None have been thoroughly examined with a focus on the construction of the vessel. Consequently, little is known about stone transport or the construction of stone transport ships from archaeological contexts or ancient historical sources. In 1993, on an Institute of Nautical Archaeology (INA) shipwreck survey along the western Turkish coast, the Kızılburun column wreck was discovered. At present, excavated ceramics suggest the date of the Kızılburun shipwreck lies in the first century B.C.E.; the Late Hellenistic period (323-31 BCE). Analyses of the marble consignment have revealed that the ship carried a primary cargo of architectural elements quarried on the island of Proconnesus. Subsequent investigations point to a likely destination of the ancient city of Claros on the Karian coast of Asia Minor (modern day Turkey). Between 2005 and 2011 excavations were carried out on the column wreck by an international team of archaeologists, INA staff members, and graduate students led by Donny Hamilton and Deborah Carlson, both of Texas A&M University. The 2005 excavation season produced the first, albeit scant, hull remains, with more timbers being recovered between 2006 and 2009. The most substantial hull remains were recovered in 2007 following the removal of the eight large marble column drums to a more remote part of the site. The intense weight and pressure exerted by the heavy cargo on the hull remains aided the preservation by creating an environment that was unfavorable for wood consuming organisms and other biological agents. Recording and detailed examination of the hull remains was conducted during the summer of 2008, fall of 2009, and fall of 2010. This thesis presents the analyses and interpretation of the Kızılburun ship’s wooden hull remains and copper fasteners. Additionally, after discussing the methods of recording and cataloging of the ship’s extant remains, I place the ship in its historical and technological contexts, demonstrating that it was of contemporaneously common dimensions and construction, as opposed to a more robust construction that is often assumed of ancient stone-carrying vessels.

This thesis is an examination of the role of architectural benefaction of the local elite on the urbanization of the Greek cities of Asia Minor in the Roman Imperial period, and its impact on the social status of the benefactor. While providing a theoretical framework for the nature of benefaction in antiquity and the pattern of architectural renewal of the Anatolian cities under the Roman influence, the thesis focuses on a single case study / the Hellenistic City Gate of Perge which was restored by Plancia Magna during the reign of Hadrian. After its renovation, the gate became an indispensible part of the urban activities of Perge and a source of pride for both the city and its donor. Hence, this study constitutes an attempt to investigate the involvement of Plancia Magna&rsquo / s architectural patronage within the Roman urbanization of Perge and also the transformation of the public persona of Plancia Magna in the center of the male-dominated Roman society.