In der vorliegenden Dissertation werden fünfzehn griechische Papyri der Berliner Papyrussammlung zum ersten Mal ediert. Die Papyri veranschaulichen verschiedene Aspekte des sozialen, administrativen, wirtschaftlichen und kulturellen Lebens im griechisch-römisch-byzantinischen Ägypten zwischen dem 3. Jh. v.Chr. und dem 7. Jh. n.Chr. Sie wurden durch Ausgrabungen oder Ankäufe des Ägyptischen Museums Berlin in verschiedenen Ortschaften Ägyptens erworben. Die Dissertation gliedert sich in drei Hauptteile, die den unterschiedlichen Textgattungen der edierten Papyri entsprechen: ‚Literatur‘, ‚Wissenschaft‘ und ‚Dokumentarische Papyri‘. Im ersten Teil ‚Literatur‘ werden zunächst die wichtigsten Merkmale der homerischen Papyri dargelegt. Es werden in erster Linie der Beitrag der Papyri zur textkritischen Rekonstruktion der Ilias und der Odyssee sowie die besondere Stellung Homers als Bezugspunkt der griechischen kulturellen Identität in Ägypten besprochen. Daraufhin wird ein Papyrus mit Resten der Odyssee XIX ediert. Im Teil ‚Wissenschaft‘ wird ein spezieller Bereich der antiken Medizin, die Pharmakologie, anhand von drei Papyri mit medizinischen Rezepten dargestellt. Anschließend werden elf dokumentarische Papyri präsentiert, die neue Belege zur Untersuchung von spezifischen Kernproblematiken des griechisch-römisch-byzantinischen Ägyptens liefern und Aspekte des alltäglichen Lebens des Landes beleuchten. Jeder Papyrus bringt neue Belege für Wörter, Ausdrücke, Konzepte oder Dokumentarten zu Tage, die Anlässe zu weiteren Forschungen innerhalb der Papyrologie, aber auch der Alten Geschichte und der Klassischen Philologie bieten. / The dissertation presents the first edition of fifteen unpublished Greek papyri preserved in the Egyptian Museum and Papyrus Collection in Berlin. The papyri illustrate various aspects of the social, administrative, economic and cultural life of Graeco-Roman-Byzantine Egypt from the 3rd century BCE until the 7th century CE. They were acquired by the Egyptian Museum in Berlin through excavations or purchases from various sites in Egypt. The dissertation is divided into three main sections, which correspond to the different typologies of texts edited: ‘Literature’, ‘Science’ and ‘Documentary Papyri’. The first part, ‘Literature’, opens with a brief excursus on the Homeric papyri, which focuses in particular on the papyri’s contribution to the reconstruction of the ancient text of the Iliad and the Odyssey and discusses the central role of Homer as a point of reference for the Greek cultural identity in Egypt. The excursus provides a framework for the first papyrus edited in the dissertation, which contains parts of Odyssey XIX. The second part, ‘Science’, deals with papyri of medical content, focusing especially on a particular area of ancient medicine: pharmacology. This section presents the editions of three medical papyri containing recipes for various scopes. The third part contains editions of eleven documentary papyri, which shed light on specific aspects of everyday life in Greco-Roman-Byzantine Egypt. Each papyrus provides new attestations for words, expressions, concepts and types of documents, which could be helpful for further research not only within the field of Papyrology but also of Ancient History and Classical Philology.

This thesis is a narratological study of Nonnus of Panopolis' Dionysiaca, focussing on the figure of the narrator whose interventions reveal much about his relationship to his predecessors and his own conception of story-telling. Although he presents himself as a follower of Homer, whom he mentions by name in his poem, the Dionysiaca are clearly influenced by a much wider range of sources of inspiration. The study of narratological interventions brings to light the narrator's relationship with Homer, between imitation and innovation. The way he renews and transforms epic narratorial devices attests to his literary skills as he strives for ποικιλία in his poem. His interventions hint at sources of inspiration other than Homer, such as lyric poetry, historiography, and didactic epic. Another innovation is the way the narrator intervenes not to draw the narratee's attention to the contents of his text, but to underline his own role as story-teller. Some interventions signal a change in tone or the integration of another genre; the expected proems and invocations to the Muse become spaces for a display of ingeniousness, a discussion of the sources and a reflection on the role of the poet. The efforts made by the Nonnian narrator to renew well known devices also denotes his mindfulness of his narratee, whom he involves in the story through metaleptic devices, or by drawing on a shared cultural background to enhance the narrative with allusions to extradiegetic references. The study of narratorial interventions proves that the Dionysiaca were not written only in an attempt to recreate a Homeric epic, but are a compendium of influences, genres, and myths, encompassing the influence of a thousand years of Greek literature.

Από τις εμφανίσεις φαντασμάτων στην αρχαιοελληνική λογοτεχνία, άλλες παρουσιάζονται ως ιστορικά γεγονότα, όπως οι εμφανίσεις φαντασμάτων στον Ηρόδοτο, ενώ άλλες υπηρετούν τους σκοπούς του δημιουργού, ενσωματωμένες σε αμιγώς λογοτεχνικά έργα. Η έρευνά μας, επικεντρωμένη στην δεύτερη ομάδα, εξετάζει επιφάνειες φαντασμάτων στον Όμηρο και την αττική τραγωδία, συγκεκριμένα δε αυτές του Πατρόκλου (Ἰλ. Ψ 59-108), του Δαρείου (Πέρσ. 598-842), της Κλυταιμήστρας (Εὐμεν. 94-139) και του Πολυδώρου (Ἑκ. 1-58). Η επιλογή των συγκεκριμένων περιπτώσεων υπαγορεύεται αφενός από την προαναφερθείσα κοινή λογοτεχνική φύση τους, και αφετέρου από την ομοιότητα στα χαρακτηριστικά των σκηνών, δηλαδή των συνθηκών εμφάνισης (χρόνος, χώρος, κατάσταση του ζωντανού δέκτη), της όψης και της συμπεριφοράς των φαντασμάτων (άυλη εμφάνιση, διατήρηση της μορφής, γνωστικό επίπεδο των φαντασμάτων) και της λειτουργίας τους ως λογοτεχνικών χαρακτήρων. Ειδικότερα, ως προς τις συνθήκες εμφάνισης παρατηρείται ισχυρή σύνδεση των φασματικών χαρακτήρων με την νύχτα και τα όνειρα, με την μοναχικότητα του ζωντανού στον οποίο εμφανίζονται, ενώ ο τόπος της εμφάνισης καθορίζεται σε μεγάλο βαθμό από την ευχέρεια που παρέχει στο φάντασμα να επιτύχει την ικανοποίηση των αιτημάτων του. Αναφορικά με την όψη και την συμπεριφορά τους, η έρευνα αποκάλυψε ότι, παρά την άυλη φύση τους (γνωστή ήδη από τους ακυρωμένους εναγκαλισμούς Αχιλλέα-Πατρόκλου στην Ἰλιάδα και Οδυσσέα-Αντίκλειας στην Ὀδύσσεια), οι ψυχές των νεκρών διατηρούν την μορφή του ζωντανού εαυτού τους, ενίοτε φέροντας και τα θανατηφόρα τραύματά τους. Κατά παρόμοιο τρόπο, η συνομιλία μαζί τους εκτυλίσσεται συνήθως σε φυσιολογικές συνθήκες, σαν να πρόκειται δηλαδή για ζωντανό, με εξαίρεση την άγνοιά τους για ορισμένα γεγονότα του Επάνω κόσμου, κυρίως για όσα έχουν συμβεί κατά την παραμονή τους στον Άδη. Τέλος, το αίτημα του φαντάσματος για ταφή ή εκδίκηση εις βάρος του δολοφόνου του (παράμετροι που καθορίζουν σε μεγάλο βαθμό την εμφάνιση), αποσκοπεί στην αποκατάσταση της τάξης (όσον αφορά το ίδιο το φάντασμα και την διαχείριση του νεκρού σώματός του) και, συνεπώς, προωθεί την πλοκή. / Of the appearances of ghosts in the ancient Greek literature, some are incorporated in historical works (such as in the work of Herodotus), whereas others are part of sheer literary works. Our dissertation focuses on four instances from the second category: the ghosts of Patroclus (Iliad 23.59-108), Darius (Aesch. Persae 598-842), Clytemnestra (Aesch. Eumenides 94-139) and Polydorus (Eurip. Hecuba 1-58). The selection of these instances is not only based on their literary context, but mainly on the correspondence on the matters of conditions, in which they make their appearance, on their look and behaviour and, finally, on their function. Particularly, it seems that there is a close connection between ghosts and the night and dreams, as well as with the loneliness of the living person, who meets them. They also seem to appear in places that facilitates the fulfillment of their demand. As for their look, despite their insubstantial nature (known already from the Iliad and Odyssey), the ghosts maintain the appearance of their body, in the case of the biaiothanatoi bearing the wounds, that caused their death. Their knowledge of the Upper World varies, as they sometimes ignore facts, which have happened after their death. Finally, their demand for burial or vengeance against their murderers aims to the instauration of order and, because of its importance, advances the plot.

Submitted by Maria Dulce (mdulce@ndc.uff.br) on 2013-12-10T19:19:01Z No. of bitstreams: 2 Moraes, Alexandre-Tese-2013.pdf: 1460095 bytes, checksum: 28893aa06b1b9adf4801d415211d5388 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2013-12-10T19:19:01Z (GMT). No. of bitstreams: 2 Moraes, Alexandre-Tese-2013.pdf: 1460095 bytes, checksum: 28893aa06b1b9adf4801d415211d5388 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013 / Conselho Nacional de Desenvolvimento Científico e Tecnológico - CNPq / Esta tese busca analisar as concepções relativas às diferenças etárias no mundo de Homero (séc. X ao IX a.C.). Através da Ilíada e da Odisseia, observaremos os fatores intervenientes que contribuiram para o desenvolvimento dessas concepções, a influência das mesmas na construção dos comportamentos e papeis sociais atribuídos às personagens e as maneiras pelas quais as idades da vida se tornaram decisivas para a organização da vida social no mundo representado por Homero. O conceito de habitus etário, proposto com base na perceptiva sociológica de Pierre Bourdieu, permite-nos demonstrar a importância que os aedos associam ao curso de vida como fator de produção e reprodução das estruturas sociais. Defendemos que as idades com que as personagens são caracterizadas atuam de modo decisivo para a compreensão de seus espaços de atuação, permitindo assim a análise dos sistemas de valores vigentes no período. / This thesis intends to analyze the conceptions of age differences in the Homers’ World (1000-900 BC.). Through the Iliad and Odyssey, we aims to observe the intervenient factors that contributed to development of this conceptions, its influence in the construction of behaviors and social roles associated to the characters and the manner which the ages of life became important to the social organization of the world represented by Homer. The concept of age habitus, based on the Pierre Bourdieu’s sociological perspective, allow us to show the importance that the oral poets associated to the length of life as a factor of production and reproduction of the social structures. We defend that the ages in which the characters are described is a decisive way for the comprehension of the acting spaces of them, allowing the analysis of the valor systems available in this period.

Cette thèse se propose d’étudier l’expression du mouvement dans la poésie grecque ancienne et plus particulièrement le lien qui unit la mort au mouvement de chute dans la poésie homérique. La question du mouvement apparaît en filigrane dans toutes les études qui se préoccupent de la mort en Grèce ancienne et de ses différentes représentations. À travers non seulement différentes expressions métaphoriques, mais aussi via la chute des corps sur le champ de bataille, la chute de certains objets et le plongeon de différents personnages, le mouvement illustre la mort ou son imminence. Loin de figurer seulement le plongeon de l’âme vers les Enfers, le mouvement de chute figure aussi un large éventail d’états émotionnels et s’avère un moyen efficace d’exprimer des états altérés de conscience, par exemple le passage entre la vie et la mort, le sommeil, la folie et l’ivresse, mais aussi des émotions d’une grande intensité telles que la colère, la douleur et la tristesse. Cette utilisation du mouvement de chute dans la poésie grecque s’exprime dans l’imaginaire poétique, mais également dans les pratiques rituelles recensées dans la poésie homérique. En effet, dans l’Iliade, le mouvement de chute, qui apparaît dans la libation, le serment rituel et les rites funéraires, ne signifierait pas seulement la mort, mais dans certains cas, la mort sans inhumation. Cette découverte nous permet de poser un regard nouveau sur les pratiques rituelles du poème qui mettent en lumière la véritable volonté des Achéens, explicitée au chant 3 (Il. 3. 276-301). Celle-ci consisterait non seulement à tuer les hommes et les enfants, et à mettre les femmes en esclavage, mais aussi à abandonner les corps de leurs ennemis aux éléments et donc de leur refuser l’inhumation, ce qui pose problème dans le contexte religieux de la Grèce ancienne. Le mouvement de chute, à travers le geste de projection, exprime une menace que le public grec devait parfaitement comprendre et qui s’avère centrale pour l’ensemble de l’intrigue. Il apparaît aussi que le mouvement posséderait une « efficacité magique » qui permettrait de déclencher et de sceller un serment. Durant toute l’Antiquité, la signification du mouvement change à travers le temps, s’approfondit, se complexifie et s’il permettait de représenter la mort et la tristesse chez Homère, durant toute la fin de l’époque archaïque jusqu’aux derniers jours de l’Empire romain, le mouvement prend parfois une connotation érotique. En raison de la capacité du mouvement à représenter différents états altérés de conscience et de ses liens étroits avec la mort et le deuil, le plongeon devient alors le modèle exemplaire de la souffrance amoureuse. Cette thèse permet donc d’observer l’évolution d’un motif qui conserve tout au long de l’Antiquité sa dimension mortifère, mais qui, encore aujourd’hui, exprime un lien poétique étroit entre la mort et l’érotisme. / This thesis proposes to study the expression of movement in ancient Greek poetry and particularly the link between death and the physical act of falling in Homeric poetry. The question of movement appears implicitly in all studies concerned with death in ancient Greece and its different representations. Through not only different metaphorical expressions, but also through the fall of bodies on the battlefield, the fall of certain objects and the plunge of different characters, human and divine, the movement illustrates death or its imminence. Far from representing only the plunge of the soul into the Underworld, the falling movement also represents a wide range of emotional states and proves to be an effective way of expressing altered states of consciousness, for example the passage between life and death, sleep, madness and drunkenness, but also emotions of great intensity such as anger, pain and sadness. This use of the movement in Greek poetry is expressed in the poetic imagination, but also in the ritual practices recorded in Homeric poetry. Indeed, in the Iliad, the movement of fall which appears in libation, ritual oath and funeral rites would not only mean death, but in certain cases, death without burial. This discovery allows us to take a new look at the ritual practices of the poem which bring to light the true will of the Achaeans, explicitly shown in the third book (Il. 3. 276- 301), which is not only to kill men and children, and to enslave women, but to abandon the bodies of their enemies to the elements and thus to refusing them burial, which is problematic in the religious context of the ancient Greece. The falling movement, through the gesture of projection, expresses a threat that the Greek audience had to fully understand and is central to the entire plot. It also appears that the movement would possess a "magical efficiency" which would make it possible to trigger and seal an oath. Throughout Antiquity, the meaning of the movement through time became more complex and if it represents death and sadness in Homer, throughout the end of the archaic period until the last days of the Roman Empire, the movement eventually took an erotic connotation. Because of his capacity to represent various altered states of consciousness and its close links with death and mourning, the plunge then becomes the exemplary model of the suffering in love. This thesis thus makes it possible to observe the evolution of a motive which preserves throughout Antiquity its mortiferous dimension, but which, even today, expresses a close poetic link between death and eroticism.