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La céramique n’est désormais plus à établir comme élément fondamental de nos connaissances des mondes anciens, que ce soit d’un point de vue chronologique, économique ou culturel puisqu’au-delà de son rôle d’élément datant auquel s’arrêtent encore bien trop d’études, elle est une des principales sources d’informations en étant un produit direct de la culture qui l’a produite. Sa quasi-omniprésence dans le mobilier archéologique et les fortes quantités excavées ne sont alors pas sans liens avec la solidité du matériau. En effet, bien que les objets ainsi réalisés soient aisément brisables, la matière constitutive – l’argile cuite – est particulièrement résistante et ne se détruit que difficilement, que ce soit par le sol et sa nature, le temps, l’action de l’homme ou la combinaison de ces divers facteurs. Elle n’est notamment pas recyclable comme peuvent l’être le verre ou les métaux, et encore moins périssable comme les matières organiques.Le choix d’orienter cette recherche sur l’Italie centro-tyrrhénienne tardo-républicaine n’est évidemment pas anodin et résulte de la constatation d’une lacune flagrante dans nos connaissances de sa céramique, bien qu’il s’agisse d’un ancrage, aussi bien chronologique que géographique, charnière de l’Histoire romaine. Ainsi, la ligne directrice de ce travail vise à constituer une première tentative de caractérisation du faciès céramique, aussi bien dans son uniformité que dans ses spécificités régionales et de déterminer son évolution interne, que ce soit en matière de classes, catégories, formes et types.Pour ce faire, une méthodologie rigoureuse a été mise en place afin de disposer d’un corpus composé d’éléments suffisamment similaires pour établir un raisonnement fiable. Trois axes ont notamment été au cœur de cette réflexion : la nature des contextes, la possibilité de disposer de l’intégralité du matériel céramique et la quantification.L’étude s’est alors concentrée sur deux aires géographiques bien précises – le Latium septentrional et l’Étrurie méridionale – pour lesquelles il a fallu établir les faciès respectifs et leurs évolutions en s’interrogeant sur les rapports des classes, catégories, formes, types et provenances à travers trois ères chronologiques – la première moitié du IIe s., la seconde moitiédu IIe s., et le Ier s. av. n.è. Des études macroscopiques ont également été réalisées sur les pâtes du matériel provenant des études de cas. Les groupes techniques mis en évidence ont alors été confrontés aux données déjà existantes afin de faire ressortir les zones d’approvisionnement, les questions d’échanges commerciaux, d’importations et de productions locales ou régionales.Plus modestement, cette étude a également tenté d’ouvrir le discours aux tendances et pratiques alimentaires en confrontant les résultats, notamment morphologiques et fonctionnels, obtenus lors de l’établissement du faciès avec les sources littéraires et les études déjà menées sur le sujet. Notons enfin que ce travail, loin d’être définitif, devra être nourri par d’autres recherches afin de s’amplifier pour confirmer ou infirmer les hypothèses proposées. / Pottery artifacts are now considered without any doubts as essential elements of our knowledge in ancient worlds in chronological, economical or cultural points of view. Indeed, beyond its use as a dating guide in which so many studies are limited, it's one of the most important source of information beeing a direct product of the society who made it. Itsomnipresence in the archaeological rests and the hight quantity of sherds are linked to the solididy of the material. Indeed, even if the objects are easily breakable, the material – the fired clay – is particularly resistant and destroyable only with difficulty, whether it is by the ground and its nature, the time, the human action or the combination of these various factors. Moreover,it's not recyclable as can be it the glass or the metals, and even less perishable as the organic matters.The choice to focus this research on Late republican centro-Tyrrhenian Italy is not obviously harmless and results from the observation of a blatant gap in our knowledge of its ceramic, although it is about an anchoring, so chronological as geographical, hinge of the Roman History. So, the guideline of this work aims at constituting a first attempt of characterization of the ceramic faciès, as well in its uniformity as in its regional specificities and to determine its internal evolution, whether it is regarding classes, categories, forms and types.To do it, a rigorous methodology was organized to have a corpus compound of enoughsimilar elements to establish a reliable argument. Three axes were in particular at the heart ofthis reflection : the nature of contexts, the possibility of having all the rests and thequantification.The present study focus on two very precise geographical areas - the northern Lazio and the southern Etruria - for which it was necessary to establish the respective faciès and their evolutions by questionning the reports of classes, categories, forms, types and proveniance, through three chronological erae - the first half of IIth s, the second half of IIth s, and Ier s B.C. Macroscopic studies were also realized on clays of the material from two case studies. The technical groups were then confronted with the already existing data to highlight the zones of supply, the questions of trade, imports and local or regional productions.More modestly, this study also tried to open the research to the food practices by confronting the results, in particular morphological and functional, obtained during the establishment of the faciès with the literary sources and the studies already led on the subject. Finally this work, far from being definitive, must be fed by other researches to increase to confirm or counter the proposed hypotheses.

This thesis examines figural representations of foreign peoples and places on Roman coinage. An accompanying appendix thoroughly catalogues this imagery between its earliest extant appearance in approximately 138 B.C. and the death of Domitian in 96 A.D. A systematic survey makes it possible to nuance existing narratives of the development of this imagery that privileged the late first and early second centuries A.D. as the key moments of change by revealing considerable diversity and innovation in the earlier period. A second contribution is methodological, highlighting the need for contextual analysis of individual issues to supplement the typological approach that has dominated earlier scholarship. Chapter One focuses on image types produced between 138-31 B.C. This was a particularly vibrant period for the production of these images and the chapter reveals a diverse spectrum of imagery. This contrasts sharply with previous assessments that characterised the period as dominated by images of submission. Chapter Two concentrates on Augustan imperial coinage (31 B.C.-14 A.D.) and identifies a shift towards more consistent usage of submissive imagery. Chapter Three highlights a significant decline in the use of images of foreign peoples and places on imperial coinage minted by the Julio-Claudian successors (14-68 A.D.). Chapter Four identifies a dramatic, albeit inconsistent, resurgence in the use of personifications of foreign peoples and places on coinage minted by competing imperial claimants during the civil wars of 68-69 A.D. Chapter Five focuses on Flavian imperial coinage (69-96 A.D.) and uncovers a significant resurgence in captive imagery. It identifies a new blurring of the lines between the iconographic traditions of captives and personifications of peoples and places. This blending of the two traditions lays important foundations for subsequent imagery on Trajanic imperial coinage.

Catulle, dans le poème 64, invente une ekphrasis d’un nouveau genre : au lieu de décrire une œuvre d’art dans sa matérialité pour la mettre sous les yeux des lecteurs selon la tradition rhétorique, il fait parler son personnage principal, Ariane. En quoi la figure d’Ariane a-t-elle permis à Catulle d’entériner une évolution de l’ekphrasis entamée par la littérature hellénistique, à savoir la focalisation non sur la matérialité de l’objet, mais sur son sens, une réflexion sur les liens entre vision et diction ? Il convient d’éclairer ce poème majeur de la littérature latine en le réintégrant, d’une part, aux multiples représentations figurées d’Ariane dans l’Antiquité et, d’autre part, à la lignée des ekphraseis précédentes, concept entendu au sens de « texte consacré à une œuvre d’art » pour inclure descriptions mais aussi narrations ou courts dialogues comme ceux des épigrammes ecphrastiques. En particulier, la prise de parole de l’objet d’art se révèle un topos épigrammatique hellénistique qui nécessite une étude systématique. Ce motif, baptisé topos de l’illusionnisme de l’art, mesure la qualité d’une œuvre d’art à sa capacité à sembler sur le point de parler, se mouvoir ou prendre vie. La typologie de ce topos met en évidence l’évolution de l’esthétique et de la relation entre poésie et arts figurés. Le poème 64 de Catulle se révèle alors reprendre ce topos – comme de nombreux textes après lui – pour constituer une surenchère illusionniste dans l’ekphrasis où l’œuvre d’art prend vie. La poétique de Catulle trouve un éclairage nouveau qui permet de mieux tracer la réception de l’esthétique alexandrine à Rome et l’influence de Catulle sur les poètes latins postérieurs. / This interdisciplinary dissertation uses text and image studies, intertextuality and metapoetics to analyze the relationships between vision and diction in ekphraseis understood as texts devoted to works of art, and particularly in Catullus’s canonical poem 64. Poem 64 has puzzled many critics by its “disobedient ekphrasis” of a coverlet: not only does it scarcely describe its subject, but it turns into a long monologue by Ariadne, the main figure woven into the coverlet. I argue that, far from disregarding the coverlet, Catullus elaborates on a topos of Hellenistic ekphrastic epigrams that measures an artwork’s value by its illusionist capacity to “seem about to speak” and “come to life”. My extensive classification of the epigrammatic variants of this topos reveals its presence in Catullus through specific keywords. Ariadne’s representation on the coverlet is so lifelike that it starts to speak. Instead of following the critical tradition which considers Ariadne’s speech as another instance of epic or tragic monologue, I analyze it as a major Catullan innovation, in dialogue with the aesthetic debates of his day. Bringing together Hellenistic and Roman figurative arts and literatures sheds a new light on Catullan poetics and, more generally, on the reception of Alexandrian aesthetics in Rome and on Catullus’s influence on posterior Latin poets.

This PhD dissertation surveys the development of the concept and the academic discipline of mathematical logic in the transitional period between late Republican and early socialist China. Providing a contrastive analysis of the main developmental aspects of its conceptual variegations, its institutional life and research-related development, this dissertation focusses on the main continuities and discontinuities between these two important periods of its existence in the period of China's modernisation. The main analytical apparatus of this treatise is divided into two main parts. The first part outlines the main developmental milestones in research and teaching of mathematical logic in Chinese academic community in the late Republican period (1930-1949). Its main focus lies on the establishment of mathematical logic as a philosophical discipline in framework of the "Qinghua School of Logic" at National Qinghua University, on the one side, and the beginnings of Chinese mathematicians' research in mathematical logic in the early 1930s, on the other. The second part, on the other hand, closely examines the main three aspects of change which the idea and discipline of mathematical logic underwent in the first decade after the founding of the People's Republic (PRC): from its unique role in Chinese...

Oggetto dello studio è la distribuzione delle ceramiche sia di produzione locale che d’importazione nella Cisalpina più orientale dalla fondazione di Aquileia alla fine dell’età augustea. La ceramica viene utilizzata come strumento di comprensione delle dinamiche di trasformazione sociale e di sviluppo culturale che interessano questo territorio durante il processo di “romanizzazione”. Il quadro metodologico di riferimento è l’archeologia spaziale. Il periodo considerato è stato diviso in più fasi: fase 1. Dalla fondazione di Aquileia (181 a.C.) al 90 a.C. Sono stati studiati 420 reperti, relativi a 18 contesti; fase 2. Dal 90 a.C. all’inizio dell’età imperiale (27 a.C.). Sono stati studiati 786 reperti, relativi a 89 contesti. l’età augustea. Sono state considerate solo le ceramiche analizzate nelle due fasi precedenti, per seguirne l’esaurimento definitivo. Sono stato studiati 328 reperti, relativi a 22 contesti. Lo studio della ceramica ha comportato una riflessione metodologica, sulla terminologia e sul rapporto forma/funzione/impasto. Classi ceramiche analizzate: vernice nera, ellenistica a rilievo, pareti sottili, comune, anfore, lucerne, con un approfondimento sulla ceramica comune L’indicatore ceramico, permette di focalizzare alcuni elementi di continuità con il sostrato protostorico (veneto, locale, La Tène), e di individuare nuovi flussi d’importazioni a lungo raggio dall’Italia peninsulare e dal Mediterraneo. / This dissertation analyses the distribution of pottery, both imported and of local production, in the Eastern Cisalpine, from the foundation of Aquileia to the end of the Augustan age. Pottery is used as a means to understand the dynamics of social transformation and cultural development that affect this area through the process of "Romanization". “Spatial archaeology” is used as a methodological reference. The period taken into consideration has been divided in three phases: 1. Foundation of Aquileia (181 B.C.) - 90 B.C. Studied 420 findings from 18 contexts; 2. 90 B.C. - beginning of imperial age (27 B.C.). Studied 786 findings from 89 contexts; 3. Augustan age. Only ceramics already studied for the preceding phases have been analysed, in order to follow the final steps of their productions. Studied 328 findings, from 22 contexts. Studying ceramic has made it necessary to re-consider methods as well as terminology and the relation between form/function/ceramic bodies. Analysed pottery classes: black slip ware, hellenistic relief ware, thin walled pottery, coarse ware, amphorae, lamps, with a special study on coarse ware. Pottery as an indicator enables us to focus some elements of continuity form the Proto-historical substrate (Venetian, local or La Tène) and to recognize new long-range import flows from peninsular Italy and the Mediterranean.

Bien qu’elles aient été isolées il y a plusieurs décennies, certaines formes d’amphores « puniques » restaient difficiles à appréhender en raison de leur fabrication au cours de la période romaine. Plusieurs découvertes récentes ont permis d’identifier la production de certains de ces conteneurs au sein de l’espace du détroit de Gibraltar, après la seconde Guerre Punique (218-202 av. J.-C.). Face à l’importance et à la cohérence de la documentation concernant ces amphores, l’archéologie espagnole les a rassemblé dans un même groupe, celui des « amphores tardo-puniques ». Pour l’heure, cinq classes de conteneurs composent ce groupe, du fait de leurs chronologies commune et d’une mixité des traits typo-morphologiques commune, entre les traditions phéniciennes du détroit, puniques et romaines. La considération conjointe de ces types a été corroborée par une très large documentation, l’étude de ces amphores tardo-puniques représentant un nouvel axe de recherche. Néanmoins, de nombreuses interrogations persistaient sur ce mobilier malgré ces premiers ces progrès. D’une part, l’extension réelle de la production de ces conteneurs, de même que les modalités de leur fabrication au sein du détroit – entre la Maurétanie et l’Ibérie – restaient mal définies. D’autre part, les conditions et l’amplitude de leur distribution en dehors de la région du détroit représentaient des aspects particulièrement mal connus. Notre recherche entend constituer un large corpus de données archéologiques et historiques afin de tenter d’aborder ces questionnements. Pour y parvenir, un état de la question a été réalisé via le regroupement de la documentation des contextes de fabrication connus et supposés. Ensuite, une étude de plusieurs gisements sous-marins, en majorité inédits, a été réalisée afin de pouvoir observer les conditions de la circulation maritime de ces emballages. Enfin, leur place dans les réseaux d’échanges romains a été examinée via l’étude de plusieurs sites de consommation. L’analyse approfondie de ces informations, via un cadre analytique pluridisciplinaire, a conduit à réévaluer l’importance de ces conteneurs tardo-puniques dans les réseaux d’échanges tardo-républicains, un phénomène qui est également distinctement associé à l’intégration des élites du détroit de Gibraltar dans la « société » romaine. / Although they were isolated for several decades, some forms of "Punic" amphorae remain difficult to handle, mostly because of their manufacturing during the Roman period. Several recent discoveries allowed to identify the production of some of these containers within the space of the Strait of Gibraltar, in the continuation of the second Punic War (218-202 BC). Given the importance and consistency of their documentation, the Spanish archaeology gathered these ancient packages in the group of the "Late-Punic amphorae". For the moment, five types compose this group. They share several characteristics, between their chronologies and their morphological features mixing Phoenician, Punic and Roman traditions. The joint consideration of these types has recently been, confirmed, the study of the Late-Punic amphorae becoming a new area of research. Nevertheless, many questions persisted in spite of huge progress. On one hand, the real extension of the production of these containers, as well as the modalities of their manufacturing within the area of the Strait, could not be defined. On the other hand, the conditions and the range of their commercial diffusion out of the Iberian Peninsula was still uncertain.Our research intends to deal with these questions thanks to a wide corpus of archaeological and historical data. The first stage of our study concerned the consolidation of the documentation from the manufacturing contexts associated with the Late-Punic containers. Then, a study of several underwater deposits, most of them largely unpublished, is realized in order to observe their maritime traffic. Their place in the trade patterns of the Late Republican era is criticized by examining their presence in several consumption sites. The analysis of all these data led to reevaluate the commercial success of these Late-Punic containers, whereas their diffusion was clearly connected with the integration of the local elites from the Strait of Gibraltar in the Roman society.