Diss.--Hamburg. / Vita. Bibliography: p. 68.

Inaug.-diss. - Munich. / Vitae curriculum. Filmed with: Tragoediae Aeschyleae, quae inscribitur Prometheus vinctus, v. 561-940 -- Martini, Edgar / Analecta Laertiana -- Mekler, Siegfried / Euripidea : textkritische Studien -- Mangold, Bernhard / De diectasi Homerica imprimis verborum in -ao -- Miller, Thomas / Euripides rhetoricus -- Marx, Friedrich / Studia Luciliana -- Dahler, Johann Georg / Exercitationes in Appiani Alexandrini romanas historias -- Michael, Hugo / Die Heimat des Odysseus : ein Beitrag zur Kritik der Dörpfeld'schen Leukas-Ithaka-Hypothese -- Lange, Wilhelm Marius / Quaestiones in Aristophanis Thesmophoriazusas -- Merz, Konrad / Forschungen über die Anfänge der Ethnographie bei den Griechen -- Kern, Johann Michael / Accentuum veterum Graecorum genuina pronuntiatio -- Kurz, Emil / Ueber den Octavius des Minucius Felix : mit dem Text von Cap. 20-26 incl. -- Klein, Otto / Beiträge zur Kenntnis der syrischen Übersetzungen des Neuen Testaments, nebst Probe eines syrisch-griechischen Evangelien-Vokabulars -- Klein, Josef / Die kleineren inschriftlichen Denkmäler des Bonner Provinzial-Museums : 3 -- Klein, Josef / Die kleineren inschriftlichen Denkmäler des Bonner Provinzial-Museums : 4 -- Klein, Josef / Römische Inschriften aus Bonn -- Klein, Josef / Kleinere Mittheilungen aus dem Provinzial-Museum zu Bonn : 4 -- Kosegarten, Ludwig Gotthard / Plato de Legibus Lib. VII -- Lagus, Jacob Johan Wilhelm / Plutarchus Varronis studiosus -- Klossman, Johann Friedrich / Prolegomena in dialogum de oratoribus claris qui Tacito vulgo adscribitur. Includes bibliographical references.

The orthogonal, or rectangular, grid plan arose out of a need to organize the sprawling cities of Ancient Greece. To one particularly enigmatic figure in history, this problem was met with a blueprint and a philosophy. The ancient city-planner known as Hippodamus of Miletus (c. 480-408 BCE) was more of a philosopher than an architect, but his erudite connections and his idealistic theories provided him with numerous opportunities to experiment with the design that has come to bear his name. According to Aristotle, he was commissioned by the city of Athens to redesign its port-city, the Piraeus, and it is likely that he later followed a Pan-Hellenic expedition to an Italic colony known as Thurii (Thourioi). Strabo argues that the architect was also present at the restructuring of the city of Rhodes; however there is some debate on this issue. Hippodamus’ blueprint for a planned, districted city soon came to define the Greek polis in the Classical period, culminating with Olynthus in the Chalcidice, but his ideas were by no means unique to his own mind. There are precedents for the grid plan not only within the large, administrative empires of the Near East, but also within the Greek colonies of the Mediterranean, whose own histories span at least two centuries before Hippodamus’ lifetime. Since the 19th century, when Hippodamus received his title as the ‘Father of Urban Planning’, confusion and mistranslations have plagued the discipline, casting doubt on nearly every facet of Greek urbanism. Although he could not have invented the orthogonal grid plan, as Aristotle claims, it may prove far more effective to focus instead on Hippodamus’ philosophy and to give voice to where he himself excelled: the theoretical side to city planning. / Graduate / 0999 / 0579 / 0324 / aidanbk@uvic.ca

The main objective of this thesis is to investigate how works of public architecture, both alone and as components of the general urban layout, were related to the selfperception and identity of the ancient Greek polis community. And further, how the gradual evolution and change of this identity affected the history and associations of the buildings and the overall appearance of the city. The study concentrates on the Classical and Hellenistic periods with emphasis on the process of transition, and the geographical region of Ionia, which in that particular period lay at the centre of the historical developments that would bring important changes to Greek poleis and their communities. Miletus and Priene were selected as case studies because both were founded in the Classical period and continued to develop throughout the Hellenistic, are extensively excavated and published, and offer sufficient material for study. Miletus allows insight into large and influential polis communities, while Priene offers evidence for small ones with more limited means. In the first chapter, fundamental concepts such as 'collective identity,' 'cultural community,' 'cultural memory,' 'monumentality,' etc. and also those of 'city,' 'citystate' and 'polis community' are defined and analyzed, and their relation to each other and to architecture is discussed. In the second and third chapters, the architectural development of Miletus and Priene is examined against its historical background, in the light of the principles and associations observed in the first, theoretical part. In the final chapter, the developments and tendencies observed in Miletus and Priene are placed into context with similar phenomena that occurred in other poleis of the region and the Greek world in general during the process of transition from the Classical to the Hellenistic era. The discussion is based around the main axes of civic life i.e. the economic-political, socio-cultural, religious etc., and around issues of particular concern at the time such as the effects of monarchy and the growing role of the individual.

This study investigates the physical, mineralogical and chemical characteristics of a group of pottery sherds that are mostly Miletus-ware ceramics, belonging to the Early Ottoman period and excavated during 2003 season, from the The sherds examined are mostly characterized by cobalt-blue designs which are occasionally coupled with black, green and purple paintings. After grouping the sherds according to their stylistic and color differences / petrographic, X-ray diffraction, scanning electron microscope coupled with energy dispersive X-ray and Fourier Transform Infrared analyses were carried out for investigating the mineralogical and chemical properties. Most of the ceramic samples have slip and glaze on both sides. The glaze part is mostly fresh without any devitrification products. Bodies of the ceramics have tones of reddish yellow and/or red, indicating abundant amount of iron in their raw material. Grains consist mainly of metamorphic rock fragments (quartz-mica schist), quartz, feldspar, hornblende, hematite and biotite. Pyroxene, epidote, chert, muscovite, opaque minerals, chlorite are also encountered. Micritic calcite occurs in some of the pores. Ceramic bodies investigated are usually fine-grained and well-sorted. Clay raw material used for the production of the ceramics seems to be originated from a metamorphic source. Bodies usually show a low degree of vitrification with few exceptions, indicating a rather simple technology with non-uniform and low degree of firing, probably not exceeding 900&deg / C. Technological characteristics of the sherds examined do not seem to have changed much between 14th and 16th century.

distribuída em uma moldura interpretativa criada por duas cidades separadas em suas respectivas fundações mais ou menos três séculos. A pólis arcaica de Mégara Hibleia e a pólis clássica de Túrio oferecem as maiores referências da presente pesquisa, cuja intenção é analisar o fenômeno da organização ortogonal através da teoria da poesia oral como apresentada nos estudos comparativos de Milman Parry e Albert Lord. A pesquisa etnográfica de Parry e Lord no começo do século XX com bardos iugoslavos abriu todo um novo e inspirador campo de estudos no âmbito da composição e recepção dos poemas homéricos. Com tal perspectiva, se demonstrará nas páginas seguintes um método de planejamento sem que haja o desenho de planos. Um planejamento que utiliza como recurso de composição fórmulas aritméticas que definem as proporções entre os elementos do sistema. Iniciando o problema com as evidências literárias sobre Hipodamo de Mileto, coroado por uma corrente historiográfica como primus inventor do método urbano ortogonal, se descortinará uma tradição anônima secular derivada da prática de artífices que não escreveram uma linha a respeito de sua técnica. As fórmulas ortogonais constituem medidas co-dimensionadas entre os lados do lote da casa, do quarteirão e da largura das ruas cristalizados ao longo do tempo na escansão dos quarteirões. Tomando-se miras ópticas e alinhando cordas ao longo de estradas seria possível - como em um esquadro - iniciar dois vetores das fórmulas aritméticas então traduzidas em formas geométricas. Será argumentado na análise detalhada da forma de Mégara Hibleia contra a hipótese de que exista no período arcaico a concepção de um módulo abstrato e a priori. A cidade ortogonal arcaica não é um plano-mestre pensado como um conjunto que precede suas partes. O uso dos princípios da ortogonalidade ao longo do tempo, no entanto, contribuem para o surgimento de novas fórmulas de unidades maiores que em cidades como Túrio consignam dentro de sua área o agrupamento de um dado número de quarteirões. Isto é o indício de que a cidade ortogonal comensura-se então como um conjunto articulado de partes. Ao questionar a leitura moderna que, sob um paradigma literário, vê nos planos e desenhos de reconstituição da malha original das cidades ortogonais um produto de um exercício por excelência abstrato, mental e a priori, se discutirá, por consequência, a ontologia do artefato arqueológico, os fundamentos epistemológicos da arqueologia que, desde seu vir-a-ser como disciplina acadêmica, se ampara de uma série de ferramentas interpretativas herdadas da cosmologia moderna ocidental. O texto circulará, portanto, em vias interdisciplinares entre arqueologia, filologia, filosofia, sociologia, antropologia e história da arte. / The Greek orthogonal technique, especially in the urban contexts of Sicily and south Italy (Magna Graecia), could be distributed in a interpretative frame created by the archaeological tale of two cities separated in its foundations more or less three hundred years. The Archaic polis of Megara Hyblaea and the Classical polis of Thurioi offer the two major references of the present research which intends to analyze the phenomenon of orthogonal organization through the oral poetry theory as presented in the comparative studies of Milman Parry and Albert Lord. The ethnographic research of Parry and Lord in the earlier twentieth century with Yugoslavian singers opens a new and inspiring field on the composition and reception of the Homeric poems. With this perspective, it will be demonstrate in the following pages a planning method without any design plans. A planning that uses as compositional resources arithmetical formulas that define the proportional dimensions between the elements of the system. Initiating the subject with the literary evidences about Hipodamus of Miletus, crowned by a historiographical current as primus inventor of the orthogonal method, will be uncovered the anonymous secular tradition derived from the practice of craftsmen who did not write a single word about their techniques. The orthogonal formulas constitute co-dimensioned measures between the sides of the house lot, the block and the width of streets crystallized over time in the scansion of the blocks. Taking optical sights and aligning ropes along roads would be possible - as in a square - to start two vectors from the arithmetical formulas then translated in geometrical forms. It will be argued in the detailed analysis of Megara Hyblaea\'s layout against the hypothesis that there is in the Archaic period a conception of an abstract and a priori module. The orthogonal Archaic city it is not a master plan thought as a set which precedes its parts. The continued use of the orthogonal principles over time, however, contribute to the emergence of new formulas of larger unities which in cities like Thurioi consigns inside its area the grouping of a given number of blocks. This is a sign of a notion then that the orthogonal city is co-measured from a set articulated of parts. By questioning the modern lecture which, under a literary paradigm, sees the reconstituted plans and drawings of an original orthogonal grid a byproduct of an abstract, mental and a priori exercise, it will be discussed, by consequence, the ontology of the archaeological artifact, the archaeology\'s epistemological fundaments that, since its becoming as an academic discipline, relies on a series of interpretative tools inherited from modern Western cosmology. It will be circulate, therefore, in interdisciplinary roads between archaeology, philology, philosophy, sociology, anthropology and art history.

distribuída em uma moldura interpretativa criada por duas cidades separadas em suas respectivas fundações mais ou menos três séculos. A pólis arcaica de Mégara Hibleia e a pólis clássica de Túrio oferecem as maiores referências da presente pesquisa, cuja intenção é analisar o fenômeno da organização ortogonal através da teoria da poesia oral como apresentada nos estudos comparativos de Milman Parry e Albert Lord. A pesquisa etnográfica de Parry e Lord no começo do século XX com bardos iugoslavos abriu todo um novo e inspirador campo de estudos no âmbito da composição e recepção dos poemas homéricos. Com tal perspectiva, se demonstrará nas páginas seguintes um método de planejamento sem que haja o desenho de planos. Um planejamento que utiliza como recurso de composição fórmulas aritméticas que definem as proporções entre os elementos do sistema. Iniciando o problema com as evidências literárias sobre Hipodamo de Mileto, coroado por uma corrente historiográfica como primus inventor do método urbano ortogonal, se descortinará uma tradição anônima secular derivada da prática de artífices que não escreveram uma linha a respeito de sua técnica. As fórmulas ortogonais constituem medidas co-dimensionadas entre os lados do lote da casa, do quarteirão e da largura das ruas cristalizados ao longo do tempo na escansão dos quarteirões. Tomando-se miras ópticas e alinhando cordas ao longo de estradas seria possível - como em um esquadro - iniciar dois vetores das fórmulas aritméticas então traduzidas em formas geométricas. Será argumentado na análise detalhada da forma de Mégara Hibleia contra a hipótese de que exista no período arcaico a concepção de um módulo abstrato e a priori. A cidade ortogonal arcaica não é um plano-mestre pensado como um conjunto que precede suas partes. O uso dos princípios da ortogonalidade ao longo do tempo, no entanto, contribuem para o surgimento de novas fórmulas de unidades maiores que em cidades como Túrio consignam dentro de sua área o agrupamento de um dado número de quarteirões. Isto é o indício de que a cidade ortogonal comensura-se então como um conjunto articulado de partes. Ao questionar a leitura moderna que, sob um paradigma literário, vê nos planos e desenhos de reconstituição da malha original das cidades ortogonais um produto de um exercício por excelência abstrato, mental e a priori, se discutirá, por consequência, a ontologia do artefato arqueológico, os fundamentos epistemológicos da arqueologia que, desde seu vir-a-ser como disciplina acadêmica, se ampara de uma série de ferramentas interpretativas herdadas da cosmologia moderna ocidental. O texto circulará, portanto, em vias interdisciplinares entre arqueologia, filologia, filosofia, sociologia, antropologia e história da arte. / The Greek orthogonal technique, especially in the urban contexts of Sicily and south Italy (Magna Graecia), could be distributed in a interpretative frame created by the archaeological tale of two cities separated in its foundations more or less three hundred years. The Archaic polis of Megara Hyblaea and the Classical polis of Thurioi offer the two major references of the present research which intends to analyze the phenomenon of orthogonal organization through the oral poetry theory as presented in the comparative studies of Milman Parry and Albert Lord. The ethnographic research of Parry and Lord in the earlier twentieth century with Yugoslavian singers opens a new and inspiring field on the composition and reception of the Homeric poems. With this perspective, it will be demonstrate in the following pages a planning method without any design plans. A planning that uses as compositional resources arithmetical formulas that define the proportional dimensions between the elements of the system. Initiating the subject with the literary evidences about Hipodamus of Miletus, crowned by a historiographical current as primus inventor of the orthogonal method, will be uncovered the anonymous secular tradition derived from the practice of craftsmen who did not write a single word about their techniques. The orthogonal formulas constitute co-dimensioned measures between the sides of the house lot, the block and the width of streets crystallized over time in the scansion of the blocks. Taking optical sights and aligning ropes along roads would be possible - as in a square - to start two vectors from the arithmetical formulas then translated in geometrical forms. It will be argued in the detailed analysis of Megara Hyblaea\'s layout against the hypothesis that there is in the Archaic period a conception of an abstract and a priori module. The orthogonal Archaic city it is not a master plan thought as a set which precedes its parts. The continued use of the orthogonal principles over time, however, contribute to the emergence of new formulas of larger unities which in cities like Thurioi consigns inside its area the grouping of a given number of blocks. This is a sign of a notion then that the orthogonal city is co-measured from a set articulated of parts. By questioning the modern lecture which, under a literary paradigm, sees the reconstituted plans and drawings of an original orthogonal grid a byproduct of an abstract, mental and a priori exercise, it will be discussed, by consequence, the ontology of the archaeological artifact, the archaeology\'s epistemological fundaments that, since its becoming as an academic discipline, relies on a series of interpretative tools inherited from modern Western cosmology. It will be circulate, therefore, in interdisciplinary roads between archaeology, philology, philosophy, sociology, anthropology and art history.

À la période Archaïque, la colonisation grecque avait pour but l’expansion et l’exportation des coutumes sociales des diverses cités États à travers différentes régions. Bien que le sujet de la colonisation grecque soit abondamment basé sur des sources primaires biaisées, causant une confusion concernant l’établissement du lien entre une cité mère et ses colonies, il demeure néanmoins qu’une connexion entre la cité de Milet et les colonies de la Mer Noire est observée au sein des institutions religieuses instaurées sur ces territoires. Le culte d’Apollon fut prédominant tout au long des périodes Archaïque, Classique et Hellénistique de la Grèce antique. À l’époque de la colonisation par Milet, la cité avait pour divinité principale Apollon qui était également dieu de la colonisation et dieu de la navigation. Pour les milésiens, Apollon autorisait et sanctionnait le droit de coloniser et d’y instaurer de nouveaux cultes. Dans les colonies fondées le long de la côte de la Mer Noire, une influence claire du culte de cette divinité est discernable dans la tradition littéraire, ainsi que dans les registres archéologiques. Grâce à un catalogue raisonné, concernant seize colonies dites milésiennes situées autour de la Mer Noire, unissant toute l’information archéologique et littéraire pertinente relatif au culte d’Apollon, ce mémoire propose qu’une forte représentation de ce culte dans cette région est attribuable à son instauration par les Milésiens dans l’espoir que les institutions religieuses des colonies reflètent celles de la cité mère. Il en découle qu’Apollon devint, par le fait même, la divinité principale de la majorité des colonies milésiennes de la Mer Noire. / Greek colonisation in the Archaic period had as its goal the expansion and the exportation of a city state’s social and religious customs into different regions. Although the subject of Greek colonisation is often vague, and based on erroneous, and generous primary sources, which can confound links between the colonies and their apparent mother city, a connection can nevertheless be established between the colonies in the Black Sea and the mother city of Miletus through the religious institutions that were installed upon colonisation. The cult of the god Apollo was prevalent throughout the ancient Greek world during the Archaic, Classical and Hellenistic periods. For the Archaic period colonizing Greek city state of Miletus, Apollo was patron deity, the god of colonisation, as well as the god of seafaring. For the Milesians, Apollo was the deity who sanctioned the right to set up new cults in new locations, as well as authorising the very act of establishing colonies. In the colonies founded by Miletus located along the coast of the Black Sea, there is a clear disposition towards the cult of Apollo in the literary tradition, as well as in the archaeological record. This thesis proposes, by means of a well-defined catalogue uniting all pertinent archaeological and literary information relating to the cult of Apollo in 16 colonies located around the Black Sea said to have been colonies of Miletus, that the reason for such a strong representation of the cult of Apollo in these colonies is a result of the Milesians installing the cult of their patron deity Apollo with the wish that the colonies’ religious institutions mirror that of the metropolis. The inventory demonstrates that Apollo was the patron deity of the majority of Miletus’s colonies in the Black Sea. This thesis will also propose that a proper study of religious trends found in city states and their supposed colonies can act as a methodology for identifying which colonies belonged to which mother city, as I propose that the patron deity in a city state will be the patron deity in their colony.

Co-tutelle avec l'Université Paris-Nanterre / La pratique de la divination en Grèce ancienne est un phénomène bien connu du grand public, qui l’associe au personnage emblématique de la Pythie de Delphes. Inspirée par Apollon, cette prophétesse délivrait ses oracles en répondant aux questions que lui posaient les fidèles et l’on trouve dans de nombreux textes anciens le déroulement des consultations du dieu résumé sous la forme de deux affirmations complémentaires : « le fidèle a demandé » et « le dieu a répondu ». Pourtant, on ne saurait réduire la pratique divinatoire qui prenait place dans les sanctuaires oraculaires à un tête-à-tête entre deux personnes. Loin de se limiter à un agent inspiré, le personnel sacerdotal des sanctuaires oraculaires était nombreux et se trouvait mobilisé dans des rites complexes pour permettre de mettre en communication le monde des hommes avec celui des dieux. C’est à la diversité de ces agents et à la manière dont leurs interactions permettaient qu’advienne la parole divine qu’est consacré ce travail. Dans une première partie, sont étudiés les agents qui participaient aux rites mantiques des sept sanctuaires oraculaires les mieux attestés du monde grec aux époques hellénistique et romaine : celui de Zeus à Dodone, d’Apollon à Didymes, Claros et Delphes, celui de Trophonios à Lébadée, d’Amphiaraos à Oropos et de Glykon à Abonoteichos. Chaque sanctuaire est l’objet d’un chapitre dans lequel sont considérés, un à un, tous les agents, humains ou non, qui prenaient part au rituel afin de reconstituer les rites d’interrogation du dieu dans leur spécificité. Dans un second temps, cette pratique est pensée de manière transversale comme une pratique institutionnelle qui mobilisait des acteurs distincts à trois niveaux différents : celui de la cérémonie, du rituel et de l’échange verbal. / Divination in ancient Greece is a well-known phenomenon, often associated with the emblematic character of the delphic Pythia. Inspired by Apollo, this prophetess delivered her oracles by answering the questions asked to her, and in many ancient texts the oracular consultations are summarized in the form of two complementary statements: "a man asked" and "The god has answered". However, the practices that took place in the oracular sanctuaries can’t be reduced to a tête-à-tête. Far from being limited to an inspired agent, the priestly staff of the oracular sanctuaries was numerous and took part in complex rites to enable the world of men to be put in communication with the gods. This work studies the diversity of these agents and the way in which their interactions allowed the divine word to come out. In the first part, we study the agents who participated in the rites of the seven oracular sanctuaries best attested in the Greek world in the Hellenistic and Roman times: the shrine of Zeus in Dodona, Apollo in Didyma, Claros and Delphi, Trophonios in Lebadeia, Amphiaraos in Oropos and Glykon in Abonoteichos. Each sanctuary is the subject of a chapter in which all the agents, human or not, who took part in the ritual are taken into consideration, in order to reconstitute the rites of questioning the god in their specificity. In a second part, this practice is thought more broadly as an institutional process who associated distinct actors at three different levels: the ceremony, the rite and the verbal exchange.