This thesis addresses the rational properties of women’s gender identification and self-representation from political theorist Lois McNay’s generative logics, employing the Praedia of Julia Felix, Pompeii, as a case study. Previous debates rooted in semantics and representationalism have focused on non-elite stereotypes or negative gendered dichotomies fostered by comprehensive views on Roman women’s exclusion from public life. In contrast, this thesis adopts a new materialist approach, specifically drawing on feminist theorist Karen Barad’s agential realist method building on intra-activity in order to shed new light on the well-studied subject of how a non-elite woman was able to carve out an existence for herself in patriarchal ancient Roman society. Whereas past research has labelled non-elite Roman women as both passive and unproductive individuals, the present thesis proposes that agencies functioned as lived experiences which determined individuals’ abilities to actively connect with things and surroundings in different ways. Therefore, in order to analyze the interceding effects of agencies on gender identification and self-representation in connection to the Praedia of Julia Felix I argue that a broader view of performativity, embodying processes and materiality is needed. This view calls for a reconceptualization of relational entanglements in which material and social worlds are seen as mutually interconnected rather than separate entities isolated from the bodies responsible for creating these settings. Presenting the results based on a combined analysis of generative and new materialist models, I suggest that the Praedia of Julia Felix demonstrates a non-elite woman’s active participation in creating personal sustainability. This dynamic interplay between Julia Felix and her social surroundings in worth understanding in detail.

Denna kandidatuppsats berör hur Pompeji är framställd i vetenskapliga och populärkulturella källor genom böcker och artiklar. Skillnaden är även något som kritiskt diskurs analyseras. Mängder av populärkulturell- och vetenskaplig information finns om Pompeji och dess invånare. Är vetenskapliga och populärkulturella böcker från vitt skilda världar? Skriver vetenskapliga och populärkulturella författare olika? Svaret är att skillnaden inte är så stor men att den finns. Gränsen mellan populärkultur och vetenskap kan bli otydlig. / The bachelor thesis concerns how Pompeii is written about in scientific and popular culture sources through books and articles. The differences between them is also something that is critical discourse analyzed. A great deal of popular culture- and scientific information is written about Pompeii and it's citizens. Are scientific and popular culture books from different worlds? Does scientific and popular culture writers write differently? The answer is that the difference is not big but it's present. The line between popular culture and science can be ambiguous.

Denna text diskuterar antagonistisk graffiti i Pompeji ur ett rumsligt perspektiv för att analysera spridningen av graffiti. Texten ämnar även att undersöka ifall det är vanligare att skriva förolämpande graffiti på specifika platser i staden. Ytterligare ett mål med uppsatsen är att undersöka ifall modern teoribildning kan bidra till en bättre förståelse av graffitins spridning genom disinhibitionsteorin. Antik graffiti jämförs med moderna beteenden online och kring graffiti. Graffitin verkar skrivas på platser där den är synlig av andra människor och den är vanlig på både privata och offentliga byggnader. Disinhibition kan vara en möjlig förklaringsmodell angående förolämpande graffiti orsakad av exempelvis anonymitet. / This text discusses antagonistic graffiti in Pompeii from a spatial perspective to analyse the spread of graffiti. The text also aims to study whether it is more common to write offensive graffiti in certain areas of the city. Another goal with this thesis is to study whether modern sociological theory can help understand the spread of graffiti through the disinhibition theory. Ancient graffiti is compared to modern behaviours online and around graffiti. Graffiti seems to be written in places where it could be seen by other people, and it is common on both private and public buildings. Disinhibition could be a possible explanatory model when discussing offensive graffiti caused by, for example, anonymity.

This study investigates the territories of Neapolis and Nola in order to understand what role they played in the economy of their cities and in Campania. It further explores the difficult relationship between mankind and the fragile landscape of Vesuvius, how eruptions changed settlement patterns, exploitation strategies, and how people dealt with other smaller natural disasters that frequently occurred in that area. The thesis is organised in nine chapters, each describing a separate layer of the landscape. The introduction analyses the reasons for the apparent lack of data for the northern slopes of the volcano and further discusses the theoretical issues pertaining to the economy of the countryside. The history chapter lists the major facts of the histoire événementielle and their connection with the landscape’s longterm history. The third chapter studies the features of the static landscape and the exploitation of bedrock resources. Vesuvius is the subject of the fourth chapter, in which are discussed its shape and the eruptions' effects on the static landscape. Chapter five discusses the river Sebethus and how the intermingled action humans and nature created the marshes. Agriculture and animal breeding are analysed in chapter six, settlement patterns in chapter seven, trade in chapter eight. Through archival research and field survey it has been possible to plot 820 sites from ancient southern Campania, 263 of which from the territories of Neapolis and Nola. This evidence has been matched with environmental and archaeological datasets to provide estimates on agricultural produce and population, thus defining surplus and dependance for certain products. The results reveal a high compartmentalisation and degree of dependence of each micro-regional area on the others, for which one can deduce a high specialisation of each economic agent but not necessarily a high productivity for each of its units.

Cette étude a pour objet un motif de la peinture murale romaine, le pinax à volets. Il s’agit de montrer qu’au-delà de son caractère de motif secondaire, il a sa place dans l’introduction du volume et de la figuration dans le décor mural. Représentation d’un accessoire en trompe-l’œil dans les architectures illusionnistes du deuxième style pompéien, le pinax à volets reste un objet mobile et indépendant ; support d’une représentation figurée, il s’intègre à un ensemble décoratif du point de vue formel comme thématique. La première partie rassemble des sources littéraires, archéologiques et iconographiques au sujet de l’apparition du pinax réel depuis la Grèce archaïque jusqu’aux collections romaines. La deuxième partie définit le motif du pinax à volets en trompe-l’œil dans le décor mural de deuxième style pompéien. La troisième partie est une étude de cas qui replace les collections de pinakes à volets dans le contexte de l’habitat domestique et du décor de la pièce, en Campanie et à Rome, jusqu’à leur abandon au profit du tableau central. / This essay focuses on a motif of the roman wall painting, the shuttered pinax. It aims at showing that, beyond its nature as a motif of secondary importance, it has a part in the introduction of volume and figurative art in wall painting decoration. As the depiction of an accessory in trompe-l’oeil in the illusionistic architectures of the second Pompeian style, the shuttered pinax remains a mobile and independent item; as the medium of figurative representation, it fits into the decorative scheme, formally as well as thematically. The first part collects literary, archeological and iconographical sources on the emergence of real pinax from archaic Greece to Roman collections. The second part defines the shuttered pinax motif in trompe-l’oeil in the second Pompeian style wall-painting. The third part is a case study within context of domestic habitat and room decoration, in Campania and in Rome, until their disuse in favour of the central panel.

This thesis examines the relationship between language and Roman identity, defined in the broadest sense as the political and cultural practices involved in being Roman. It focuses on evidence of multilingualism: Roman identity was defined through opposition and interaction, and it is at points of contact that these debates are cast into relief. It looks predominantly at evidence of Greek-Latin bilingualism, but also considers evidence of other languages to consider how their relationship to Roman identity differs. It combines historical and sociolinguistic approaches to multilingualism. Understanding bilingual language practices requires close sociolinguistic reading of evidence to understand how languages interrelate and analysis of the historical factors and contexts that determine language choices and their social, cultural and political implications. The thesis responds especially to the use of bilingualism as a model for Roman cultural relations, arguing that a closer engagement with sociolinguistic terminology and with linguistic evidence is necessary if we are to use language and bilingualism as a way into broader issues of politics and identity. Language is simultaneously a model for identity that works across ancient and modern thought and a central part of this identity. It frequently plays into other markers of Roman identity and a range of themes and concerns surrounding it including integration, migration and citizenship. The thesis examines three case studies in detail: the different layers of bilingualism in Suetonius' biographies; Greek in the graffiti of Pompeii; epigraphic and literary evidence for different languages in the city of Rome. These case studies demonstrate the politics of language in different types of practice and at different levels of society: the thesis argues that the overlaps between them are greater than has sometimes been appreciated. The case studies also show that the boundaries of Roman identity did not develop in a progressive or linear fashion but were continually defined and redefined through ongoing processes of absorption and rejection.

This study investigates two significant components of architectural design, &lsquo / &lsquo / form&rsquo / &rsquo / and &lsquo / &lsquo / space&rsquo / &rsquo / and the basic design elements and principles used in their creation in the context of Roman domestic architecture. It more specifically examines how, by which means and for which purposes certain form and space defining tools such as the column, wall, floor, ceiling and opening with their architectural equivalents as the point, line, plane and volume were used in the atrium houses exemplified in Pompeii in Italy. The study discusses how Romans organized their daily life in reference to certain domestic spaces and how the form and spatial qualities of these spaces contributed to the architectural articulation of the private sphere. By concentrating on a group of recurring domestic spaces including the atrium, garden, and banqueting room and by illustrating the form and spatial composition of these, the study presents an architectural reading of the Roman atrium house.

Film Reception of the Mount Vesuvius Eruption and the Situation in the 1st Century AD ABSTRACT The main aim of my thesis named Film Reception of the Mount Vesuvius Eruption and the Situation in the 1st Century AD is to explore the historical accuracy of films covering this part of ancient history and their possible use during educational processes. Part of the work also sums up the current level of scientific knowledge on this topic. Text attachment as well as picture attachment can be found at the end of the work.

Les théâtres romains, dont on peut observer les vestiges dans de très nombreuses villes tout autour de la Méditerranée, sont des objets familiers et pourtant souvent encore mal connus. Ils n’ont bénéficié que de rares études synthétiques. Inspiré par les recherches menées sur les théâtres et autres édifices de spectacles des époques plus récentes, ce travail porte un regard résolument urbain sur des édifices polyvalents caractéristiques de l’urbanitas : à la fois lieux de spectacles, de vie quotidienne et de cérémonies, lieux de rassemblements civiques et religieux, lieux de mixité sociale. Les innovations architecturales apportées par les Romains à la forme théâtrale inventée par les Grecs leur permettaient en effet de déterminer plus librement la place des théâtres dans leurs villes et de les intégrer à des programmes urbains concertés et signifiants. En confrontant l’analyse des représentations antiques - figurées ou littéraires - des théâtres romains et quelques études de cas archéologiques approfondies, l’objectif était d’explorer et de clarifier l’ensemble des liens qui pouvaient se nouer entre le théâtre et la ville à l’époque romaine, des plus matériels aux plus symboliques. La multiplication des échelles d’approche et l’attention portée à l’insertion dynamique et subjective des théâtres dans les paysages urbains les fait apparaître comme des objets à la fois typiques et singuliers, complexes et immédiatement lisibles et pour finir remarquablement efficaces dans la composition et l’incarnation de l’image des villes. / The vestiges of Roman theatres are ubiquitous throughout the Mediterranean Basin; these structures are familiar, yet remain relatively unexplored, with only a few studies considering their general place in Roman life. Inspired by research on the theatres and entertainment buildings of more recent times, this study offers an urbanistic perspective on these multipurpose edifices; characteristic of the urbanitas, these were at the same time buildings for theatrical performances, ritual ceremonies, and daily activities; civic and religious meeting places; centres of social interaction. The innovations the Romans made to the architectural theatrical form invented by the Greeks enabled them to redefine the theatre’s place in the city and to incorporate it purposefully into their plans for urbanization. Combining the analysis of ancient textual and pictoral representations of Roman theatres with archaeological case studies, this thesis explores and clarifies the practical and symbolic relationships between the theatre and the city in Roman times. By broadening the scope of investigation and by exploring the dynamic and affective positioning of the theatre into the Roman urban landscape, this thesis reveals these architectural structures to be simultaneously typical and unique, complex and understandable, and ultimately remarkably effective in establishing and embodying the image of the city.

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