Les cités antiques d’Asie Mineure comprennent à leurs périphéries de vastes ensembles funéraires dont seulsl’épigraphie et les monuments, pour la plupart pillés anciennement, sont généralement étudiés. Les modalités de dépôts et degestion de ces tombes, a priori collectives, n’ont jusqu’alors pas ou très peu été analysés. La découverte d’une chambresouterraine (tombe 163d) non pillée dans la « Nécropole nord » de Hiérapolis (ancienne province de Phrygie dans le sud-ouestde la Turquie), a été l’occasion de mettre en oeuvre une analyse archéo-anthropologique afin d’aborder le fonctionnement de cetype de tombe. Cette investigation a impliqué de reprendre et d’achever la fouille initiée en 2003, nécessitant quatrecampagnes (2010-2013) au cours desquelles une stratégie d’intervention adaptée aux contraintes de temps imposées a étéélaborée dans le cadre de la Mission Archéologique Italienne de Hiérapolis. Après avoir défini le cadre chronologique del’utilisation de la tombe, notre travail s’est attaché à comprendre les modalités de dépôts des défunts (traitement du corps,milieu de décomposition, mode d’inhumation) mais également les gestes témoignant de la gestion et de la dynamique del’espace funéraire. L’analyse stratigraphique des dépôts a démontré que la tombe avait été utilisée entre la périodeaugustéenne et le début du VIIe siècle, afin d’accueillir les restes de 293 individus. Au IIIe siècle, une famille juive la rachète,comme l’indiquent les inscriptions gravées sur le monument. L’étude taphonomique des squelettes empilés en connexionanatomique a révélé que la majorité des dépôts avait été réalisée dans des cercueils. Il est apparu, d’une part, que la famillejuive a laissé une partie des os des premiers occupants en place, conformément aux lois romaines définissant le sepulchrumcomme locus religiosus, et, d’autre part, que la gestion des os disloqués reposait davantage sur des considérations pratiquesliées au volume des os que sur le souci de conserver l’individualité des sujets inhumés. Ces conclusions permettent d’apporterde nouveaux éléments de discussion sur les relations entre les différents groupes religieux vivant à Hiérapolis à traversl’organisation des espaces funéraires et, plus largement, sur les pratiques funéraires pendant l’antiquité romaine et la périodeprotobyzantine en Asie Mineure. / The roman cities of Asia Minor are surrounded by vast necropolises, amongst which funerary complexes are mostoften plundered. While monuments and inscriptions have been studied in great detail in the past, the depositional context andfunerary treatment of the dead and the management of collective burials have not been submitted to detailed analysis. Thediscovery of Tomb 163d, a subterranean funerary chamber not plundered in the North Necropolis of Hierapolis (ancientprovince of Phrygia, in the South-West of Turkey) provided a unique opportunity to apply archeo-anthropological analysis inorder to understand funerary treatment and burial practices. This study reinvestigated the excavations which took place in2003, to complement another four campaigns (2010-2013). For these excavation campaigns a specific intervention strategywas developed as part of the Archeological Italian Mission of Hierapolis. After discussing the chronological framework, thisstudy analyses funerary treatment (modes of inhumation, body treatment, depositional context) as well as the burialmanagement to the management within the dynamic of the funeral space. The stratigraphic analysis demonstrated that thegrave was utilized from the Augustan period to the 7th century and contained 293 individuals. During the 3rd century, a Jewishfamily rebought the tomb for further use, as indicated by the inscriptions engraved on the monument. The taphonomic study ofthe articulated skeletons revealed that the majority of the deceased were buried in wooden coffins. It appeared that the Jewishfamily left some skeletal remains from the first occupiers in situ, in accordance with the Roman law defining the sepulchrum asa locus religious. However, the management of human remains was more related to practical considerations, linked to thevolume of the remains, than to the concern of respecting the deceased. By analyzing and interpreting the organization offuneral spaces, the conclusions of this study provide new evidence on relationships between different religious groups living inHierapolis, and on aspects of burial practices during Roman Antiquity and Proto-Byzantine period.

From the viewpoint of classical reception studies, I am asking what contemporary British art (by, for example, Sarah Lucas, Damien Hirst, and Mark Wallinger) has to do with the classical tradition – both the art and literature of Greco-Roman antiquity. I have conducted face-to-face interviews with some of the leading artists working in Britain today, including Lucas, Hirst, Wallinger, Marc Quinn, and Gilbert & George. In addition to contemporary art, the thesis focuses on Greco-Roman art and on myths and modes of looking that have come to shape the western art historical tradition – seeking to offer a different perspective on them from that of the Renaissance and neoclassicism. The thesis concentrates on the generation of artists known as the YBAs, or Young British Artists, who came to prominence in the 1990s. These artists are not renowned for their deference to the classical tradition, and are widely regarded as having turned their backs on classical art and its legacies. The introduction asks whether their work, which has received little scholarly attention, might be productively reassessed from the perspective of classical reception studies. It argues that while their work no longer subscribes to a traditional understanding of classical ‘influence’, it continues to depend – for its power and provocativeness – on classical concepts of figuration, realism, and the basic nature of art. Without claiming that the work of the YBAs is classical or classicizing, the thesis sets out to challenge the assumption that their work has nothing to do with ancient art, or that it fails to conform to ancient understandings of what art is. In order to do this, the thesis analyses contemporary works of art through three classical ‘lenses’. Each lens allows contemporary art to be examined in the context of a longer history. The first lens is the concept of realism, as seen in artistic and literary explorations of the relationship between art and life. This chapter uses the myth of Pygmalion’s statue as a way of thinking about contemporary art’s continued engagement with ideas of mimesis and the ‘real’ which were theorised and debated in antiquity. The second lens is corporeal fragmentation, as evidenced by the broken condition of ancient statues, the popular theme of dismemberment in western art, and the fragmentary body in contemporary art. The final chapter focuses on the figurative plaster cast, arguing that contemporary art continues to invoke and reinvent the long tradition of plaster reproductions of ancient statues and bodies. Through each of these ‘lenses’, I argue that contemporary art remains linked, both in form and meaning, to the classical past – often in ways which go beyond the stated intentions of an artist. Contemporary art continues to be informed by ideas and processes that were theorised and practised in the classical world; indeed, it is these ideas and processes that make it deserving of the art label.