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Master of Philosophy (MPhil) / Typologies, especially of spearheads, have been decried as inadequate by the archaeological community. They have prevented the synthetic study of ancient weapons and obscured cultural contacts, changes in form and distribution, and changes in fighting style. This thesis presents new typologies of spearheads and swords which are not based on aesthetics or the need to communicate a large amount of material succinctly in the limited space of a site report. Rather, these typologies attempt to perceive the functional characteristics of these weapon classes. The thesis surveys a range of sites in Daunia, Basilicata and Southern Campania applying these new typologies to large suites of weapons. From this assessment a number of conclusions have flowed regarding cultural contacts between indigenous Southern Italic groups and with immigrating groups of Villanovan and Greek origin. The assessment reveals the variety of weapon forms in use and tracks changes over time. These changes expose cultural transformations and alterations in fighting styles. The tracking of paraphernalia often associated with weapons in modern scholarship has also revealed some nuances in patterns of association with weapons which were not previously apparent.

Master of Philosophy (MPhil) / Typologies, especially of spearheads, have been decried as inadequate by the archaeological community. They have prevented the synthetic study of ancient weapons and obscured cultural contacts, changes in form and distribution, and changes in fighting style. This thesis presents new typologies of spearheads and swords which are not based on aesthetics or the need to communicate a large amount of material succinctly in the limited space of a site report. Rather, these typologies attempt to perceive the functional characteristics of these weapon classes. The thesis surveys a range of sites in Daunia, Basilicata and Southern Campania applying these new typologies to large suites of weapons. From this assessment a number of conclusions have flowed regarding cultural contacts between indigenous Southern Italic groups and with immigrating groups of Villanovan and Greek origin. The assessment reveals the variety of weapon forms in use and tracks changes over time. These changes expose cultural transformations and alterations in fighting styles. The tracking of paraphernalia often associated with weapons in modern scholarship has also revealed some nuances in patterns of association with weapons which were not previously apparent.

This thesis investigates breastfeeding and weaning patterns in an Iron Age (7th – 4th century BCE) sample of subadults (n=12) and adults (n=9) buried at the sites of Botromagno, Parco San Stefano and Padreterno in southern Italy. Stable isotope analysis of both human tooth dentine and bone collagen for each subadult, and tooth dentine for adults, was undertaken to create early-life feeding histories. The dentine serial sections were used to determine the onset and completion of weaning for each individual, as well as distinguish general trends in early feeding practices at these Iron Age sites. Results indicate that the average onset of weaning in subadults occurred at 8 ± 3.4 months and weaning was completed by 4 years of age at the latest for all individuals; however, the patterns of breastfeeding and weaning were variable in this sample. This study also explores variation in early childhood diet between survivors and non-survivors (i.e., < 4 years of age). Non-survivors were weaned more rapidly than survivors – possibly contributing to their earlier death – and some non-survivors demonstrated elevated δ15N values that may have been a result of physiological stress. It is, however, difficult to distinguish signals of breastfeeding versus stress in young children who were still likely consuming breast milk. Finally, differences in isotope data between dentine serial sampling and bulk-bone sampling of rib and femoral collagen from the same individuals were investigated. The results show that the combined use of dentine and bone data contribute to more nuanced interpretations of weaning. Further, rib samples represent diet closer to the time of death than femoral samples, as faster bone turnover rate in ribs allow for the incorporation of more recent dietary changes. / Thesis / Master of Arts (MA)

This doctoral thesis investigates dialect contact, identity and change in the ancient Greek colonies of Magna Graecia in the fourth and third centuries BC, as evidenced in the surviving epigraphic sources. South Italy is an area of the ancient Greek-speaking world in which a comprehensive investigation of the linguistic evidence has not previously been attempted. By considering linguistic questions within their broader socio-historical environment, I propose a radical redrawing of the dialect map of this area. I first present the historical context, the linguistic evidence and the methodological framework of my research in the introduction. In the first chapter I reject previous hypotheses about dialect contact in South Italy around 300 BC on the basis of both historical and linguistic arguments. I then propose a new and empirically better supported explanation for the development of the ‘severior’ long-vowel system in the dialect of the southern city of Locri, which previous studies have generally attributed to influence from the dialect of the important northern city of Taras and taken as evidence for Taras’ linguistic influence over the rest of Magna Graecia, and possibly also for the existence of a local Doric koina (i.e. a common dialect). In the second chapter I offer a new analysis of the inscriptional record from Locri and show that, in the absence of compelling evidence for influence from the dialect of Taras, a high level of prestige remained attributed to the traditional local dialect until at least the mid-third century. At the same time, the southern colonies in general, including Locri, can be shown to have been exposed to the koine before the northern ones, such as Taras, as a result of frequent contact with the Greeks of near Sicily in the fourth and early third centuries. In the third chapter I complete my investigation by assessing the use of dialectal features in literary texts produced in South Italy around the same period (both metrical inscriptions and literary works transmitted in manuscripts). The evidence of these texts, combined with that of documentary inscriptions, provides a deeper insight into matters of dialect identity and prestige in this area. After summarising the results of my research, I conclude my investigation with a brief discussion of the socio-historical reasons why a Doric koina did not develop in South Italy as in other areas.

Les premiers peintres des vases à figures rouges ont été classés par A.D. Trendall entre 1938 et 1989. Ses recherches, associées à ceux des historiens et archéologues, constituent un remarquable outil d’analyse pour les historiens de l’art. Elles permettent d’appréhender d’un seul coup d’œil le corpus de vases italiotes collectés auprès des collections privées ou des musées. A la manière de J. BEAZLEY pour les vases attiques, A.D. TRENDALL s’est attaché à attribuer des vases anonymes et sans provenance à des peintres qu’il a lui–même nommé. Néanmoins, depuis plusieurs années, ses classements sont revus à la lumière de nouvelles découvertes et réattributions de chercheurs.Ce travail propose de revenir sur la création et le développement de ces premiers artisans en Italie du Sud entre la deuxième moitié du Ve s. et le premier quart du IVe s. av. J.-C.Le travail de réattribution des vases constitue un élément important de notre réflexion puisqu'il met à jour et affine le travail d'A.D. Trendall : il permet de comprendre dans quel contexte artistique sont apparus ces ateliers de production.Puis l'étude des lieux et contextes de découvertes permet d'apporter un éclairage supplémentaire, en observant les associations de peintres et d'ateliers dans les tombes. / Between 1938 and 1989, Trendall ranked the work of the first red figure painters of Southern Italy. His research, together with those of historians and archaeologists, is a remarkable analysis tool for scientists : it allows us to understand, in a glance, the italiote corpus from private collections and museum. Like Beazley on Attic vases before him, Trendall endeavored to assign anonymous vases and without provenances to painters he appointed. However, since years now, the ranking he created is reviewed in the light of new discoveries and reallocations of researchers.This work attempts to reconsider the beginning and development of these early craftsmen in Southern Italy between the second half of the 5th century and the first quarter of the fourth century BC.First we try to reassign vases which it is an important component of our reflexion, allowing to enhance A.D. Trendall's work. We will be able to understant the artistic's contexts in which the first workshops were developed.Then, the studies of places and archaeological contexts allow to highlight the way they produced, comparing associations between painters and workshops' vases in graves.

This dissertation examines the cultural, political, and artistic role of polychrome wall painting from funerary contexts in South Italy during the critical period that spans the crisis of Greek hegemony and the consolidation of Roman power. Numerous painted tombs were built between the late fifth and the early second centuries BCE for local as well as Greek elite groups across Southern Italy. I investigate the ways in which the wall paintings, with their colors, iconographies, and technical features were both the expression of indigenous cultures and local artistic trends, and a part of a wider and more complex phenomenon, that is the diffusion of funerary wall painting in the Mediterranean during the late Classical and Hellenistic period. Why did polychromy become a crucial component in articulating funerary space in South Italy towards the end of the fifth century BCE, and how did this experience develop in the regions of Campania, Lucania, and Apulia, respectively? Ever since the South Italian painted tombs were discovered in the nineteenth and twentieth centuries, scholars have interpreted their decoration as ideal representations of the deceased, their funerary ceremony, or their journey to the Underworld. They have focused on the relationship between the images and the individual deceased buried in the tomb or the restricted group of their family/clan. In my study, I seek to restore the polysemic character of the wall paintings. Each chapter analyzes the paintings from a different perspective and with a particular methodological approach, combining archaeological, anthropological, topographic, historical, and artistic evidence. I argue that the tombs with their painted decoration served to build and articulate collective memory, elaborating a message which was supposed to address the local community. I propose that the figural scenes depicted on the tomb walls staged ritual activities and initiation ceremonies which marked the life of the whole community. I also reconsider the artistic development of funerary painting in Southern Italy, showing that this phenomenon did not derive from globalizing trends of "Hellenization" or "Romanization", as has often been suggested, but it was intimately connected to indigenous artistic traditions and local or regional socio-political dynamics. / The Classics

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Le sujet de ce doctorat prend comme point de départ les découvertes faites dans la nécropole romaine de la Porte Médiane de Cumes (Campanie, Italie), où les fouilles archéologiques du Centre Jean Bérard (CJB, 3133-CNRS-EfR) ont révélé des tombes monumentales d’époque antonine et sévérienne aux décors funéraires bien conservés. Ces données étaient précieuses car insérées dans un contexte archéologique parfaitement documenté, ce qui donnait l’occasion de reprendre le dossier de la peinture funéraire d’époque impériale en Campanie, méconnue, en raison notamment de sa position chronologique située entre les grandes découvertes des cités vésuviennes et l’essor des catacombes chrétiennes, qui ont attiré toutes les attentions jusqu’à une époque récente. Après avoir dressé un état de la situation de ce corpus longtemps négligé, l’étude a permis, sur la base du matériel inédit de Cumes, de préciser : le cadre chronologique, les caractéristiques iconographiques et techniques, et les liens qui unissent le décor et le contexte architectural. Des questionnements qui reflètent les aspirations des commanditaires, permettant une lecture sociale de l’époque. / This doctorate takes as its starting point the discoveries made in the roman necropolis of the Porta Mediana of Cumae (Campania, Italy), where the archaeological excavations made by the Centre Jean Bérard (CJB, 3133-CNRS-EfR) revealed monumental graves from Antonine and Severian times, whose funerary paintings well preserved.These pieces of information were really precious, as being inserted in a pretty well documented archaeological background, giving the chance to reopen the file of funeral painting from imperial ages in Campania, little known, especially because of its chronological position situated in between the vesuvian cities' great discoveries and the christian catacombs' rise, which until recent times have been focusing most of the attentions.After presenting the situation of this corpus disregarded for a long time, this study, based on the new material from Cumae, permitted to define : the chronological frame, the technical and iconographical features, and the link between the decoration and the architecture. Issues reflecting the graves owner ‘s aspirations, by offering a social reading of the age