La céramique à paroi fine est un groupe de vaisselle romaine parmi les plus représentés sur les sites archéologiques. Un échantillonnage important (environ 25000 fragments) a été mis au jour dans les différents secteurs fouillés de la cité étrusco-romaine de Musarna (territoire de Tarquinia). Son étude a permis d'identifier cinquante-huit formes de vases et de retracer leur évolution technique. Leur comparaison avec le matériel provenant des sites voisins, de l'Étrurie, de toute la péninsule italique, et des territoires conquis a conduit à l'identification de plusieurs zones de production. Divisés en six phases chronologiques, leur datation s'étend entre le dernier tiers du IIe siècle av. J.-C. et le IIe siècle ap. J.-C. / The Thin-walled ware is one of the most represented class of vessel ceramic found on roman archaeological sites. An important batch (around 25000 shards) has been found in the various areas explored in one of the etrusco-roman cities of Tarquinia's territory: Musarna. The study of that Corpus allowed us to identify fifty-eight forms of vases and to trace their technological evolution. The parallels found with the material coming from others sites in Etruria, in the whole Italy and in the conquered territories have evidenced the existence of several productions areas. The Thin-walled ware from Musarna can be divided in six chronological phases, distributed between the last third of the II century B.C. and the II century A.D.

Cette thèse porte sur l'étude des mobiliers funéraires en Etrurie méridionale à la période hellénistique. Elle se proposait de faire le point sur l'ensemble des données livrées par les nombreuses nécropoles du territoire de Tarquinia, en accordant une attention particulière à l'Étrurie rupestre. En partant de l'étude ponctuelle des nécropoles du site étrusco-romain de Musarna, l'analyse détaillée des mobiliers funéraires, couplée à celle des structures funéraires, a représenté la première étape d'une réflexion à plus grande échelle sur les pratiques et les rituels funéraires attestés dans la région. Au travers de la composition des assemblages funéraires, on a tenté d'identifier des éléments pouvant permettre de mieux comprendre les coutumes funéraires et leur évolution entre la fin du IV" siècle av. J.-C. et le début du 1°' siècle av. J.-C., période chronologique caractérisée par le phénomène de conquête et de « romanisation » des territoires étrusques, jusqu'à l'intégration complète des grandes métropoles dans l'État romain. Par le biais des éléments mis en évidence, on a cherché à apporter des réponses à une série de questions relatives à plusieurs aspects du monde funéraire, en relation directe avec le contexte historique : statut des défunts, spécificité sexuelle, valeur matérielle ou symbolique des dépôts. L'étude de chaque déposition a permis de mettre en évidence plusieurs aspects de la gestualité qui se déroule autour de la mort du défunt au sein de ce grand groupe culturel, et leur évolution au cours des différentes époques considérées. / This thesis deals with the study of funerary set in Southern Etruria during the Hellenistic period based on a systematic gathering of all the data supplied by the numerous necropolis of the territory of Tarquinia, with particular attention to the « Etruria rupestre ». The detailed analysis of funerary set, coupled with that of funerary structures of the Etruscan-Roman site of Musarna, was the first step in a larger-scale reflection on the funeral and rituals practices attested in this region. Through the composition of the funerary assemblages, attempts have been made to identify elements that can better illustrate funerary customs and their evolution between the end of the 4th century BC. and the beginning of the 1st century BC., a chronological period characterized by the gradual conquest and colonization of the Etruscan territories, until the complete integration of the great metropolises in the Roman state. Through the elements highlighted, an attempt was made to answer a series of questions concerning several aspects of the funerary world directly related to the historical context: the status of the deceased, the gender specificity, the material or symbolic value of the deposits. The study of each deposition made it possible to highlight several aspects of the gestuality that takes place around the death of the deceased within this great cultural group, and its evolution during the different periods considered.

The role of women changed constantly during the Renaissance era. Especially notable was the evolution of the role of women within the arts, in which the female gender was becoming particularly sought after. One woman deserving of attention is poetess, philosopher, and musician Tarquinia Molza (1542-1617) who enjoyed notable success at the court of Ferrara. Molza by-passed gender conventions of the day by engaging in traditionally “masculine” activities like philosophy and “feminine” ones such as singing. While there is plentiful scholarship about Molza, no current scholarship has specifically considered how questions regarding the ambivalence of her gender affected Molza’s relationship with her contemporaries. This thesis explores how the notion of masculinity and femininity impacted Molza’s reception among her peers. In order to do so, I examine Molza’s philosophical, poetic, and musical output, before looking at a similarly diverse output from her contemporaries. Though this study does not encompass all of the poetry and musical settings dedicated to Molza, it helps us gain a sense of poetic and musical style, providing the basis for further study. My thesis seeks to further our understanding of the role of women in the northern Italian courts during the second half of the sixteenth century, and strives to examine the links between the gender ambivalence surrounding Tarquinia Molza and her reception among her contemporaries. Moreover, this study sheds light on the importance of gendered rhetoric in late sixteenth-century culture, a consideration that can be further developed and applied to the study of other notable figures.

Master of Philosophy / The following paper will present a study of 76 impasto and bucchero ceramic artefacts that form part of the collection of the Nicholson Museum at the University of Sydney. These artefacts have not been previously studied in any detail and while some have been published, publication was limited to a brief description. The paper is divided into three sections: impasto, Caeretan stamped ware and bucchero. A preliminary discussion of the ceramic type is followed by a catalogue. The catalogue provides a detailed description, any provenance and publication details, parallels and provides a date and possible geographical context of each vessel.

Master of Philosophy / The following paper will present a study of 76 impasto and bucchero ceramic artefacts that form part of the collection of the Nicholson Museum at the University of Sydney. These artefacts have not been previously studied in any detail and while some have been published, publication was limited to a brief description. The paper is divided into three sections: impasto, Caeretan stamped ware and bucchero. A preliminary discussion of the ceramic type is followed by a catalogue. The catalogue provides a detailed description, any provenance and publication details, parallels and provides a date and possible geographical context of each vessel.

No description available.