L'iconographie constitue un témoignage varié de la réalité grecque ancienne. A ce titre, est-il plausible de croire que les représentations qui figurent sur les oenochoés puissent refléter un contexte d’utilisation particulier? Si l’on se réfère à l’étude iconographique de l’oenochoé de forme 3 {Chous} qui a été faite par Georges Van Hoorn dans son volume Choes and Anthesteria. on constate qu’il a démontré que les scènes figurées étaient reliées à une fête religieuse {Anthes- téries}, donc, à un contexte précis. En me basant sur un raisonnement analogue, j'ai voulu vérifier, à l'aide d’un échantillonage regroupant 906 oenochoés attiques à figures rouges datées du Vie au IVe siècles av. JC, si une démarche similaire s’appliquait à l’ensemble des autres formes connues, soit 17 en tout. Mon étude est divisée en trois parties, la production, la distribution et l’iconographie. Dans la première, je présente les peintres et les vases, dans la seconde, j'étudie les provenances, et dans la dernière, je procède à l'analyse iconographique au sein de laquelle sont regroupés dix thèmes principaux. Hubert Gironx / Montréal Trigonix inc. 2018

Les scènes décorant la céramique apulienne contiennent de nombreuses représentations de plantes qui semblent suffisamment réalistes pour faire l'objet d’une identification botanique. Pour procéder à toute identification, il était nécessaire de réaliser la description de ces représentations et leur classification en groupes homogènes pour obtenir la typologie des motifs végétaux dans la céramique apulienne. Le premier chapitre de ce mémoire explique la méthode utilisée pour décrire et classifier les représentations. Les deux chapitres suivants présentent la typologie des motifs identifiés, en signalant au passage certaines ressemblances avec des plantes connues, sans toutefois proposer d'identifications botaniques formelles. La conclusion de ce mémoire est suivie du catalogue des vases apuliens observés lors de la constitution du répertoire. / Québec Université Laval, Bibliothèque 2013

Black Figure Floral Ware is an understudied style of pottery which was produced in Boiotia and the nearby regions of Euboia and Phokis during the fifth and fourth centuries B.C.E. Floral Style vases are painted with compositions formed predominantly of palmettes and lotuses rendered in black gloss without the incised details which are typically associated with Black Figure pottery. The corpus of Boiotian Floral Ware is divided into two sub-styles: the Northern Style and the Southern Style. The Northern Style is thought to have been produced in the area North and West of the Kopais while the Southern Style was chiefly produced in the Thespiai-Thebes and the Tanagra regions. To date our understanding of the development of the Southern Style has been based on systematically excavated floral evidence from Rhitsona (Ancient Mykalessos) and the Thespian Polyandrion and random vases from the Skhimatari Museum. Previous research incorrectly identified Tanagra as the primary source of Southern Floral Ware with little regard for Thebes as an important producer. Newly discovered ceramic evidence from four Theban cemeteries now indicates that Thebes was in fact a major producer of Floral Ware. The excavations have brought to light new floral groups and have provided evidence which indicates that vases previously identified as Tanagran or Euboian are more likely to be Theban. / This dissertation chronicles the morphological and iconographical development of the Southern Floral Style according to the systematically excavated floral vases from Rhitsona and the Thespian Polyandrion. Rim and base profiles from the Thespian Polyandrion, Thebes and Haliartos are classified and floral motifs from datable contexts are assigned to types. The evidence indicates that it is the overall shape of the vase and the decorative details within the compositions, rather than a specific rim or base type or compositional layout that identifies regional differences, if any. Newly excavated vases from Haliartos are presented not only to provide a contrast for the Southern Style Floral Ware, particularly in terms of their shape, but also in order to establish a bridge between this dissertation and any future studies of the Northern Style Floral Ware.

MPhil University College London, 2004. / Includes bibliographical references (p. [211]-240) and indexes.

Black and red figured pottery is a captivating, while also a vast and demanding subject of research. For decades, vases were primarily studied as valuable art objects and scenes depicted on them considered as testimonies of ideas and lives of their creators and users. Many researchers focussed on interpreting the scenes captured on these vessels. When studying works by our research predecessors, it can be noted that their methods and conclusions were often influenced by the socio-cultural context in which they lived and worked. The aim of this thesis is not to create new, surprising interpretations of selected scenes or to point at erroneous interpretations of other researchers. The aim of this work is to draw attention to how contemporary society has influenced researchers and the methods they use and conclusions they draw when interpreting scenes considered for long periods as immutable, final and undisputable. While re-evaluating adopted conclusions I drew on gender studies and gender analysis which require a multidisciplinary approach to research and interpretation of vase paintings. In four subject areas I pointed out to what extent the dichotomies within which we are used to think and with which we work, i.e. dichotomies of masculine - feminine, public - private, exterior - interior, but also...

M.A. / During the second half of the fifth-century B.C. there was a sudden proliferation of Attic vases depicting adornment scenes. These scenes showed groups of women making themselves desirable and for the first time women were eroticised within the context of marriage. Some scholars have argued that this sudden abundance reflected a change in the Attic attitude towards women, reflecting their increased social standing. These scholars proposed various hypotheses. It is conjectured that Perikles' Citizenship Law of 451/450 increased the social standing of Athenian daughters. The Peloponnesian War that raged from 431 to 404 BCE might also have forced women to take on more public responsibilities; to fill the gaps left by the military men's absence. This would explain why private activities of women became the subject matter of vase paintings at that time. According to this viewpoint women became the new customers of the potters. There are even scholars who maintain that these scenes contain hints of sexual liaisons between women. A competing hypothesis is that these scenes were used to impose a patriarchal ideal of femininity onto girls preparing themselves for marriage. Both these approaches imply that women were the primary viewers of these scenes. The aim of this study is to evaluate these hypotheses and to explore whether there may be other explanations. In order to investigate these issues a visual semiotic analysis was performed of thirteen painted vases representative of a variety of painters and vase shapes. This analysis was done in two parts: a structural analysis and a pragmatic analysis. The structural analysis consisted of a syntactic and semantic analysis, and helped to identify the pertinent signs and what they refer to. Artistic principles and the theory of Gestalt played an important role in identifying key signs. The pragmatic analysis delved deeper and was used to establish what message Athenian men and women might have read into these painted vases. This brought to light the master narrative prescribed by the patriarchy as well as women's acceptance thereof and how women used it to condition their daughters. A new hypothesis is proposed to explain the increase in this type of subject matter on painted vases. It is concluded that the buyers of the vases were mostly men but that the consumers of these artistic scenes were both male and female. It is also probable that after the Peloponnesian War these vases depicted a return to basic patriarchal values that may have degenerated during the war. It was also found that Perikles' Citizenship Law would have contributed more to the social standing of the male guardian, than to that of a girl of marriageable age. The eroticisation of women within the confines of marriage would thus have propagated the message of procreation within the patriarchal family structure, rather than referring to erotic encounters between women. These scenes, instead of showing the increased social standing of women, reflect a reinforcement of patriarchal values.

No description available.

L’étude du mobilier céramique des peuples de la Préhistoire récente permet aux archéologues de distinguer différents groupes culturels ou cultures matérielles. Ces variétés culturelles reposent sur l’adoption par des groupes humains d’un type particulier de vases qui varie dans le temps et dans l’espace dans les limites d’aires culturelles. Les décors, les éléments de préhension, la morphologie des vases, les techniques de fabrication déterminent ces styles. L’archéologue ou le céramologue perçoit dans l’abondance de caractères ou l’absence de ceux-ci, la marque, le signe, d’un fait culturel. Ces différents critères servent à établir une typologie qui permet d’attribuer une série céramique à un groupe culturel. À travers cette typologie, l’archéologue croit percevoir une intention culturelle. Cependant, un regard porté sur l’ensemble de la céramique du Néolithique affirmé voit, dans la poterie en elle-même, le marqueur d’une nouvelle représentation du fait social et culturel, qui accompagne le nouveau rapport entre l’homme et son environnement à partir du passage à l’économie de production. C’est au travers de la perception de l’identification du vase au corps humain, tel que l’on peut le percevoir dans les sociétés traditionnelles et dans quelques cultures archéologiques, que nous désirons dépasser les limites intrinsèques à l’analyse typologique. Les cultures matérielles sont multiples, séparées, divisées, et leur diversité ne matérialise pas seulement les variétés culturelles. La poterie est avant tout le marqueur d’un nouveau fait culturel qui concerne l’ensemble des cultures néolithiques. Elle est un des vecteurs qui cristallisent l’ancrage du Néolithique et avec lui, une nouvelle perception par l’homme de lui-même, de sa société, de l’univers réel qu’il habite, mais aussi de l’univers spirituel, mythologique, imaginé, symbolisé qui l’habitent. En choisissant comme point de départ les différentes démarches analytiques sur la céramique du Languedoc-Roussillon depuis le Néolithique ancien au Néolithique final, nous voulons considérer la poterie, au-delà de son intérêt matériel, dans son intérêt symbolique et culturel. / This thesis proposes to study the question of the relations between the body and the Neolithic pottery through the case of so-called anthropomorphous vases in the north-western Mediterranean.The first part presents the problematic of this thesis and presents the chronological and geographical framework. We make a brief review of the knowledge of the presence of this type of artefacts and commonly proposed interpretations, and we expose the methods by which we intend to analyze anthropomorphic vases.The second part presents the corpus of vases collected in the catalog (volume 2) by chrono-cultural area. It proposes a typological classification of these pottery and it discusses more particularly the modalities of their emergence in the North-Western Mediterranean, their diffusion or their evolution.The last part questions the choice of pottery as a medium of Neolithic body representation. The creation of a repository of data from ethnology, ethnoarchaeology or narratives allows us to situate our object of study in the field of metaphor and to approach it as a sign. We draw inspiration from theories from semiology and more generally from cultural anthropology in order to get out of the usual accepted archaeological interpretations.The results lead us to propose a definition of anthropomorphic vases and to discuss the phenomenon of the anthropomorphization of vases in the Neolithic context and the effects of agro-pastoral lifestyles on the production of the body's imaginary.

O autor pergunta, a partir da iconografia da Guerra de Tróia, pelo lugar da guerra no imaginário ateniense durante os séculos VI-V a.C.. O corpus da pesquisa é constituído por 248 vasos áticos referentes a nove cenas: 1) Armamento de Aquiles; 2) Partida de Aquiles; os duelos entre 3) Páris e Menelau, 4) Enéias e Diomedes, 5) Ájax e Heitor, 6) Aquiles e Heitor, 7) Aquiles e Mêmnon; os retornos de guerreiros mortos em batalha: 8) Sono e Morte carregando o corpo de Sarpédon e 9) Ájax carregando o corpo de Aquiles. Os recortes espacial, Atenas, e cronológico, séculos VI-V a.C., foram feitos devido à escolha deliberada dos vasos áticos e ao surgimento e desaparecimento do tema nesse período. Partindo dos pressupostos de que há uma relação entre imagens e sociedade e de que as imagens são construções do imaginário social, que permitem uma aproximação às representações coletivas, o autor propõe ser a Guerra de Tróia um elemento constitutivo do imaginário ateniense nos séculos VI-V a.C. e remeter sua iconografia às representações dos atenienses sobre a atividade guerreira em seu próprio tempo. As imagens pintadas da Guerra de Tróia, antes de serem ilustrações de um evento do passado, são manifestações da imagem que a cidade de Atenas faz de si mesma em relação à guerra. Presente na memória coletiva dos atenienses, a Guerra de Tróia é um acontecimento, no qual a cidade fundamenta seus valores, sua sociedade e os respectivos papéis de seus cidadãos. Em suma, a guerra, antes de ser uma atividade restrita aos guerreiros, envolve toda a cidade, isto é, os não guerreiros, entre os quais, a mulher e o homem idoso, pais do guerreiro, ocupam um lugar preponderante. / From the iconography of the Trojan War, the author asks about the place of the war in the Athenian imaginary in the sixth and fifth centuries B.C. The corpus of the research is composed of 248 attic vases about nine scenes: 1) The arming of Achilles; 2) The departure of Achilles; the duels: 3) Paris fighting Menelaos, 4) Aeneas fighting Diomedes, 5) Ajax fighting Hector, 6) Achilles fighting Hector, 7) Achilles fighting Memnon; the returns of the dead warriors in battle: 8) Sleep and Death carrying the body of Sarpedon, and 9) Ajax carrying the body of Achilles. The choice of space, Athens, and chronological period, 6th and 5th centuries B.C., was based on a deliberate option for the attic vases and on the appearance and disappearance of the theme in this period. Based on the assumptions that there is a relationship between images and society and that images are constructs of the social imaginary, allowing an approximation to collective representations, the author proposes that the Trojan War is a constituent element of the Athenian imaginary in the sixth and fifth centuries B.C. and that its iconography refers to the representations of Athenians on the war activity in their own time. The Trojan Wars painted pictures, rather than being illustrations of an event from the past, are manifestations of the image that the city of Athens makes about itself, concerning the war. The Trojan War is an event in the collective memory of the Athenians, upon which the city establishes its values, its society and the respective roles of its citizens. In short, that war, rather than being an activity restricted to warriors, concerns the whole city, namely, the non-warriors, among them, the woman and the old man, the warriors parents, who hold an important place.

Cette thèse de doctorat a pour objectif l'étude des objets en bronze, vaisselle et figurines, trouvés sur le territoire albanais et datant de la période archaïque jusqu'à la fin de la période romaine. En effet, cette catégorie d’objets n’a jamais fais l’objet d’une étude spécifique d’ensemble et la plupart d’entre eux sont encore inédits. Cette thèse propose donc pour la première fois un catalogue exhaustif qui prend en compte la technologie, la typologie, la chronologie, les ateliers et la répartition géographique de chaque type d’objet, replacé dans son contexte archéologique et historique grâce à un corpus des sites d’où proviennent ces objets. Les chapitres de synthèses, fondés sur les données du catalogue et du corpus, enrichissent notre compréhension sur les croyances et les habitudes des populations qui utilisaient ces objets, sur les rapports commerciaux qu’ils entretenaient avec les autres centres du monde antique, et sur le développement d’un artisanat spécialisé dans le travail du bronze, et cela dans une perspective historique qui accorde toute son attention aux évolutions. / The principal objective of this thesis is the study of bronze objects, more specially figurines and vases, found in Albania, dating from the archaic period to the end of the roman period. These category of objects have never been subject of a specific study, and the majority of the objects have never been published. This thesis has proposed for the first time a complete study, in the form of a corpus of objects which comprises all the figurines and vases of bronze, found in Albania; which is based in the technology, typology, chronology and geographic distribution of each type of object. The objects are placed in their cultural context through the establishment of a corpus of sites where the objects were found. The synthesis which has analyzed the information of the two corpuses has also enriched our information for the populations by whom were utilized, their habitudes and believes, the merchandise with the other centers of the antique world, and the development of the bronze artisanat, all these issues based in an historic perspective which emphasizes attention in the evolution.