Cette thèse se propose d’étudier l’expression du mouvement dans la poésie grecque ancienne et plus particulièrement le lien qui unit la mort au mouvement de chute dans la poésie homérique. La question du mouvement apparaît en filigrane dans toutes les études qui se préoccupent de la mort en Grèce ancienne et de ses différentes représentations. À travers non seulement différentes expressions métaphoriques, mais aussi via la chute des corps sur le champ de bataille, la chute de certains objets et le plongeon de différents personnages, le mouvement illustre la mort ou son imminence. Loin de figurer seulement le plongeon de l’âme vers les Enfers, le mouvement de chute figure aussi un large éventail d’états émotionnels et s’avère un moyen efficace d’exprimer des états altérés de conscience, par exemple le passage entre la vie et la mort, le sommeil, la folie et l’ivresse, mais aussi des émotions d’une grande intensité telles que la colère, la douleur et la tristesse. Cette utilisation du mouvement de chute dans la poésie grecque s’exprime dans l’imaginaire poétique, mais également dans les pratiques rituelles recensées dans la poésie homérique. En effet, dans l’Iliade, le mouvement de chute, qui apparaît dans la libation, le serment rituel et les rites funéraires, ne signifierait pas seulement la mort, mais dans certains cas, la mort sans inhumation. Cette découverte nous permet de poser un regard nouveau sur les pratiques rituelles du poème qui mettent en lumière la véritable volonté des Achéens, explicitée au chant 3 (Il. 3. 276-301). Celle-ci consisterait non seulement à tuer les hommes et les enfants, et à mettre les femmes en esclavage, mais aussi à abandonner les corps de leurs ennemis aux éléments et donc de leur refuser l’inhumation, ce qui pose problème dans le contexte religieux de la Grèce ancienne. Le mouvement de chute, à travers le geste de projection, exprime une menace que le public grec devait parfaitement comprendre et qui s’avère centrale pour l’ensemble de l’intrigue. Il apparaît aussi que le mouvement posséderait une « efficacité magique » qui permettrait de déclencher et de sceller un serment. Durant toute l’Antiquité, la signification du mouvement change à travers le temps, s’approfondit, se complexifie et s’il permettait de représenter la mort et la tristesse chez Homère, durant toute la fin de l’époque archaïque jusqu’aux derniers jours de l’Empire romain, le mouvement prend parfois une connotation érotique. En raison de la capacité du mouvement à représenter différents états altérés de conscience et de ses liens étroits avec la mort et le deuil, le plongeon devient alors le modèle exemplaire de la souffrance amoureuse. Cette thèse permet donc d’observer l’évolution d’un motif qui conserve tout au long de l’Antiquité sa dimension mortifère, mais qui, encore aujourd’hui, exprime un lien poétique étroit entre la mort et l’érotisme. / This thesis proposes to study the expression of movement in ancient Greek poetry and particularly the link between death and the physical act of falling in Homeric poetry. The question of movement appears implicitly in all studies concerned with death in ancient Greece and its different representations. Through not only different metaphorical expressions, but also through the fall of bodies on the battlefield, the fall of certain objects and the plunge of different characters, human and divine, the movement illustrates death or its imminence. Far from representing only the plunge of the soul into the Underworld, the falling movement also represents a wide range of emotional states and proves to be an effective way of expressing altered states of consciousness, for example the passage between life and death, sleep, madness and drunkenness, but also emotions of great intensity such as anger, pain and sadness. This use of the movement in Greek poetry is expressed in the poetic imagination, but also in the ritual practices recorded in Homeric poetry. Indeed, in the Iliad, the movement of fall which appears in libation, ritual oath and funeral rites would not only mean death, but in certain cases, death without burial. This discovery allows us to take a new look at the ritual practices of the poem which bring to light the true will of the Achaeans, explicitly shown in the third book (Il. 3. 276- 301), which is not only to kill men and children, and to enslave women, but to abandon the bodies of their enemies to the elements and thus to refusing them burial, which is problematic in the religious context of the ancient Greece. The falling movement, through the gesture of projection, expresses a threat that the Greek audience had to fully understand and is central to the entire plot. It also appears that the movement would possess a "magical efficiency" which would make it possible to trigger and seal an oath. Throughout Antiquity, the meaning of the movement through time became more complex and if it represents death and sadness in Homer, throughout the end of the archaic period until the last days of the Roman Empire, the movement eventually took an erotic connotation. Because of his capacity to represent various altered states of consciousness and its close links with death and mourning, the plunge then becomes the exemplary model of the suffering in love. This thesis thus makes it possible to observe the evolution of a motive which preserves throughout Antiquity its mortiferous dimension, but which, even today, expresses a close poetic link between death and eroticism.

Summaries in English and Afrikaans / Text in English / A modem "disease", stress is a universal and eternal problem in the pedagogic situation, where the child becomes an aduh, under adult supervision. Stress - a feeling of pressure or strain - is a problem for contemporary South African children, who automatically respond to stressors (causes of stress), in the same way as children of the past, since human beings have not changed psychobiologically over the millennia. Our bodies and minds should return to a calm state, after our initial stress reaction, but we often remain under stress, which results in emotional/ physical symptoms of distress. Yet history has shown that children can be helped to handle stress, making it a stimulus for growth. Although past societies were not directly conscious of the concept of stress, they taught coping mechanisms to their children. Some of these are generally valid, and provide us with solutions to the problem of stress in the pedagogic situation. / Die modeme "siekte", stres, is eintlik 'n universele en altyddurende probleem in die pedagogiese situasie - die· situasie waar die kind besig is om onder volwasse begeleiding 'n volwassene te word. Stres - 'n gevoel van druk en oorspanning - is 'n probleem vir hedendaagse Suid-Afrikaanse kinders wat maar, net soos die kinders in die verlede, outomaties reageer op "stressors" (faktore wat stres veroorsaak). Die afgelope millenniums het immers bewys dat die mens nie psigobiologies verander het nie. Ons liggaam en gees behoort mstig te word na 'n aanvanklike stres reaksie. Die probleem is dat ons meestal onder stres bly leef met emosionele/ psigiese simptome van angs as die resultaat daarvan. Tog het die geskiedenis bewys dat kinders gehe]p kan word om stres te hanteer en dit eerder as 'n stimulus vir ontwikkeling te benut. Ten spyte van die feit dat samelewings in die verlede nie so bewus was van die konsep van stres nie, het hulle tog sekere tegnieke aan hulle kinders oorgedra om hulle te he]p om hulle stres te hanteer. Sommige van hierdie tegnieke is algemeen geldig en voorsien ons dus van oplossings vir die probleem van stres in die pedagogiese situasie. / Educational Studies / M. Ed. (Educational Studies)

Master of Visual Arts / This Dissertation explores the metaphor of Ariadne’s thread in terms of interconnection, when an element from the everyday is used as a locus linking broader concepts of time and space. Such experiences and associations are reflected in the work of Louise Bourgeois, Eva Hesse, Doris Salcedo, Lucio Fontana, Richard Tuttle, Mona Hatoum, Simone Mangos, Anya Gallaccio and Yoshihiro Suda. In relation to my own work, the metaphor of interconnecting thread allows a sense of freedom and journey of discovery. My studio and related research are closely aligned in developing my understanding of interconnection, through my studio process of making and continuing experiences of looking at and interpreting others artists’ work.

Master of Visual Arts / This Dissertation explores the metaphor of Ariadne’s thread in terms of interconnection, when an element from the everyday is used as a locus linking broader concepts of time and space. Such experiences and associations are reflected in the work of Louise Bourgeois, Eva Hesse, Doris Salcedo, Lucio Fontana, Richard Tuttle, Mona Hatoum, Simone Mangos, Anya Gallaccio and Yoshihiro Suda. In relation to my own work, the metaphor of interconnecting thread allows a sense of freedom and journey of discovery. My studio and related research are closely aligned in developing my understanding of interconnection, through my studio process of making and continuing experiences of looking at and interpreting others artists’ work.

The diplom a thesis deals with home and its concepts in philosophical works. The aim was to grasp and describe home as a philosophical category, using the ideas and theories that we found in the Czech philosophical texts that came out during the 20th and 21st centuries. Through these available information, we have attempted to unify and create a more coherent, interconnected theory, in which we divided home intoseveral basic chapters that are absolutely decisive and decisive for the concept and understanding of home, both past and present.

Summaries in English and Afrikaans / Text in English / A modem "disease", stress is a universal and eternal problem in the pedagogic situation, where the child becomes an aduh, under adult supervision. Stress - a feeling of pressure or strain - is a problem for contemporary South African children, who automatically respond to stressors (causes of stress), in the same way as children of the past, since human beings have not changed psychobiologically over the millennia. Our bodies and minds should return to a calm state, after our initial stress reaction, but we often remain under stress, which results in emotional/ physical symptoms of distress. Yet history has shown that children can be helped to handle stress, making it a stimulus for growth. Although past societies were not directly conscious of the concept of stress, they taught coping mechanisms to their children. Some of these are generally valid, and provide us with solutions to the problem of stress in the pedagogic situation. / Die modeme "siekte", stres, is eintlik 'n universele en altyddurende probleem in die pedagogiese situasie - die· situasie waar die kind besig is om onder volwasse begeleiding 'n volwassene te word. Stres - 'n gevoel van druk en oorspanning - is 'n probleem vir hedendaagse Suid-Afrikaanse kinders wat maar, net soos die kinders in die verlede, outomaties reageer op "stressors" (faktore wat stres veroorsaak). Die afgelope millenniums het immers bewys dat die mens nie psigobiologies verander het nie. Ons liggaam en gees behoort mstig te word na 'n aanvanklike stres reaksie. Die probleem is dat ons meestal onder stres bly leef met emosionele/ psigiese simptome van angs as die resultaat daarvan. Tog het die geskiedenis bewys dat kinders gehe]p kan word om stres te hanteer en dit eerder as 'n stimulus vir ontwikkeling te benut. Ten spyte van die feit dat samelewings in die verlede nie so bewus was van die konsep van stres nie, het hulle tog sekere tegnieke aan hulle kinders oorgedra om hulle te he]p om hulle stres te hanteer. Sommige van hierdie tegnieke is algemeen geldig en voorsien ons dus van oplossings vir die probleem van stres in die pedagogiese situasie. / Educational Studies / M. Ed. (Educational Studies)

Dissertation .. The approaches towards death and burial in different historical epochs of mankind dealing with a view of death in intellectual conceptions during the history. People have been engaged in the question of life and deaths for ages. It is one of the oldest, the hardests and the most fundamental questions which are asked. We can think of the death in two levels: a general and a personal. The comprehension of deaths was developing in history. Thesis traces, what affected and how it is possible, that the today`s subject of personal death states taboo, even if masmedia floods us with death of others. For understanding, the thesis goes throught history. From the methodological aspects it follows the time line, divides the history into ancient world, the Middle Ages and modern period, as well as on horizontal line following individually nations and their intellectual directions.