In der vorliegenden Dissertation werden fünfzehn griechische Papyri der Berliner Papyrussammlung zum ersten Mal ediert. Die Papyri veranschaulichen verschiedene Aspekte des sozialen, administrativen, wirtschaftlichen und kulturellen Lebens im griechisch-römisch-byzantinischen Ägypten zwischen dem 3. Jh. v.Chr. und dem 7. Jh. n.Chr. Sie wurden durch Ausgrabungen oder Ankäufe des Ägyptischen Museums Berlin in verschiedenen Ortschaften Ägyptens erworben. Die Dissertation gliedert sich in drei Hauptteile, die den unterschiedlichen Textgattungen der edierten Papyri entsprechen: ‚Literatur‘, ‚Wissenschaft‘ und ‚Dokumentarische Papyri‘. Im ersten Teil ‚Literatur‘ werden zunächst die wichtigsten Merkmale der homerischen Papyri dargelegt. Es werden in erster Linie der Beitrag der Papyri zur textkritischen Rekonstruktion der Ilias und der Odyssee sowie die besondere Stellung Homers als Bezugspunkt der griechischen kulturellen Identität in Ägypten besprochen. Daraufhin wird ein Papyrus mit Resten der Odyssee XIX ediert. Im Teil ‚Wissenschaft‘ wird ein spezieller Bereich der antiken Medizin, die Pharmakologie, anhand von drei Papyri mit medizinischen Rezepten dargestellt. Anschließend werden elf dokumentarische Papyri präsentiert, die neue Belege zur Untersuchung von spezifischen Kernproblematiken des griechisch-römisch-byzantinischen Ägyptens liefern und Aspekte des alltäglichen Lebens des Landes beleuchten. Jeder Papyrus bringt neue Belege für Wörter, Ausdrücke, Konzepte oder Dokumentarten zu Tage, die Anlässe zu weiteren Forschungen innerhalb der Papyrologie, aber auch der Alten Geschichte und der Klassischen Philologie bieten. / The dissertation presents the first edition of fifteen unpublished Greek papyri preserved in the Egyptian Museum and Papyrus Collection in Berlin. The papyri illustrate various aspects of the social, administrative, economic and cultural life of Graeco-Roman-Byzantine Egypt from the 3rd century BCE until the 7th century CE. They were acquired by the Egyptian Museum in Berlin through excavations or purchases from various sites in Egypt. The dissertation is divided into three main sections, which correspond to the different typologies of texts edited: ‘Literature’, ‘Science’ and ‘Documentary Papyri’. The first part, ‘Literature’, opens with a brief excursus on the Homeric papyri, which focuses in particular on the papyri’s contribution to the reconstruction of the ancient text of the Iliad and the Odyssey and discusses the central role of Homer as a point of reference for the Greek cultural identity in Egypt. The excursus provides a framework for the first papyrus edited in the dissertation, which contains parts of Odyssey XIX. The second part, ‘Science’, deals with papyri of medical content, focusing especially on a particular area of ancient medicine: pharmacology. This section presents the editions of three medical papyri containing recipes for various scopes. The third part contains editions of eleven documentary papyri, which shed light on specific aspects of everyday life in Greco-Roman-Byzantine Egypt. Each papyrus provides new attestations for words, expressions, concepts and types of documents, which could be helpful for further research not only within the field of Papyrology but also of Ancient History and Classical Philology.

Before 1891, it was commonly accepted that the most important source for the rule of the Four Hundred in Athens in 411 BCE was Thucydides' description. The situation changed thanks to the publication of the Aristotelian treatise On the Athenian Constitution, whose version of events differed markedly from Thucydides' one. There followed many attempts at determining which of the two versions was most reliable, or at combining the two versions. These controversies are the focal point of this thesis, but its ambitions are not limited to them: its ambition is also to reconstruct the chronology of the rule of the Four Hundred as precisely as is possible in context of the Peloponnesian war; and to formulate the limitations that are imposed on us by the character of sources at our disposal. Continuity of the coup with earlier developments and its impact on subsequent events are dealt with more briefly.

Stress, a feeling of pressure, tension, strain or threat, is a problem for contemporary female participants in the primary and secondary educational milieus who automatically respond to stressors (causes of stress), in the same way as women and girls in the past, since human beings have not changed psychologically and biologically over the millennia. Like their ancestors many female educators, learners and caregivers today do not return to a calm mental and physical state after an initial stress reaction. They often remain under stress, which results in emotional, behavioural, physical and cognitive manifestations of stress. Moreover, females may be predisposed to stress because of psychological, biological and social factors that have underpinned their response to time-related stressors that have faced them throughout history. Yet, history has also shown that women and girls taught and learnt successful stress coping mechanisms. Insight into these universal truths may provide educational solutions to a universal problem / Educational Studies / D.Ed. (History of Education)

This thesis is a narratological study of Nonnus of Panopolis' Dionysiaca, focussing on the figure of the narrator whose interventions reveal much about his relationship to his predecessors and his own conception of story-telling. Although he presents himself as a follower of Homer, whom he mentions by name in his poem, the Dionysiaca are clearly influenced by a much wider range of sources of inspiration. The study of narratological interventions brings to light the narrator's relationship with Homer, between imitation and innovation. The way he renews and transforms epic narratorial devices attests to his literary skills as he strives for ποικιλία in his poem. His interventions hint at sources of inspiration other than Homer, such as lyric poetry, historiography, and didactic epic. Another innovation is the way the narrator intervenes not to draw the narratee's attention to the contents of his text, but to underline his own role as story-teller. Some interventions signal a change in tone or the integration of another genre; the expected proems and invocations to the Muse become spaces for a display of ingeniousness, a discussion of the sources and a reflection on the role of the poet. The efforts made by the Nonnian narrator to renew well known devices also denotes his mindfulness of his narratee, whom he involves in the story through metaleptic devices, or by drawing on a shared cultural background to enhance the narrative with allusions to extradiegetic references. The study of narratorial interventions proves that the Dionysiaca were not written only in an attempt to recreate a Homeric epic, but are a compendium of influences, genres, and myths, encompassing the influence of a thousand years of Greek literature.

This dissertation is generally concerned with Plato's conception of philosophy, as the conception is ascertainable from the Republic and certain ‘post-Republic' dialogues. It argues that philosophy, according to Plato, is multi-disciplinary; that ‘philosophy' does not mark off just one art or science; that there are various philosophers corresponding to various philosophical sciences, all of which come together under a common aim: betterment of self through intellectual activity. A major part of this dissertation is concerned with Plato's science par excellence, ‘the science of dialectic' (he epistêmê dialektikê). The science of dialectic is distinguished in Plato by being concerned with Forms or Kinds as such; the science of dialectic, alone amongst the philosophical sciences, fully understands what it means for Form X to be a Form. I track the science of dialectic, from its showcase in Republic VI and VII, and analyze its place in relation to the other philosophical sciences in certain post-Republic dialogues. Ultimately, I show that, whilst it is not the only science constituting philosophy, Plato's science of dialectic represents the intellectual zenith obtainable by man; the expert of this science is the topmost philosopher. In this dissertation I also argue that Socrates, as variously depicted in these dialogues, always falls short of being identified as the philosopher par excellence, as that expert with positive knowledge of Forms as such. Yet I also show that, far from being in conflict, the elenctic Socrates and the philosopher par excellence form a complementary relationship: the elenctic philosopher gets pupils to think about certain things in the right way prior to sending them off to work with the philosopher par excellence.

L’archive erronée dans l’œuvre d’Anne Carson enquête sur les effets que peuvent entraîner l’archive classique sur la poésie d’Anne Carson et révèle que le travail de cette dernière est issu de l’espace situé entre la critique et la créativité, ce qui génère ce qu’on appellera une « poétique de l’erreur ». La poésie de Carson se démarque par sa prédilection pour les accidents, les imperfections et les impondérables de la transmission. La présente dissertation émerge des attitudes critiques ambivalentes face à la dualité de l’identité de Carson, autant poète qu’universitaire, et leur offrira une réponse. Alors que l’objectif traditionnel du philologue classique est de reconstruire le sens du texte « original », l’approche poétique de Carson sape en douce les prétentions universitaires d’exactitude, de précision et de totalisation. La rencontre de Carson avec l’archive classique embrasse plutôt les bourdes, les mauvaises lectures et les erreurs de traduction inhérentes à la transmission et à la réception de traductions classiques. La poésie de Carson est ludique, sexuée et politique. Sa manière de jouer avec l’épave du passé classique torpille la patri-archive, telle que critiquée par Derrida dans Mal d’Archive ; c’est-à-dire cette archive considérée comme un point d’origine stable grâce auquel s’orienter. De plus, en remettant en question la notion de l’archive classique en tant qu’origine de la civilisation occidentale, Carson offre simultanément une critique de l’humanisme, en particulier au plan de la stabilité, du caractère mesurable et de l’autonomie de « l’homme ». L’archive, pour Carson, est ouverte, en cours et incomplète ; les manques linguistiques, chronologiques et affectifs de l’archive classique représentent ainsi des sources d’inspiration poétique. La présente dissertation étudie quatre dimensions de l’archive classique : la critique, la saphique, l’élégiaque et l’érotique. Grâce à ces coordonnées, on y établit le statut fragmentaire et fissuré du passé classique, tel que conçu par Carson. Si le fondement classique sur lequel la culture occidentale a été conçue est fissuré, qu’en est-il de la stabilité, des frontières et des catégories que sont le genre, la langue et le texte ? L’ouverture de l’archive critique de manière implicite les désirs de totalité associés au corps du texte, à la narration, à la traduction et à l’érotisme. En offrant une recension exhaustive de sa poétique, L’archive erronée dans l’œuvre d’Anne Carson tente d’analyser l’accueil hostile qu’elle a subi, contribue à renforcer la documentation sans cesse croissante dont elle fait l’objet et anticipe sa transmutation actuelle de médium et de genre, sa migration de la page à la scène. / The Erring Archive in Anne Carson investigates the responsiveness of Anne Carson’s poetry to the classical archive and argues that Carson works from within the space between the critical and the creative, generating what I call a “poetics of error.” Carson’s poetics is distinguished by a predilection for accidents, imperfections, and the contingencies of transmission. My dissertation also responds to and emerges from the ambivalent critical attitudes to Carson’s dual identity as both a scholar and a poet. While the traditional aim of the classical philologist is to reconstruct the meaning of the “original” text, Carson’s poetic approach self-consciously undermines scholarly pretensions to accuracy, precision, and totalization. Rather, Carson’s encounter with the classical archive embraces the mistakes, misreadings, and mistranslation inherent in classical transmission and reception. Carsonian poetics is ludic, gendered, and political. Her play with the wreckage of the classical past undermines the patri-archive, as critiqued by Derrida in Archive Fever; that is, an archive that is considered to be a stable, governing point of origin. Furthermore, by challenging the notion of the classical archive as the origin of Western civilization, Carson simultaneously offers a critique of Humanism, particularly the stability, measurability, and autonomy of “Man.” The archive, for Carson, is open, ongoing, and incomplete; the linguistic, temporal, and affective gaps of the classical archive are thus opportunities for poetic production. My dissertation examines four dimensions of the classical archive: the critical, the sapphic, the elegiac, and the erotic. By means of these coordinates, I establish the fragmentary and ruptured status of the classical past, as conceived by Carson. If the classical bedrock upon which Western culture has been conceived is fractured, what does this mean for the stability, borders, and categories of genre, language, and the text? The openness of the archive implicitly critiques related desires of totality associated with the textual body, narrative, translation, and Eros. The Erring Archive in Anne Carson is keen to analyze Carson’s own vexed reception and contributes to growing Carsonian scholarship, as it provides a comprehensive entry into her poetics and anticipates her current generic and media shift from the page to the stage.

Cette étude porte sur l'emploi d'adjectifs neutres en fonction adverbiale en grec ancien, sur un corpus constitué de l'ensemble de la poésie archaïque, d'Homère à Pindare. Les données recueillies ont été, autant que possible, confrontées aux données des auteurs classiques et des poètes alexandrins, et replacées dans la perspective de la linguistique indo-européenne. Une étude morphologique montre le caractère récent des adverbes en ως en grec homérique, alors que le neutre adverbial semble constituer un procédé d'adverbialisation ancien et courant. Un examen sémantique des neutres adverbiaux et des adverbes en ως fait apparaître que ces derniers présentent des traits sémantiques typiques d'une catégorie d'adverbes en cours de développement, puisqu'il s'agit presque exclusivement d'adverbes de manière, alors que les neutres adverbiaux apparaissent, chez Homère, dans presque toutes les catégories d'adverbes, ce qui est le propre d'un procédé d'adverbialisation qui a déjà connu une forte productivité. Enfin, une étude syntaxique souligne les limites de la thèse traditionnelle qui voit dans nombre d'adjectifs neutres employés comme adverbes des accusatifs d'objet interne : cette hypothèse ne tient pas compte de l'existence de nombreux neutres adverbiaux qui ne sauraient s'expliquer ainsi, et elle suppose que l'on ait pu substantiver sans restriction des adjectifs au neutre singulier, ce qui n'est pas le cas chez Homère. Cette étude syntaxique met enfin en lumière les étapes du développement des adverbes en ως : ceux-ci sont d'abord apparus dans des contextes où le sujet avait un contrôle sur l'action, ainsi que dans des contextes où l'adverbe est orienté vers le sujet. / The object of this work is to describe and explain the use of neuter adjectives as adverbs in Ancient Greek. It is based on a corpus comprising all archaic Greek poetry, from Homer to Pindar. Whenever possible, this data is compared with the data of the Classical and Hellenistic periods, and put into an Indo-European perspective. The examination of the morphology of adverbs in archaic Greek shows that the adverbs in ως are a recent development in Homer, whereas adverbial neuters seem to have been the default way of deriving an adverb from an adjective shortly before the archaic period. The semantics of the adverbs in ως displays typical features of a relatively new adverbial formation: in Homer, the suffix ως is only found in adverbs expressing manner. On the other hand, neuter adjectives used as adverbs are found in almost every adverbial function, which is the expected behaviour of a very productive adverbial formation. Finally, a syntaxic study of the adjectives in archaic Greek shows that the use of neuter adjectives as adverbs cannot be explained as a special case of internal accusative: this hypothesis is unable to account for numerous neuter adjectives used as adverbs, and implies that neuter adjectives could be used as substantives in singular without any restriction, which is not the case in Homer. This syntaxic study also sheds light on the development of the adverbs in ως: they first appeared in contexts where the subject controlled the process, and in contexts where the adverb is subject-oriented.

L’objet du travail de la thèse est l’étude de l’image du corps de la femme dans la littérature médicale antique, sous ses différents aspects physiologiques et culturels, étude fondée sur les témoignages de deux auteurs centraux pour cette recherche : Hippocrate (Ve siècle av. J.-C.) et Soranos (Ier siècle ap. J.-C.). Les traités gynécologiques et embryologiques du Corpus hippocratique soulignent l’importance absolue du rôle maternel pour l’image de la femme, rôle en fonction duquel est interprété le corps féminin, ce qui est démontré également par l’intérêt pour la future mère dans de nombreux passages de l’œuvre Gynaecia de Soranos. En effet, à cause de jugements négatifs sur la virginité et à cause de problèmes résultant de la stérilité, la maternité devient non seulement garante de la continuité familiale mais a également une fin thérapeutique et assure un état de bien-être. Une analyse des traités du point de vue philologique et historico-littéraire peut rendre pleinement compte de la complexité des indications de nature sociale et anthropologique qui abondent dans les traités. / The subject of this work is the study of the woman’s body in the field of ancient medical literature, from both physiological and cultural aspects. The study is based on the testimony of two authors who were key figures in this reserach : Hippocrates (5th century B.C.) and Soranus (1st century B.C.). Genealogical and embryological treatises of the Hippocratic Corpus highlight the great importance of the maternal role in the image of the woman, a function by which the female body is interpreted, matter that is also confirmed in several pieces by Sorano’s Gynaecia which show an important interest for the expectant mother. Indeed, because of the negative opinion about virginity and the problems arising from infertility, motherhood became not only the guarantor of the family continuity, but also a therapeutic method which provided a state of well-being. A philological and historical-literary analysis of the treatises can clearly demonstrate the complexity of the social and anthropological indications which are abound in the treatises.

Gegenstand dieser Arbeit sind diejenigen Bewegungsverben im Altgriechischen, die zum Ausdruck einer allgemeinen Fortbewegung angewendet werden. Diese Verben können innerhalb verschiedener Kontexte durch come und go glossiert werden und weisen in vielen Sprachen raumbezogene deiktische Anwendungen auf. Die Analyse erstreckt sich auf zwei Hauptcorpora verschiedener Zeitalter, die Komödie des Aristophanes (5. Jh. vor Chr.) und das Neue Testament (1. Jh. nach Chr.). Um diachrone Veränderungen besser zu illustrieren, sind darüber hinaus quantitative und ggf. qualitative Daten bzw. Beispiele aus anderen früheren und späteren Autoren dargestellt und berücksichtigt worden. Die Arbeit geht von der vorhandenen Typologie über deiktische Bewegungsverben in gesprochenen Sprachen aus und identifiziert diejenigen Kriterien und Kontexte, die auch für die Analyse einer toten Sprache zutreffen. Im Unterschied zu der vorhandenen Typologie und der in der Forschung verbreiteten Herangehensweise bzgl. dieser Verbgruppe, die sich auf die räumliche Domäne der Deixis beschränkt, wird in die vorliegende Arbeit auch die Analyse der zeitlichen Dimension der vom Verb ausgedrückten Fortbewegung integriert. Ausgehend von der hier durchgeführten Analyse ist festzustellen, dass die diachronen Veränderungen in den Anwendungskriterien der Bewegungsverben im Altgriechischen auf das Verhältnis zwischen denjenigen Sprachmitteln zurückzuführen sind, die in diesem Verbsystem um den Ausdruck bzw. Präzisierung der zeitlichen Dimension der Handlung konkurrieren, d.h. Aspekt und Aktionsart. Die Arbeit zeigt, dass die Integration der Domänen Raum und Zeit und die Annahme einer diachronen Perspektive die bisherige Typologie sinnbringend ergänzen und in der Forschung zu anderen Sprachen ebenfalls rezipiert werden sollten. / In this work are regarded those motion verbs in Ancient Greek that are used to express a general motion. Those verbs can be glossified by 'come' and 'go', and within certain contexts, deictic uses of these verbs are evident in many languages. The analysis includes two main corpora of different epochs, the comedy of Aristophanes (5th century B.C.) and the New Testament (1st century A.C.). For a better illustration of diachronic changes, quantitative and partially also qualitative data about further, earlier or later authors are described and regarded. Basing on the existing typology for deictic motion verbs in spoken languages, this study identifies those criteria and contexts that can be applied onto a dead language as well. As a difference to the existing typology and to the prevalent approach on these verbs – which is limited to the spatial dimension of deixis –, in this study also the temporal dimension of the verbally expressed motion is integrated. Based on the analysis presented here, it is to be noted that the diachronic changes in the criteria for the application of motion verbs in Ancient Greek can be traced back to the relation of the verbal categories that concur for the expression or precising of the plot's temporal dimension. i.e. the aspect and the Aktionsart. The results of this work give evidence, that the integration of the domains 'space' and 'time' gives reason for the use of these verbs in ancient Greek within a diachronic perspective, and show that this methodological approach is worth to be applied to the analysis of other languages.

This thesis offers a technically informed examination of Plato's pervasive, though not innocent, use of musical theory, practice and musical concepts more generally within the ambitious ethical project outlined in many of his dialogues: fostering the ‘excellence' of the soul. Starting from Republic 3, Chapter 1 will focus specifically on music stricto sensu in order to assess Plato's interpretation of the basic ‘building blocks' of musical performances, creating a core repertoire of musical concepts that will prepare the way to analyse Plato's use of musical terms or categories in areas that, at first sight, do not appear to be immediately connected to this art, such as politics, ethics and psychology. Chapter 2 examines a selection of passages from Laws 2 concerning the concept of musical beauty and its role in ethical education, demonstrating how Plato's definition is far from being moralistic and, instead, pays close attention to the technical performative aspects of dramatic musical representations. Chapter 3 looks first at the harmonic characterisation of the two central virtues of the ideal city, sophrosyne and dikaiosyne, showing how their musical depictions are not purely metaphoric: on the contrary, Plato exploited their cultural implications to emphasise the characteristics and the functions of these virtues in the ideal constitution. The second half of Chapter 3 analyses the Platonic portrayal of musical παρανομία, studying both its educational and psychological repercussions in the dialogue and in relations to contemporary Athenian musical practices. Chapter 4 looks at how different types of music may be used to create an inner harmonic order of passions in the soul in different contexts: the musical-mimetic education outlined in the Republic, the musical enhancement of the psychological energies in the members of the Chorus of Dionysus in the Laws, and finally the role of the aulos in the Symposium.