The semantics of New Testament words is a complex subject as these words often have backgrounds consisting of a usage in both extrabiblical Greek literature and the Septuagint, in extension also being the object of Hebraic influence. Καρδία, often translated ”heart”, is no exception. In some Greek literature, the organ is referred to literally, but in the New Testament, καρδία is exclusively used figuratively. Another layer of complexity is added when the nature of this figurative usage is considered, as it includes aspects of cognition, volition, morality, and more. In this thesis, I studied how καρδία is used in the New Testament in comparison to the Septuagint, investigating the existing notion of a “biblical usage” of the word. This usage was then compared to its usage in periods ranging from 800–270 BCE, further exploring the existence of a distinct biblical usage but from a diachronic perspective. For this study, I adopted an interdisciplinary approach inspired by computational and corpora linguistics, dedicating a substantial part of this thesis to evaluating the approach within the field of New Testament lexicography. Its usage in the New Testament and the Septuagint was found to be similar, and I was able to propose some areas where this similarity became the most evident. This biblical usage of καρδία was not found to share much similarity with its usage in extrabiblical literature, with a biblical “moral” and “theological” usage standing out as being the main points of contrast. For the purposes of New Testament lexicography, the approach was found beneficial regarding the collection of evidence, although some issues will need to be further investigated.

Η εργασία έχει ως στόχο να διερευνήσει τον βαθμό και τον τρόπο με τον οποίο η θεατρική αγωγή μπορεί να αποβεί χρήσιμη για τη διδασκαλία της Αρχαίας και της Νέας Ελληνικής Γλώσσας και Γραμματείας στη Δευτεροβάθμια Εκπαίδευση. Με βάση το θεωρητικό υπόβαθρο του ‘δράματος στην εκπαίδευση’ ως μεθοδολογίας για τη διδασκαλία των φιλολογικών μαθημάτων, η διερευνητική εμπειρική μελέτη που ακολούθησε στηρίχθηκε στην επιλεκτική εφαρμογή θεατρικών τεχνικών και συμβάσεων, λαμβάνοντας ωστόσο υπόψη και τους περιορισμούς της σχολικής πραγματικότητας (έλλειψη εξοικείωσης των μαθητών αλλά και των φιλολόγων με τη θεατρική αγωγή, περιορισμένος διδακτικός χρόνος κλπ.). Η γνωριμία με το αντικείμενο της θεατρικής αγωγής αποτέλεσε βασικό κριτήριο σχεδιασμού της έρευνας, ενώ την ίδια στιγμή γινόταν μέσο για τη διδασκαλία των φιλολογικών μαθημάτων. Στη δραματοποίηση κατά τη διδασκαλία συγκεκριμένων διδακτικών ενοτήτων, η οποία έλαβε χώρα σε συνεργασία με τον φιλόλογο του εκάστοτε τμήματος αλλά πάντα με την παρουσία της γράφουσας ως βασικής εμψυχώτριας, συμμετείχαν 1040 μαθητές και 30 φιλόλογοι, από όλες τις τάξεις του Γυμνασίου και του Λυκείου (διαφορετικών τύπων σχολείων) από το Νομό του Ηρακλείου Κρήτης. Στα ερωτηματολόγια, τα οποία δίνονταν ύστερα από τη διεξαγωγή κάθε διδασκαλίας, απάντησαν 768 μαθητές και όλοι οι φιλόλογοι. Τα αποτελέσματα κατηγοριοποιήθηκαν και αναλύθηκαν στατιστικά (για την επαγωγική ανάλυση των δεδομένων χρησιμοποιήθηκε το κριτήριο x2). Η πλειονότητα των μαθητών και των φιλολόγων διατύπωσε πολύ θετική γνώμη για τη διδασκαλία των φιλολογικών μαθημάτων μέσα από τις θεατρικές τεχνικές, ενώ απέδωσε την αποτελεσματικότητά της στα εξής: κατανόηση και αφομοίωση του μαθήματος, το οποίο έγινε πιο ευχάριστο, καλλιέργεια επικοινωνίας και συνεργασίας μεταξύ των μαθητών, δημιουργική αλλαγή στη σχέση μαθητή – φιλολόγου, επίδρασή της στην απόδοση των μαθητών, ενεργή και αυτόβουλη συμμετοχή όλων (και δη των ώς τότε χαρακτηριζόμενων ως αδιάφορων ή αδύναμων μαθητών) στο μάθημα, καλλιέργεια δεξιοτήτων και ενδιαφερόντων σε σχέση με το αντικείμενο διδασκαλίας. Τα αποτελέσματα μελετήθηκαν με βάση το φύλο των μαθητών, τη σχολική βαθμίδα, το είδος του σχολείου και το συγκεκριμένο φιλολογικό μάθημα. Η ερμηνεία των αποτελεσμάτων οδηγεί στο συμπέρασμα ότι, εφόσον υπάρχει κατάλληλος σχεδιασμός, η δραματοποιημένη διδασκαλία των φιλολογικών μαθημάτων μπορεί να αποβεί ωφέλιμη για την επίτευξη των ειδικών στόχων των συγκεκριμένων μαθημάτων αλλά και των γενικότερων σκοπών της εκπαίδευσης. / This research investigates the level and way with which theatre education can be useful for the teaching of the Ancient and Modern Greek Language and Literature in Secondary Education. Based on the theoretical background of drama in education as a methodology for the teaching of the philological lessons, the exploratory research derived from the selective application of theatre techniques and conventions taking into account both the limitations of the current conditions of Secondary Education (the lack of familiarization of both the students and philologists in theatre’s education, limited didactic time etcetera). The acquaintance with the subject of theatre education constituted basic criteria for the research planning, while at the same time became a medium for the teaching of philological subjects. During the application of dramatization in the teaching of specific didactic units, which took place in collaboration with the philologist of each class but always with the presence of the existing writer as the basic drama teacher, 1040 students and 30 philologists participated, coming from all the six classes of Greek gymnasium and lyceum (varying in school types) from the prefecture of Heraclion-Crete. The questionnaires given after each class were answered by 768 students and all the philologists. The results were categorized and analyzed statistically (for the inductive analysis of data, the criterion used was x2). The majority of students and philologists expressed a positive opinion for the teaching of the philological lessons through theatre techniques, while they attributed its effectiveness on: comprehension, assimilation of the class which became more pleasant, cultivation of communication and collaboration between students, creative change in the relationship between student and philologist and its effect on students output, active and voluntary participation (including the students characterized as “weak”), cultivation of skills and interests in relation to the subject of teaching. The results were studied based on the gender of students, the school level, the school type and the specific philological subject. The interpretation of the results concludes that as long as there is a specific planning, the dramatization of teaching the philological subjects can be effective for the realization of the achievement of specific goals of these subjects and for the general aims of education (paideia).

La thèse concerne les composés nominaux à premier membre prépositionnel en grec ancien, en particulier le cas du premier membre ἐν°. Elle est constituée par l’analyse morphologique et sémantique d’un large corpus de données, dont le but est de relever les différents procédés de formation des mots, ainsi que leurs évolutions. Les composés à premier membre prépositionnel se distinguent des autres composés par deux caractéristiques : premièrement, ils ne sont pas constitués par deux lexèmes, étant donné qu’une préposition n’est pas un lexème véritable ; deuxièmement, la structure interne n’est pas toujours reconnaissable.Les questions ayant guidé cette recherche sont donc les suivantes : la nature spéciale de ces composés change-t-elle selon les différentes variétés diachroniques et diaphasiques ? Quelles sont les différentes valeurs du premier membre ἐν° dans les différentes catégories des composés ? On examine, avec une grande attention philologique aux contextes d’emploi, les composés attestés dans trois phases synchroniques successives : en premier lieu, dans la poésie épique archaïque ; en deuxième lieu, dans la prose classique du V-IVe siècle (notamment dans les œuvres de Platon et d’Aristote) ; la troisième partie examine les néo-formations de la période qui va de l’époque de Théophraste jusqu’à celle de Nonnos. Dans une quatrième partie on trouve les composés attestés dans les inscriptions arcadiennes, ainsi que quelques anthroponymes. En conclusion, cette étude montre les changements de la valeur du premier membre ἐν° dans les différentes catégories : ἐν° remplit plusieurs fonctions, qui, pourtant, partagent les signes d’une perte progressive de signification. / This thesis deals with ancient Greek nominal compounds with a prepositional first member (FM), and in particular the case of the FM ἐν°. I analyse a great amount of words from a morphological and semantical point of view. The pool of words is based on a formal criterion; the goal of the analysis is to outline different processes of compound formation, as well as their evolution. As compared to other compounds, those with a prepositional FM present two special characteristics: first, they are not formed by two lexemes, since prepositions/adverbs are not real lexemes; secondly, their internal structure is not often recognizable. The guide-questions of this research are: does the special nature of prepositional FM compounds change over different diachronic and diaphasic varieties? Moreover, which are the values of the FM ἐν° in the different compound categories? Most of the thesis consists in a thorough analysis of compounds attested in three consecutive synchronic phases: first, in archaic epic poetry, then in classical prose of V-IV century (in particular Plato’s and Aristotle’s works); the third part examines all neo-formations appearing in the long period starting from the age of Theophrastus till the age of Nonnus of Panopolis. A brief fourth part presents compounds attested in Arcadian inscriptions, as well as some anthroponyms. In the conclusions, I point out the changes in the value of the FM ἐν° in the different categories: ἐν° takes on several functions, that, however, share the signs of a progressive loss of meaning. / La tesi riguarda i composti nominali a primo membro preposizionale in greco antico, il particolare quelli a primo membro ἐν°. Essa è costituita dall’analisi morfologica e semantica di un vaso corpus di parole; lo scopo dell’analisi è di far emergere i diversi processi di formazione delle parole composto e la loro evoluzione.I composti a primo membro preposizionale si differenziano dagli altri composti per due caratteristiche: in primo luogo, essi non sono costituiti da due lessemi, dato che una preposizione non è un vero e proprio lessema; in secondo luogo, la loro struttura interna non è sempre facilmente riconoscibile.Le domande che guidano la ricerca sono dunque le seguenti: la natura speciale di questi composti cambia a seconda delle varietà diacroniche e diafasiche? Quali sono i valori del primo membro ἐν° nelle diverse categorie di composti?Con attenzione filologica ai contesti d’uso, si esaminano i composti attestati in tre fasi sincroniche successive: in primo luogo, nella poesia epica arcaica; in secondo luogo, nella prosa classica del V-IV secolo a. C. (in particolare, nelle opere di Platone e Aristotele); la terza parte riguarda le neoformazioni apparse nel periodo che va dall’epoca di Teofrasto a quella di Nonno di Panopoli. In una quarta sezione si trovano i composti attestati nelle iscrizioni arcadiche, oltre a qualche antroponimo.In conclusione, la ricerca mostra i mutamenti del valore del primo membro ἐν° nelle diverse categorie: ἐν° assume diverse funzioni, che però condividono i segni di una progressiva perdita di significato.

Diseases of Women, Book I, is part of the Hippocratic Corpus of approximately seventy treatises, although different authors contributed to the writings, as is evident by slight changes in text. It is the first of three works by Hippocrates on gynaecological problems. Fifth century BC doctors did not dissect either humans or animals, so their theories were based purely on observation and experience. Book I deals with women who have problems with menstruation, either the lack of it or an excess, infertility and, when conception does take place, the threat of miscarriage and dealing with the stillborn child. Various remedies are given, including herbal infusions, vapour baths and mixtures that the modern day patient would shudder at, e.g. animal dung and headless, wingless beetles. One remedy, hypericum, or St John's Wort, used for depression, has become popular today as an alternative medicine. / Old Testament and Ancient Near Eastern Studies / M.A. (with specialisation in Ancient Languages and Cultures)

This study examines carnival and ritual in Breyten Breytenbach's dramatic oeuvre and focuses on his Afrikaans drama texts Boklied (1998) and Die toneelstuk (2001). Seeing that these dramas had their debut performances at the Afrikaans national arts festival, the Afrikaans festival phenomenon, as well as Breytenbach's texts will be discussed as framed Events, within a carnival environment, as defined and described by Russian philosopher Bakhtin. The study evolves around three critical questions: 1. How does Bakhtin define the term "carnival" and could Afrikaans national arts festvals be seen as platforms for carnavalesque expression? 2. How does Professor Temple Hauptfleisch define an Event and why can the Afrikaans national arts festivals, as well as the drama texts under discussion, be seen as such Events? 3. How does Breyten Breytenbach's texts link up with Bakhtin's carnival theory and the ritual nature of the Dionysos festivals? / Afrikaans & Theory of Literature / M.A. (Afrikaans)

Tras exponer la metáfora aristotélica, la Teoría de la Metáfora Conceptual y la Teoría de la Amalgama (blending), propongo que esta última constituye un cambio de paradigma. Con la Teoría de la Amalgama establezco un patrón conceptual con que generalizar sobre varios estudios de figuración verbal, en distintos periodos de la poesía griega de amor: lírica griega arcaica, la aparición de las flechas del amor en los periodos arcaico y clásico, canciones populares medievales, y dos poetas del siglo veinte: Ritsos y Elytis. Todas estas imágenes poéticas comparten un patrón que responde a una red genérica de integración conceptual: la EMISIÓN ERÓTICA. Los principales factores de variación son la asignación del papel de emisor a la persona amada o a un agente externo, y la especificación del esquema de imagen EMISIÓN: luz, viento, o un objeto lanzado. La cultura y el contexto fijan otras restricciones que se pueden estudiar sistemáticamente. / This dissertation discusses Aristotle's approach to metaphor, Conceptual Metaphor Theory and Blending Theory, and proposes that the latter constitutes a change of paradigm. I use Blending Theory to model a conceptual pattern generalizing over several case studies of verbal figuration, in different periods of Greek love poetry: ancient Greek lyric, the emergence of the arrows of love in the archaic and classical periods, medieval folksongs, and two 20th century poets, Ritsos and Elytis. All these poetic images share a conceptual pattern that can be modelled with a generic integration network of EROTIC EMISSION. Variation in the realization of the pattern crucially relies on assigning the role of the emitter to the loved person or to an external agent, and on the instantiation of the EMISSION image schema, like light, wind, or an object. Culture and context impose further constraints that can be studied systematically.

Ο Μίνως Βολανάκης ήταν ένας σημαντικός σκηνοθέτης της ελληνικής θεατρικής σκηνής, παρότι δεν απασχόλησε ακόμη τους μελετητές του θεάτρου. Τα βιβλιογραφικά κενά και η δράση του, τόσο στην Ελλάδα όσο και στο εξωτερικό, οδήγησαν στην εκπόνηση της παρούσας μελέτης, η οποία επικεντρώνεται στον τρόπο προσέγγισης του αρχαίου ελληνικού δράματος από τον Βολανάκη.Στόχος της εργασίας ήταν η μελέτη τριών παραστάσεων αρχαίας τραγωδίας, της Ηλέκτρας του Σοφοκλή (1975) και της Μήδειας του Ευριπίδη (1976) για το Κρατικό Θέατρο Βορείου Ελλάδος και του Οιδίποδα Τυράννου του Σοφοκλή (1982) για το Εθνικό Θέατρο, και η εξαγωγή συμπερασμάτων σχετικά με τον τρόπο προσέγγισης της αρχαίας ελληνικής τραγωδίας από τον σκηνοθέτη. Ένα από τα θέματα που μελετήθηκαν ήταν η επιλογή του σκηνοθέτη να αναθέτει στις παραστάσεις του τους πρωταγωνιστικούς ρόλους σε πολύ γνωστούς ηθοποιούς, χωρίς να έχουν απαραίτητα προηγούμενη εμπειρία στην αρχαία τραγωδία και χωρίς να προβληματίζεται ιδιαίτερα για το αν ήταν καλή η υπόκρισή τους. Τέλος, εξετάστηκε η ενδεχόμενη συμβολή του Μίνωος Βολανάκη στον εκσυγχρονισμό των παραστάσεων της αρχαίας ελληνικής τραγωδίας στην Ελλάδα. / Minos Volanakis was a popular director of the greek theatre scene, though he has not yet attracted the scholars of theater. The literature gaps and his action, both in Greece and abroad, led to the preparation of this study, which focuses on how Volanakis approached the ancient Greek drama. The aim of my work was to study three performances of ancient tragedy, Sophocles' Electra (1975) and Medea of Euripides (1976) for the State Theater of Northern Greece and Oedipus Rex by Sophocles (1982) for the National Theatre, and draw conclusions about how the director approached the ancient Greek tragedy. One of the issues studied was the director's choice to delegate the leading roles of his performances to well-known actors, who had not necessarily have previous experience in the ancient tragedy. The next issue studied was that he did not particularly worry whether their acting was good enough. To conclude, I studied the possible contribution of Minos Volanakis in the modernization of performances of ancient Greek tragedy in Greece.

This study examines carnival and ritual in Breyten Breytenbach's dramatic oeuvre and focuses on his Afrikaans drama texts Boklied (1998) and Die toneelstuk (2001). Seeing that these dramas had their debut performances at the Afrikaans national arts festival, the Afrikaans festival phenomenon, as well as Breytenbach's texts will be discussed as framed Events, within a carnival environment, as defined and described by Russian philosopher Bakhtin. The study evolves around three critical questions: 1. How does Bakhtin define the term "carnival" and could Afrikaans national arts festvals be seen as platforms for carnavalesque expression? 2. How does Professor Temple Hauptfleisch define an Event and why can the Afrikaans national arts festivals, as well as the drama texts under discussion, be seen as such Events? 3. How does Breyten Breytenbach's texts link up with Bakhtin's carnival theory and the ritual nature of the Dionysos festivals? / Afrikaans and Theory of Literature / M.A. (Afrikaans)

Diseases of Women, Book I, is part of the Hippocratic Corpus of approximately seventy treatises, although different authors contributed to the writings, as is evident by slight changes in text. It is the first of three works by Hippocrates on gynaecological problems. Fifth century BC doctors did not dissect either humans or animals, so their theories were based purely on observation and experience. Book I deals with women who have problems with menstruation, either the lack of it or an excess, infertility and, when conception does take place, the threat of miscarriage and dealing with the stillborn child. Various remedies are given, including herbal infusions, vapour baths and mixtures that the modern day patient would shudder at, e.g. animal dung and headless, wingless beetles. One remedy, hypericum, or St John's Wort, used for depression, has become popular today as an alternative medicine. / Old Testament and Ancient Near Eastern Studies / M.A. (with specialisation in Ancient Languages and Cultures)

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