More than sixty years after Michael Ventris’ decipherment of the Linear B script, 14 of its 87 syllabic signs still have no sound-values assigned to them. This group of ‘undeciphered’ signs represent a significant gap in our ability not only to read the Linear B script, but also to understand its development and use. Chapter 1 of this thesis analyses the origins and usage of signs with known sound-values to establish what types of values are in principle most likely to be found amongst the undeciphered signs: this investigation also enables an exploration of the development of Linear B, its relationship with its parent script Linear A, and the motivating factors underlying the creation of new Linear B signs. Chapter 2 consists of studies of each individual undeciphered sign, including a palaeographic analysis of their forms, discussion of their corpus of attestations, and an examination of their prospects of decipherment and possible sound-values in the light of the results of Chapter 1. Finally, Chapter 3 employs this group of signs in a case-study to explore the potential of palaeographic analysis to contribute to our understanding of wider issues concerning the Linear B script and its context of use within the Mycenaean palaces. This case-study focuses in particular on two main uses of palaeography: as a means of assigning a relative chronology to Linear B texts, and as evidence for the reconstruction of the Mycenaean scribes’ administrative work and training.

O ciclope de Eurípides é o único exemplo completo do que se conhecia na Grécia Antiga como drama satírico, ranqueando-se, portanto, como um dos textos mais elucidativos e preciosos para os estudos clássicos. Eurípides constrói o enredo na intertextualidade com o famoso canto IX da Odisseia, em que Odisseu e seus companheiros se encontram prisioneiros do monstruoso ciclope Polifemo: Eurípides reutiliza a tradição homérica, épico-mítica, em uma releitura cômica, típica do drama satírico. A fim de realizar um estudo sobre a natureza do drama satírico, esta dissertação se centra no estudo deste texto euripidiano, dividindo-se, deste modo, em três partes: na primeira, faz-se um estudo a respeito do gênero do drama satírico, analisando as características que se pode inferir do mesmo a partir de, especialmente, o texto de Eurípides, além de outras fontes; na segunda, desenvolve-se um estudo do coro do drama satírico e da figura que o compõe: o sátiro. Num terceiro momento, ainda, esta dissertação apresenta uma tradução do texto grego para o português moderno. / The Cyclops of Euripides is the one complete example of what was known in Ancient Greece as the satyr play, therefore ranking itself as one of the more enlightening texts and precious object to the classical studies. Euripides presents the plot in intertextuality with the famous book IX of the Odyssey, where Odysseus and his companions are prisoners of monstrous cyclops Polyphemus: Euripides reuses the homeric tradition, epic and mythic, in a comic retelling, feature that would be typical to the satyr play. In order to presente a study of the nature of the satyr play, this dissertation focuses itself in studying this Euripidean text, and so divided in three parts: first, a study of the gender that is the satyr play, analyzing its features that we can infer from Euripidean text, and also other sources; secondly, a study of the chorus of the satyr play and the figure that is part of it: the satyr. Thirdly, this dissertation presents a translation of the Greek text to modern Portuguese.

Why did so many poets attempt English verse in Ancient Greek and Latin metres during the late nineteenth and early twentieth centuries? And what was at stake in these attempts? The most immediate importance of these questions to literary criticism is the fact that they mark one of the most striking and consistent points of contiguity between the verse-forms — and poetic theories — of poets commonly categorised as ‘Modernists’ and ‘Victorians’. This study uncovers a lineage of experimentation with classical metres connecting Algernon Charles Swinburne to Ezra Pound and H. D., in the process challenging received periodizations of English verse-history. The assumption that vers libre and metrical verse constitute alternate and incompatible paradigms prevents us from being able to perceive, in either of them, the endless performative possibilities that rhythm offers us — possibilities which, as I intend to demonstrate, underpin some of the period’s most influential experiments in verse-form. My close studies of these poetic forms raise another question: what is the ontological status of these poetic forms that pass through multiple languages and millennia? I frame my readings of English poetry in classical measures through the metaphor of the ghost because English poetry can only encounter classical metres as a kind of spectral or incomplete presence. I refer to this encounter, borrowing a term from Jacques Derrida, as ‘hauntology’: a situation of temporal, historical, and ontological disjunction that occurs when a being or entity, apparently present, is revealed to be an absent or continually-deferred (non-)origin. The hauntological character of English poems in classical measures is due not only to fundamental differences between the syntaxes and phonologies of Ancient Greek, Latin, and English, but also to the loss of knowledge concerning the traditions and conventions of metrical performance in Ancient Greek and Latin. This is why writing English poetry in classical metres generally poses a far greater challenge — both technically and conceptually — than writing English poetry in the metres of a living language: recreating classical metres in English requires reimagining the very nature of the encounter between poems and bodies, while also facing up to the quasi-magical charge that ‘the classical’ holds in the English literary imagination.

O ciclope de Eurípides é o único exemplo completo do que se conhecia na Grécia Antiga como drama satírico, ranqueando-se, portanto, como um dos textos mais elucidativos e preciosos para os estudos clássicos. Eurípides constrói o enredo na intertextualidade com o famoso canto IX da Odisseia, em que Odisseu e seus companheiros se encontram prisioneiros do monstruoso ciclope Polifemo: Eurípides reutiliza a tradição homérica, épico-mítica, em uma releitura cômica, típica do drama satírico. A fim de realizar um estudo sobre a natureza do drama satírico, esta dissertação se centra no estudo deste texto euripidiano, dividindo-se, deste modo, em três partes: na primeira, faz-se um estudo a respeito do gênero do drama satírico, analisando as características que se pode inferir do mesmo a partir de, especialmente, o texto de Eurípides, além de outras fontes; na segunda, desenvolve-se um estudo do coro do drama satírico e da figura que o compõe: o sátiro. Num terceiro momento, ainda, esta dissertação apresenta uma tradução do texto grego para o português moderno. / The Cyclops of Euripides is the one complete example of what was known in Ancient Greece as the satyr play, therefore ranking itself as one of the more enlightening texts and precious object to the classical studies. Euripides presents the plot in intertextuality with the famous book IX of the Odyssey, where Odysseus and his companions are prisoners of monstrous cyclops Polyphemus: Euripides reuses the homeric tradition, epic and mythic, in a comic retelling, feature that would be typical to the satyr play. In order to presente a study of the nature of the satyr play, this dissertation focuses itself in studying this Euripidean text, and so divided in three parts: first, a study of the gender that is the satyr play, analyzing its features that we can infer from Euripidean text, and also other sources; secondly, a study of the chorus of the satyr play and the figure that is part of it: the satyr. Thirdly, this dissertation presents a translation of the Greek text to modern Portuguese.

This thesis examines the institutional design and the procedures regulating the decree-making in the poleis of the Classical and Hellenistic periods. The main contention of this thesis is that Greek decree-making is to be conceived as the result of a multi-layered system of interaction and delegation of deliberative authority among different institutions: councils, officials, assemblies and lawcourts. My thesis argues, therefore, that decree-making procedures were specifically designed to implement the concept of 'divided power', a value shared by both democracies and non-democratic regimes, and to shape the collective behaviour of the citizens when acting as decision-makers within the institutions. By adopting models from the political sciences, my thesis bridges the gap between institutional approaches to political decision-making and more recent approaches that have stressed the role of values and ideology as key factors to understand ancient Greek politics. Chapter 1 lays out the methodology of the thesis informed by the New Historical Institutionalism. Chapter 2 analyses the practice of delegation of power from the Athenian Assembly to the Athenian Council in order to enact additional measures. The careful study of the delegation-clauses sheds light on the administrative power of the Council by demonstrating that the Council played a proper policy-making role through the enactment of a decree, which was the product of Council's expertise in defined matters, such as religious affairs, foreign policy and the navy. Chapter 3 builds on the findings of the previous chapter, and shows the workings and development of delegation-clauses to the Council in two examples from outside Athens, Mytilene and Megalopolis over the longue durée. Chapter 4 deals with the deliberative procedures of Hellenistic Sparta. The Spartan 'divided power' envisaged that the Gerousia shared the probouleutic power with the ephors who could independently submit the bill to the Assembly. The Gerousia, however, held the power of nomophylakia and could veto the final decree. This chapter shows that divided power and the need of legal stability were addressed by Spartan institutions, but with different results because of the wider powers of officials in the decree-making. This chapter introduces the important issue of the balance between people's deliberation and stability of the legal order, which form an important focus of chapters 5 and 6. Chapter 5 discusses the role played by legal procedure of the adeia in fifth-century deliberative decision-making in the Assembly. This chapter provides a new comprehensive account of this legal institution. Adeia instituted a pre-nomothetic procedure, according to which the Assembly could change an entrenched piece of legislation or decree without clashing with the nomothetic ideology. Chapter 6 examines the relationship between deliberation and judicial review in the Greek poleis. The first section discusses the Athenian graphe paranomon, the public charge against an illegal decree. A thorough analysis of the legal procedure and of the institutional design shows that deliberative decisions were made within the framework of the rule of law and the graphe paranomon enforced this principle. This did not imply an institutional prominence of the lawcourts in the Athenian decision-making. The lawcourts performed an important role in the deliberative process through providing a safeguard of legal consistency by adding the legal expertise of the judges to the general rationale of the decree-making. The second part of the chapter is dedicated to the discussion of evidence of judicial review from outside Athens and the multifaceted role of the Hellenistic practice of appointing foreign judges in adjudicating public lawsuits, and especially in the judicial review of decrees.

Dans les ruines d'une maison proche du temple ptolémaïque de Deir al-Medina, sur la rive gauche de Thèbes, la Mission Archéologique Italienne dirigée par Ernesto Schiaparelli découvrit en février 1905 deux jarres encore scellées, desquelles on retira 33 rouleaux. Ils décelèrent 44 papyrus en écriture démotique, 8 en grec et 4 bilingues ; de plus, parmi les bandelettes de lin qui les enveloppaient, 5 étaient inscrites. Au total, 61 documents constituaient les archives familiales d'un prêtre attaché à ce temple, nommé Totoès fils de Zmanrès, et de son épouse Tatéhathyris. Le lot complet fut envoyé au Musée Égyptien de Turin, dont Schiaparelli était le directeur. Les textes grecs furent publiés en 1929, alors que l'édition des papyrus démotiques ne vit le jour qu'en 1967. Six d'entre eux furent republiés entre 1978 et 1985, tandis que quatre autres furent examinés à nouveau en 1997 dans une étude sur l'affermage à l'époque ptolémaïque. La plupart des documents sont des actes légaux et comportent donc des protocoles de datation mentionnant les différents souverains qui ont régné en Haute Égypte tout au long du IIe siècle avant notre ère. Le plus ancien, daté de 194, compte parmi les rares attestations du pharaon rebelle Chaonnophris ; les trois plus récents, datés entre 101 et 100, non seulement sont les premiers à révéler le décès de Cléopâtre III, mais sont aussi les seuls à témoigner de la corégence de Ptolémée X Alexandre Ier, de sa femme Cléopâtre Bérénice III, et de l'héritier Alexandre II, le futur Ptolémée XI. Les contrats sont de nature très variée. La plupart concernent la vente ou la location de jours de service liturgique, qui donnaient droit à une part proportionnelle des revenus des différents temples de la rive gauche thébaine. Ils représentaient une partie importante du patrimoine de ces prêtres : une donation issue de ces archives montre en effet qu'ils pouvaient être transmis de père en fils. D'autres actes mentionnent l'affermage de champs, l'achat d'immeubles, le prêt de céréales ou d'argent ; deux documents se rapportent à une forme de bail difficile à déchiffrer, un autre à un échange d'animaux. Le droit de la famille est représenté par cinq contrats de mariage et un de divorce ; un dernier fait état de frais d'enterrement. La thèse a pour objet la réédition intégrale de ces documents, y compris les jarres qui les contenaient. L'accès direct aux papyrus originaux conservés à Turin, ainsi qu'aux archives de leur mise au jour et de leur publication, a permis de détecter deux fragments inédits, de retrouver les numéros d'inventaire des papyrus grecs, de reconstituer les circonstances exactes de leur découverte et de retracer les rouleaux d'origine, pour la plupart des textes. L'étude philologique a établi des correspondances entre démotique et grec pour de nombreux noms de personnes et de lieux, a amélioré la lecture et mené à une nouvelle interprétation de certains textes. Deux actes et deux serments ont notamment révélé la dévolution des fonctions de mandataire de la déesse Hathor d'un père à ses trois fils, avec le consentement du clergé du temple de Deir al-Medina. Les modalités de partage de l'héritage paternel entre Tatéhathyris et son frère Pikos, où Totoès a joué un rôle d'intermédiaire, ont également été mieux saisies. Une étude paléographique menée, pour la première fois, sur l'ensemble du corpus a conduit à reconnaître la main de certains scribes auxquels ont été attribués certains papyrus, tandis que d'autres textes ont été réassignés. L'analyse des protocoles a dévoilé également une pratique locale visant à les raccourcir de manière arbitraire. Enfin, l'analyse des données prosopographiques et topographiques a mené à dresser un arbre généalogique de plusieurs générations de la famille de Totoès et de Tatéhathyris, ainsi qu'un portrait plus fidèle tantôt de la population, tantôt de lieux de culte, terrains et bâtiments de la ville de Djémê, les Memnoneïa grecs. / In a house in ruins near the Ptolemaic temple of Deir al-Medina, on the Theban West Bank, the Italian Archaeological Mission (MAI), leaded by Ernesto Schiaparelli, discovered in February 1905 two sealed jars, containing 33 rolls. They revealed 44 papyri in Demotic writing, 8 in Greek and 4 bilinguals; among the linen bands wrapping them, 5 were inscribed. Altogether, these 61 documents formed the family archive of a priest attached to this temple, named Totoes son of Zmanres, and of his wife Tatehathyris. The whole was sent to the Egyptian Museum in Turin, of which Schiaparelli was the director. The Greek texts were published in 1929, whereas the edition of the Demotic papyri appeared only in 1967. Later, six of them were republished between 1978 and 1985, while four were re-examined in 1997 in a study on field leasing in the Ptolemaic period. Most of these documents are legal acts and can be dated with the help of their protocols, which name several sovereigns ruling Upper Egypt during the 2nd century BCE. The oldest one, dated 194, is counted among the rare attestations of the rebel pharaoh Chaonnophris; the three most recent ones, between 101 and 100, are the only ones giving evidence of a coregency between Ptolemy X Alexander I, his wife Cleopatra Berenice III and the heir Alexander II, the future Ptolemy XI. Moreover, they are the first evidences concerning the death of Cleopatra III. The contracts are of different types. Most of them deal with the sale or the rent of days of liturgical service in many temples on the Theban West Bank, and of their related salaries. They were an important part of the capital of these priests: a deed of covenant from this archive shows that they could have been transferred from father to son. Other legal acts concern field leasing, real estate purchases, wheat or money loans: in particular, two documents relate to a form of lease not easy to understand, another one to an exchange of animals. Family law is represented by five marriage contracts and one divorce; one last text deals with funeral expenses. The dissertation focuses on the new edition of all the documents, including the jars containing them. Direct access to the originals in Turin, as well as to archival records concerning their discovery and publication, have allowed the identification of two unpublished fragments and of the inventory numbers of the Greek papyri, the reconstruction of the exact circumstances of the finding and the assignation of the most part of the texts to their rolls of origin. The philological study has established connections between Demotic and Greek for a lot of personal and place names, has improved readings and has led to new interpretations for some texts. Notably, two legal acts and two temple oaths have revealed the transfer of the duties as agent of the goddess Hathor from a father to his three sons, with the consent of the temple clergy of Deir al-Medina. Moreover, the way of sharing their father's inheritance between Tatehathyris and her brother Pikos, with the action of Totoes as intermediary, is now better understandable. The attention paid to the scribes from a palaeographical point of view permitted to ascribe for the first time or to assign some papyri to their author and to unveil the arbitrary scribal practice of cutting protocols. Finally, the analysis of the prosopographical and topographical data has led to a family tree over many generations of the family of Totoes and Tatehathyris, as well as to a more precise picture on the one hand of the local community, and on the other hand of some religious and civilian buildings and fields in the village of Djeme, called Memnoneia in Greek.

Dans le "Protagoras" et le "Théétète", Platon affronte la pensée de Protagoras, d'abord sur le plan de la politique et de la morale, ensuite sur celui de la science et de la connaissance. Le sophiste le confronte à un ensemble de questions tournant autour du relativisme épistémologique et de la possibilité d'enseigner la vertu. Dans les deux dialogues, il soumet Platon à un ensemble de difficultés parallèles du moins pour une lecture attentive au grand discours dans le "Protagoras" et à l'apologie dans le "Théétète" qui se répercutent dans d'autres dialogues. La première partie de cette thèse s'emploie à explorer l'importance que Platon attribue à la notion de mesure chez Protagoras et la manière dont celle-ci rejaillit à travers les dialogues ("Politique", "Philèbe", "Lois") pour s'ériger en concept de la philosophie platonicienne. La seconde partie, axée sur la figure du sophiste expert et professeur, s'attache à étudier la manière dont Protagoras, par son attachement au semblable et au dissemblable, contraint Platon à une entreprise de clarification des concepts structurants de la pensée, afin de rétablir une vérité contre le principe de l'expertise et de la contradiction.

Modern rhetoric takes many influences from the classical era, but aural components of rhetoric are not often included in rhetorical education. This paper examines the techniques used by Dionysius of Halicarnassus in his essay On Literary Composition, where he explored the components of arrangement of words in clauses for greatest impact when read and spoken aloud. Dionysius utilized meter and aesthetic placement of words to create work that was technically skilled and appealing to the listener or reader. Dionysius built on ideas from rhetoricians of 4th and 5th century BCE Athens for his definition of style. His writing on style is compared with the work of Demosthenes and Aristotle among others. While many of his techniques and examples are specifically focused on Attic Greek, we can still use the concepts to improve modern written and especially spoken rhetoric. Spoken rhetoric on television and the internet in particular provides a venue to exercise the lessons of precisely planned wording and control of sounds through word placement.

Greece experienced a musical revolution in the fifth century BC which modern scholars call the “New Music” movement. The movement was encouraged by Greek culture which embraced change and innovation. Under the “New Musicians,” those individuals involved in the movement, many traditional elements of music were changed or discarded. The most prominent place in which to understand the change in musical styles is the nomic and dithyrambic genres: both genres allowed musicians a great range in creativity to the extent that innovations in the nomoi made their way into the dithyramb. The change to traditional music was not always warmly accepted. Instead, while the demos enjoyed the new style of music the aristocracy derided its existence. The split between the demotic and aristocratic views of music may be seen especially in the attitude towards and purpose of the aulos and kithara in fifth-century Athens. Moreover, since the attitude of the aristocrats differed from that of the working-class musicians, we are able to see that the traditionally-minded aristocracy saw music as a gift from the gods while the working musicians saw the instruments and their musical sound as “tools.” The New Music movement was encouraged by Greek society which rewarded novelty and innovation. As Athens grew to become a cultural hot spot in the fifth century, more people saw the incentive to becoming professional musicians; original music would be rewarded either by fame and glory of the festivals or by financial remuneration. As a result, a primitive “entertainment industry” arose at Athens and propelled the new-style musicians to pursue their original compositions in their professional careers. The New Music movement also encouraged the study of music, particularly the study of musical ethics. In addition to having a status as a cultural hot spot, Athens also attracted numerous philosophers and other intellectuals. Those intellectuals contributed to the debate about the function and value of music. As the New Musicians’ popularity increased and the new style of music exerted an influence on the education system, emphasis was placed on the importance of the text and the development of the capacity to judge music. As a result, many philosophers and music theorists debated the moral aspect of music, now called the concept of musical ethos. The concept of musical ethos demonstrates that both philosophers and musicians studied music with a view to determining the most effective music for eliciting a response from the audience. Through a study of the ancient literature, most of which deals with music only incidentally, we will be able to understand how the New Music movement was encouraged by Greek culture, given an incentive by fifth-century society, and studied by some of the most brilliant philosophers and musicians Greek history has known. / February 2009

This report examines the sectarian backdrop for Galen of Pergamum's medical epistemology. It considers the justificatory role that experience (empeiria) and theoretical accounts (logoi) play in Empiricist and Dogmatist epistemology in an attempt to track how Galen incorporates experience into theoretical accounts as a means by which to undergird them. Finally, it briefly considers the exiguous evidence for Methodism, Galen's main medical rivals in the Roman world and claims that Galen forges a middle path between these sects. / text