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This study investigates the nature of koinodikion (“shared tribunal”) in Hellenistic Crete, addressing questions of what it was and how it functioned in intercity treaties, and particularly its relationship to the Cretan Koinon, or federation. In my report, I examine koinodikion through a close reading of the inscriptional (IC IV.197, IC III.iii.4, and a new treaty between Gortyn and Knossos) and literary (Polybius 22.19.1-5) evidence, observing not only its use in a particular passage, but also that passage's significance in context of the whole document. I then compare my findings in the Cretan context to attestations of koinodikion from outside of Crete, where the Cretan Koinon was not a factor. Finally, I examine two earlier Cretan inscriptions (IC IV.80 and IC I.xvi.1) to reconstruct a cultural context for shared judicial practices. / text

No description available.

This thesis aims to take a small body of folk art material and place it in its broadest social, economic and cultural context. The items on which this discussion is based are the domestic folk textiles of Crete. This material was chosen for several reasons; Crete has always been a cross-roads in the Mediterranean and as a result of its varied history it is likely to show clearly any influence which historical and social background may have on folk art. The thesis begins with a discussion of folk art in general and Greek folk art in particular. It is suggested that folk art is above all the product of the environment in which it was produced and that it is made in essentially traditionalr ural societiesb y thoseb y whom it will be used. This theory is then applied over five chapters to Cretan folk textiles, beginning by taking the objects in their broadest possible context and homing in on the more specific aspects of their function and use. First the varied history of Crete is examined and it is deduced that the foreign governors of Crete during the Modem period exercised considerable control over the native population, their influence permeating throughout society. The origin of the raw materials involved in the production of textiles is then examined with special reference to the availability and movement of the materials concerned. They are found to come predominantly from very close to their site of use. The textiles are examined as artefacts in their own right and found to serve practical, decorative and social functions. In the last case they appear in large quantities as dowry goods and as such are capable of representing skill, wealth and status. Finally, the techniques and designs on both weavings and embroideries are examined. The result is a combination of native and foreign devices, together with many of those features which are found on folk art all over the World. In this way it is argued that folk art is reflection of its environment in its broadest sense and to remove such artefacts from their context is to risk misunderstanding their character, function and appearance.

Η ανταλλαγή θερμότητας μεταξύ ατμόσφαιρας και θάλασσας είναι μια διεργασία πολύ σημαντική για τη δυναμική και τις φυσικές ιδιότητες των δύο μέσων (π.χ. θερμοκρασία) αλλά και σε βάθος χρόνου για το κλίμα ολόκληρου του πλανήτη. Η συνολική ενέργεια που μεταφέρεται από την ατμόσφαιρα στη θάλασσα και αντίστροφα είναι το άθροισμα τεσσάρων επιμέρους συνιστωσών : α) της μικρού μήκους ηλιακής ακτινοβολίας, β) της μεγάλου μήκους υπέρυθρης ακτινοβολίας, γ) της λανθάνουσας θερμότητας και δ) της θερμότητας αγωγιμότητας. Μέσες μηνιαίες τιμές για τις τέσσερις αυτές συνιστώσες από το Ιόνιο και Κρητικό Πέλαγος εξετάζονται για το διάστημα 1958-2007. Οι τιμές προέρχονται από τη Μεσογειακή Βάση Δεδομένων ARPERA και αποτελούν προϊόν διόρθωσης αριθμητικής προσομοίωσης (reanalysis product). Στην παρούσα εργασία παραθέτονται στατιστικά χαρακτηριστικά των χρονοσειρών της κάθε συνιστώσας και στις δύο περιοχές. Από τη μελέτη της ροής θερμότητας και στα δύο Πελάγη διαπιστώθηκαν οι εξής διαφορές : το Κρητικό Πέλαγος εμφανίζει μεγαλύτερες απώλειες θερμότητας σε σχέση με το Ιόνιο καθώς επίσης και μεγαλύτερο δυναμικό αιολικής ενέργειας. / The heat exchange between the atmosphere and the sea is a very important process for the dynamics and physical properties of the two media (e.g. temperature) and long-term climate of the entire planet. The total energy transferred from the atmosphere to the sea and vice versa is the sum of four separate components : a) the short wave solar radiation , b ) the long wave radiation , c ) latent heat and d ) heat conduction . Average monthly prices for these four components of the Ionian and Cretan Sea are examined for the period 1958-2007 . The values ​​come from the Mediterranean Database ARPERA and result correction numerical simulation (reanalysis product). In this thesis I present statistical characteristics of the time series of each component in both regions . From the study of heat flow in both regions we found the following differences: the Cretan Sea shows greater heat loss in relation to the Ionian as well as greater wind potential .

Στόχος της παρούσας πτυχιακής εργασίας είναι η περιγραφή των μορφολογικών μηχανισμών που ενεργοποιούνται από την Κρητική διάλεκτο προκειμένου να ενσωματώσει δάνειες λέξεις από γλώσσες-πηγές όπως η Τουρκική και η Ιταλική. Η περιγραφή αυτών των στρατηγικών ενσωμάτωσης συνοδεύεται από στατιστική ανάλυση 1000 δάνειων λέξεων. / The aim of this thesis is to describe the morphological mechanisms which are activated by the Cretan dialect in order to incorporate loan words from languages such as Turkish and Italian.

In this dissertation, I investigate the textual tradition of the Cretan tragedy Erofili by Georgios Chortatsis (16th century). The play, accompanied by a set of four Interludes, has survived in three manuscripts and two editions, all originating from the 17th century. All the witnesses are examined and presented thoroughly, both as autonomous texts and in comparison to each other. The examination of each witness separately sheds light not only on the history of the transmission of Erofili, but also to the production of manuscripts and printed books in Crete, the Heptanese and Venice in general. As far as the condition of the text is concerned, three witnesses preserve the most reliable texts: the second edition and the two manuscripts originating from Crete. The investigation of their relationship shows that two groups can be identified: one includes the two Cretan manuscripts and another one the three other witnesses. Νo important alterations in the plot and the sequence of events are found, so the textual variation concerns mainly the phrasing. There are indications that variation among the witnesses might have resulted from revisions by the playwright himself. The evaluation of the two groups of witnesses shows that it is not possible to consider one of them as superior, and this leads to the question which would be the most appropriate editorial method. Previous editors have followed the eclectic approach, which has many positive aspects, but cannot help the readers to realize all the stages of the transmission of the play. Since various theoretical approaches have appeared during the last decades, it has been understood that no edition can be called “definitive” and that editions following different methods can address different questions and achieve different aims. Erofili, and other texts with a rich and complicated textual tradition, can be edited in various ways and each edition can offer new insight in the history of the production, transmission and reception of the work.

Ce travail se propose d’étudier la réception des musiques traditionnelles orales en tant que processus dynamique et plus particulièrement comme un acte de construction temporelle mis en œuvre pour l’essentiel lors de la performance vivante, « champ » privilégié d’expérience musicale orale. Dans cette perspective, en nous centrant sur le cas de la musique crétoise, musique par excellence orale, nous tentons de démontrer comment les auditeurs appréhendent et mémorisent des structures musicales lors et grâce à des moments d’interaction participative et des rythmes partagés. À partir du concept ethnomusicologique du modèle, envisagé dans le cadre de ce travail non seulement comme une « structure minimale, invariante » mais aussi en tant qu’une grammaire gestuelle, nous analysons les comportements des auditeurs lors des trois expériences mnémoniques. Nous y mettons en évidence comment les gestes temporels qui associent ici musique et danse, schématisés et codés dans un modèle, peuvent diriger la segmentation d’une pièce et son identification. À cet égard l’objectif fondamental de cette thèse est de montrer à travers le « paradigme oral » que la communication d’émotion par le biais des expériences dynamiques, est à la base même de la cognition musicale. / This work proposes to study the reception of traditional oral music as a dynamic process and particularly as an act of time construction developed essentially during live performance, a privileged place of oral musical experience. In this regard, by focusing on the case of Cretan music, oral par excellence, we attempt to indicate how the listeners understand and memorize musical structures during and thanks to moments of participative interaction and shared rhythms. Based on the ethnomusicological concept of model, considered in this work not only as an “invariable, minimal structure” but also as a gestural grammar, we analyze the behavior of listeners at three memory experiments. We can see how the gestures of time witch join here music and dance, schematized and coded in a model, can direct the segmentation and the identification of a piece. In this regard, the fundamental aim of this thesis is to demonstrate through the “oral paradigm” that the communication of emotion using dynamic experiences is fundamental to the musical cognition.