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The new chronology of Corinthian fine ware presented in this dissertation is based on pottery from the recently discovered Hellenistic deposits (dated from the 3rd to 1st c. B.C.) in the Panayia Field. This new Panayia Field chronology was created by first quantifying the pottery in each deposit and then seriating the deposits in order to plot the initial production and use-life of individual ceramic shapes. The results substantially revise the previous chronology of Corinthian Hellenistic pottery published in Corinth VII.3, which has long been acknowledged as problematic by scholars of the period. One key aspect in which the Panayia Field chronology differs from its predecessor is in the recognition that pottery production resumed in Corinth after the sack of the city in 146 B.C. The evidence for a post-146 B.C. or interim period ceramic industry and its products are discussed in detail. Using the new Panayia Field chronology, the South Stoa and numerous previously excavated deposits at Corinth are re-assessed. Arguably, the most important Hellenistic structure in Corinth, the South Stoa, now appears to have been begun in the 290s rather than the 330s B.C. Attempts are also made to address the cultural and economic history of Hellenistic Corinth for the first time. For instance, the adoption of certain shapes into the local ceramic assemblage illustrates the influence of the Hellenistic koine on Corinthian culture. At the local level, the continued production of ceramic kraters in the late 3rd to early 2nd c. B.C. and their findspots seem to suggest that metal vessels were more commonly used in public spaces. In terms of trade, the data on imported fine ware and amphoras from more than 60 deposits clearly demonstrate the flow of goods through the city and Corinth’s role in the trade networks of the Hellenistic period. This analysis reveals a strong connection to Athens during the Macedonian occupation, increasing contact with Italy and the Aegean beginning in the late 3rd c. B.C. and the continuity of Corinth’s economic contacts into the interim period. This research therefore also contributes significantly to our understanding of this important commercial city’s external contacts during the Hellenistic period. / text

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Thesis (M.A.)--University of Missouri-Columbia, 2006. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (February 26, 2007) Includes bibliographical references.

The thesis examines the presence of Demeter in Hellenistic poetry, while it also considers the way contemporary Demeter cult informs the poetic image of the goddess. My research focuses on certain poems in which Demeter is in the foreground, that is, Philitas’ Demeter, Callimachus’ Hymn to Demeter, Theocritus’ Idyll 7, and Philicus’ Hymn to Demeter, supplemented by the epilogue of Callimachus’ Hymn to Apollo and Philicus’ Hymn to Demeter. The first part of my study is dedicated to the presentation of the evidence for Demeter’s role in the religious life of places that are directly or indirectly associated with the poems I discuss, that is, Egypt, Cyrene, Cos and Cnidus, in order to establish the cultic and historical framework within which Demeter’s literary figure appears. In the second part I closely examine the poems that feature Demeter and conclude that the goddess and motifs closely linked with her have poetological significance, which supports the view that Demeter functions as a symbol of poetics. Furthermore, I examine the social elements in the narrative of the most extant Hellenistic poem on Demeter, i.e. Callimachus’ Hymn to Demeter, and propose that these reflect Demeter’s role as a ‘social’ goddess.