Thesis (Ph. D.)--University of Washington, 2004. / Vita. Includes bibliographical references (leaves 272-295).

This study investigates the territories of Neapolis and Nola in order to understand what role they played in the economy of their cities and in Campania. It further explores the difficult relationship between mankind and the fragile landscape of Vesuvius, how eruptions changed settlement patterns, exploitation strategies, and how people dealt with other smaller natural disasters that frequently occurred in that area. The thesis is organised in nine chapters, each describing a separate layer of the landscape. The introduction analyses the reasons for the apparent lack of data for the northern slopes of the volcano and further discusses the theoretical issues pertaining to the economy of the countryside. The history chapter lists the major facts of the histoire événementielle and their connection with the landscape’s longterm history. The third chapter studies the features of the static landscape and the exploitation of bedrock resources. Vesuvius is the subject of the fourth chapter, in which are discussed its shape and the eruptions' effects on the static landscape. Chapter five discusses the river Sebethus and how the intermingled action humans and nature created the marshes. Agriculture and animal breeding are analysed in chapter six, settlement patterns in chapter seven, trade in chapter eight. Through archival research and field survey it has been possible to plot 820 sites from ancient southern Campania, 263 of which from the territories of Neapolis and Nola. This evidence has been matched with environmental and archaeological datasets to provide estimates on agricultural produce and population, thus defining surplus and dependance for certain products. The results reveal a high compartmentalisation and degree of dependence of each micro-regional area on the others, for which one can deduce a high specialisation of each economic agent but not necessarily a high productivity for each of its units.

The focus of this work is magma-crust interaction processes and associated crustal volatile release in subduction zone volcanoes, drawing on rock, mineral, and gas geochemistry as well as experimental petrology. Understanding the multitude of differentiation processes that modify an original magma during ascent to the surface is vital to unravel the contributions of the various sources that contribute to the final magmas erupted at volcanoes. In particular, magma-crust interaction (MCI) processes have been investigated at a variety of scales, from a local scale in the Vesuvius, Merapi, and Kelut studies, to a regional scale, in the Java to Bali segment of the Sunda Arc.  The role of crustal influences is still not well constrained in subduction systems, particulary in terms of the compositional impact of direct magma crust interplay. To address this shortcoming, we studied marble and calc-silicate (skarn) xenoliths, and used high resolution short timescale experimental petrology at Vesuvius volcano. The marbles and calc-silicates help to identify different mechanisms of magma-carbonate and magma-xenolith interaction, and the subsequent effects of volatile release on potential eruptive behaviour, while sequential short-duration experiments simulate the actual processes of carbonate assimilation employing natural materials and controlled magmatic conditions. The experiments highlight the efficiency of carbonate assimilation and associated carbonate-derived CO2 liberated over short timescales. The findings at Merapi and Kelut demonstrate a complex magmatic plumbing system underneath these volcanoes with magma residing at different depths, spanning from the mantle-crust boundary to the upper crust. The erupted products and volcanic gas emissions enable us to shed light on MCI-processes and associated volatile release in these systems. The knowledge gained from studying individual volcanoes (e.g., Merapi and Kelut) is then tested on a regional scale and applied to the entire Java and Bali arc segment. An attempt is presented to distinguish the extent of source versus crustal influences and establish a quantitative model of late stage crustal influence in this arc segment. This thesis therefore hopes to contribute to our knowledge of magma genesis and magma-crust interaction (MCI) processes that likely operate in subduction zone systems worldwide.

Film Reception of the Mount Vesuvius Eruption and the Situation in the 1st Century AD ABSTRACT The main aim of my thesis named Film Reception of the Mount Vesuvius Eruption and the Situation in the 1st Century AD is to explore the historical accuracy of films covering this part of ancient history and their possible use during educational processes. Part of the work also sums up the current level of scientific knowledge on this topic. Text attachment as well as picture attachment can be found at the end of the work.

Metallic bronze-Co-Ag alloys ranging from1-90 µm have been discovered in bomb and lava vesicles from the mafic volcanoes of Kilauea in Hawaii and Vesuvius, Stromboli and Etna in Italy. It is inferred that the metals for these alloys were transported (in part) as chloride complexes, and that the metal ratios in the alloys may be a function of S/Cl. Alloy compositions in each system are extremely heterogeneous with Co concentrations from 1% to 94%, Cu from 2% to 89%, Sn from 1% to 22% and Ag from 0.5% to 42%. Maximum abundances (in wt%) of other trace or minor elements are, Fe (3.0), Zn (0.11), As (0.50), Pd (0.05), Pt (0.05), Au (0.05), Hg (0.10) and Pb (.13) Spot analyses and element maps of alloy grains reveal that three major exsolved components exist. They are bronze, Co, and Ag. Kilauean alloys are dominantly Cu-Sn (bronze) with little Co and Ag while a systematic decrease in the bronze component and an increase in Co occurs in grains from Stromboli to Etna to Vesuvius. Element maps show a covariance of Cu and Sn while Co and Ag concentrations vary independently. Element maps of the alloys also reveal that chlorides are occasionally present in the same vesicles as the alloys. Sulphur content of the metal alloys rarely exceed about 0.4 wt%. Electron back-scatter diffraction (EBSD) was employed for lattice characterization of the exsolved phases and shows a FCC structure for the Cu-Sn section of the alloys. Cu-Sn alloys high in Sn are successfully indexed using the Cu6Sn5 pattern (hexagonal), even though the Sn:Cu ratio of our alloys is considerably lower than 5:6. Cu-Sn alloys containing significant subequal amounts of Co and Fe (≈5 wt% each) indexes as body-centered cubic (BCC). The presence of alloys suggests metal transport as complexes in a vapor phase before being reduced to native metals. Our current model for the origin of the alloys suggests that the metals are transported to vesicles as chlorides and then deposited as sulfides and/or native metals. Oxidation and removal of most of the S then occurs. This data suggests that in some circumstances Cu-Sn-Co and Ag are readily partitioned into escaping magmatic volatiles during quenching of mafic magma. Further examination into vesicle-hosted alloys may confirm that the ratio of Cu, Ag, Au, Zn, and Pb in vesicles reflects the ratio of available metals present in the magma and in subsequent ore deposits.

De la céramique italiote du IVe siècle av. J.-C., qui reprend et adapte certains épisodes du cycle d’Achille particulièrement liés à l’univers funéraire (Néréides apportant les armes d’Achille, mort de Troïlos, mort de Penthésilée etc…), en insérant dans les scènes figurées des éléments de la culture locale, au mobilier funéraire étrusque (Tombe François, urnes, sarcophages peints et sculptés), en passant par les miroirs et les cistes prénestines des périodes classiques et hellénistiques, l’existence d’une codification et d’une transmission des schémas iconographiques est clairement visible entre les différentes cultures. Au Ier siècle av. J.-C. et au Ier siècle ap. J.-C., certains épisodes du cycle d’Achille continuent à peupler le répertoire figuré, d’autres disparaissent ne correspondant plus aux nouvelles aspirations des commanditaires et d’autres apparaissent, incarnant des valeurs propres à la culture romaine. A Rome, les sources écrites nous informent sur la présence d’Achille dans la sphère publique (temple de Neptune et Saepta Julia). L’usage de la copie et de la diffusion d’un chef-d’œuvre tel le groupe d’Achille et Chiron, s’insèrent dans une volonté d’imiter l’Urbs, centre du monde méditerranéen. Les peintres renouvellent le répertoire iconographique du cycle d’Achille en créant deux épisodes : la Découverte d’Achille à Skyros et Thétis dans les forges d’Héphaïstos. Ces deux épisodes trouvent un grand succès à Rome (Domus Aurea) et sur les parois des demeures pompéiennes et permettent à la figure d’Achille de se détacher du cycle troyen. Ainsi, le héros grec devient grâce aux adaptations stylistiques et techniques des peintres romains le symbole de la paideia tout en conservant son caractère héroïque / The italiote ceramic the fourth century B. C., which incorporates and adapts some episodes cycle Achilles particularly related to posthumous glorification (Nereids bringing the arms of Achilles, Troïlus death, death of Penthesilea, etc…) by inserting the figurative scenes elements of the local culture, in Etruscan funerary (François Tomb, urns, sarcophagi carved and painted) through mirrors an prenestines cysts, Classical and Hellenistic periods, the existence of a consolidation and a transmission of iconographic patterns with clearly visible between different cultures. The first century B. C., and the first century A. D., some episodes of Achilles cycle continue to populate the figurative repertory, others dissapear no longer corresponded to the new aspirations sleeping partners while others appear embodying specific Roman culture values. In Rome, written sources inform us about the presence of Achilles in the public sphere (Temple of Neptune and Saepta Julia). The use of copy and distribution of a masterpiece such as Achilles and Chiron group, are part of a desire to imitate the Urbs, the center Mediterranean world. Painters renew the iconography of Achilles cycle by creating two episodes: The Discovery of Achilles in Skyros and Thetis in the forges of Hephaestus. These two episodes are a big success in Rome (The Golden House) and on the walls of Pompeian houses and allow the figure of Achilles to detach from the Trojan cyle. Thus the Greek hero becomes through stylistic and technical adaptations of Roman painters symbol paideia while maintaining his heroic character.