Global ETD Search

1	THE ANATOMICAL VOTIVE TERRACOTTA PHENOMENON : HEALING SANCTUARIES IN THE ETRUSCO-LATIAL-CAMPANIAN REGION DURING THE FOURTH THROUGH FIRST CENTURIES B.C LESK BLOMERUS, ALEXANDRA L. January 1999 (has links) No description available. Healing cults Asklepios Corinth anatomical votives ancient religion Republican Rome
2	« Athéna, étends ta main au-dessus du four ». Enquête archéologique sur les pratiques religieuses dans le monde artisanal grec antique / "Athena, lay thy hand above the kiln". Archaeological inquiry on the religious practices of the craftsmen in ancient Greece Gillis, Anne-Catherine 14 December 2013 (has links) L’étude des pratiques religieuses du monde artisanal grec antique (de l’époque archaïque à l’époque hellénistique) vise à appréhender les artisans, non en tant que producteurs de biens matériels, mais en tant qu’acteurs de la vie religieuse. Il s’agit d’examiner, par le biais des données archéologiques, les conditions sociales et psychologiques de la production, de manière à mettre en évidence des pratiques qui ne relèvent plus de la technique mais de la sphère religieuse. L’enquête s’étend dans trois domaines. Tout d’abord celui de la cité : les données relatives aux fêtes civiques, aux pratiques votives ou encore aux consultations oraculaires attestent la place des artisans dans la vie religieuse de la polis grecque. La recherche se poursuit dans les espaces de travail artisanal : des lieux d’extraction aux ateliers urbains, les espaces artisanaux livrent des témoignages aussi riches que diversifiés. Enfin, l’enquête s’achève dans le domaine funéraire : l’étude des tombes d’artisans aborde leur rapport à la mort.Les pratiques cultuelles, magico-religieuses ou encore funéraires sont autant de phénomènes religieux abordés dans cette étude. Tous ces aspects sont certes illustrés par des indices pour la plupart discrets et épars : leur accumulation n’en forme pas moins un ensemble cohérent qui dessine peu à peu un nouveau profil du monde artisanal avec des spécificités religieuses mais aussi culturelles et sociales. Touche par touche se constitue ainsi un portrait vivant et coloré des acteurs du monde artisanal qui sort un peu de l’ombre le « héros secret de l’histoire grecque ». / The inquiry about the religious practices in the ancient greek craft’s world (from archaic to Hellenistic period) aims to approach craftsmen, not as producers of material goods, but as actors of the religious life. The claim is to examine, by means of the archaeological data, the social and psychological conditions of the production, and to highlight practices which are not any more a matter of technique but of religious sphere. The inquiry extends over three fields. The first one concerns the Polis : the data relative to festivals, to votive or to oraculare practices give evidence of the place of craftsmen in the religious life of the greek Polis. The research continues into the work’s spaces: from the quarries to the urban workshops, the work places supply many testimonies as wealthy as diversified. Finally, the inquiry ends in the funeral field : the study of the craftsman’s graves moves on their relationship to death.The worship, the magico-religious ritual and the funeral practices are as many religious phenomena investigated in this book. All these aspects are certainly illustrated by, for the most part, discreet and scattered clues : their accumulation nevertheless forms a coherent set which draws little by little a new profile of the craft’s world not only with religious, but also cultural and social specificities. Touch by touch a portrait of the craftsmen is appearing alive and colored which somewhat pulls out the shadow the " secret hero of the greek history ". Artisans Pratiques religieuses Conduites votives Rites funéraires Archéologie des techniques Antiquité grecque Archéologie de la religion grecque Craftsmen Religious practices
3	The statuettes and amulets of Thonis-Heracleion Heinz, Sanda Sue January 2015 (has links) This study catalogues and analyses 329 statuettes and amulets from Thonis-Heracleion, a sunken city off the coast of Egypt that flourished between the 7th and 2nd centuries BC. This is the first study of votive statuettes and amulets from the Late and Ptolemaic Periods that presents a comprehensive corpus from a single site, complete with detailed catalogue entries and photographs. Although some of the most exceptional pieces were previously published in an exhibition catalogue, the majority are unpublished and it is the first time they have been studied and viewed as a whole. The material includes not only Egyptian-style bronzes, which are typical dedications of this period, but also a range of other materials including lead, terracotta, faience, and limestone. Some figures are represented in foreign style and attest to a small hellenized community at the site. By viewing multiple categories of votive material laterally and in context, important conclusions about cultural interactions and cult practice at Thonis-Heracleion come to light. Chapter One details the find context of the statuettes and amulets, followed by a discussion of their types and the cults to which they attest in Chapter 2. Chapter 3 outlines the objects’ primary functions and demonstrates the ways that lead and bronze were utilised differently. Chapter 4 focuses on bronze and lead production methods, particularly methods of replicable production that are indicative of technological exchange with other Mediterranean cultures. Finally, in Chapter 5, I look at how the votives reflect the cultural community at Thonis-Heracleion, and how they compare to others at sites throughout Egypt. Each chapter highlights how the archaeological context informs us about cultural interactions between Egyptians and Greeks and about the dynamics of cult practice at a Delta site in the Late and Ptolemaic Periods. 930.1
4	The co-occurrence of terracotta wheelmade figures and handmade figurines in mainland Greece, Euboea, the Dodecanese, the Cyclades and the Northern Aegean islands, 1200-700 BC Thurston, Caroline A. January 2015 (has links) This thesis addresses the lacuna in the study of Greek terracotta figures and figurines corresponding to the transitional period between the Late Bronze and Early Iron Ages (1200-700BC). It provides a comprehensive synthesis of all available data, with particular reference to material from recently excavated sites in mainland Greece and its islands (Euboea, the Northern Aegean islands, the Dodecanese and the Cyclades). The study is framed according to the relationship between terracotta <b>figures</b> (those made on the potter's wheel) and <b>figurines</b> (those made by hand). The observation that the technological distinction between these two types is reflected in their different and separate functions has been sustained in scholarship for the past three decades, but only for the Mycenaean period. Handmade figurines and wheelmade figures occurred in different and restricted contexts in the Mycenaean world: the former in settlements, cemeteries and religious locations, and the latter exclusively in religious contexts. It is therefore inferred that they had different socially embedded values or 'meanings'. However, the extent to which such a distinction applies to figures and figurines in the Early Iron Age has hitherto not been explored. Initial evidence indicates that by the 8th century, handmade figurines and wheelmade figures were deposited together at selected sites, suggesting that their inherent socially embedded meanings were the same, and that they represented "different levels of [financial] investment in what is essentially the same category of votive". This thesis therefore determines the levels of co-occurrence of wheelmade figures and figurines, thus identifying how distribution relates to usage. Changes are observed over time and space and between different types of functional contexts, and the meanings of these patterns are investigated. The results of this study provide a chronological and geographical overview of the distribution of figures and figurines, and also indicate that figures and figurines had consistently multivariate relevance in multiple types of contexts. The functional dichotomy of figures and figurines observed for the Mycenaean period cannot be sustained beyond 1200 BC. Moreover, study of the contexts from which the material originates indicates that the significance of secondary deposits of religious nature has been consistently overlooked, and that figures and figurines were used in an active and meaningful sense even during the act of their discard. This type of activity is a distinctive one that can be characterised and defined functionally, geographically, temporally and quantitatively. The socially embedded meaning of figures and figurines was fluid and related to an action being performed; their meaning was not linked exclusively to an aspect of the object itself, and was therefore not static. 930.1
5	Le prestige au sanctuaire d’Apollon Ptoion : étude des offrandes votives de la période archaïque Desjardins Potvin, Magali 03 1900 (has links) Après avoir étudié les objets retrouvés lors des fouilles archéologiques, les sources littéraires anciennes et les études récentes concernant le sanctuaire d’Apollon Ptoion durant la période archaïque, nous tenterons un état de la question sur ce sanctuaire grec archaïque. Nous explorerons ensuite la fonction du Ptoion dans le développement des styles d’offrandes votives (en particulier des kouroi) et le rôle de la « compétition » entre artistes, le rôle qu’y jouaient les offrandes votives de prestige pour la communauté cultuelle, la nature et le fonctionnement du culte au Ptoion et, enfin, le rôle de ce sanctuaire dans la société et la politique de la Béotie et de la Grèce archaïque. / After a study of the artefacts, ancient literary sources, and recent studies concerning the sanctuary of Apollo Ptoion during the archaic period, we will attempt a status report on questions concerning this archaic Greek sanctuary. We will then expore the function of the Ptoion in the developpement of art styles for votive offerings (especially kouroi) and the role of « competitiveness » between artists, the role of prestigious votive offerings in the cult community, the nature and functioning of the cult, and finally the role of this sanctuary in the politics and society of archaic Beotia and of Greece. Apollon Ptoion Sanctuaire Béotie Akraiphia Période archaïque Sculpture Kouros Trépied Offrandes votives Prestige Compétition Koinon Confédération béotienne Apollo Sanctuary Beotia Archaic period Tripods Votive offerings Competition Beotian confederacy
6	Réinterprétation de l’iconographie votive géométrique carthaginoise à travers une approche transdisciplinaire: le « duo céleste », le losange, l’« idole-bouteille », le « signe de Tinnit » et l’étendard (VIIe/VIe – IIe s. av. J.-C.) / Reinterpretation of the geometric iconography on the votive stelae of Carthage through a transdisciplinary approach: the disk and the crescent, the lozenge, the “bottle idol”, the “Tinnit sign” and the standard (VIIth/VIth – IInd bc) Ammar, Mohammed Ali 16 December 2009 (has links) Durant le premier millénaire, entre le VIIe/VIe et le IIe siècle avant Jésus-Christ, les Carthaginois ont élevé des stèles votives dans un sanctuaire à ciel ouvert. Dédiées à la dyade Baal Hamon et Tinnit Pane Baal, ces sculptures montrent sur leur surface décorée une iconographie qui se compose, en grande partie, de signes et symboles géométriques: un losange, une image céleste composée d’un disque et d’un croissant, une « idole-bouteille », le signe dit « de Tinnit » et un étendard nommé « caducée » dans la littérature. À ce jour, les informations liées à l’interprétation de ces images sont restées largement disparates et fragmentaires et aucune synthèse approfondie n’a encore été publiée à leur sujet. Afin d’aboutir à des résultats tangibles, il s’avère indispensable de mettre à plat l’ensemble des connaissances acquises sur le sujet. À cette fin, une nouvelle approche méthodologique basée sur une typologie raisonnée, c’est-à-dire diachronique et limitée à la seule métropole carthaginoise, sera mise en place. En outre, cette démarche doit être définie en adéquation avec le contexte régional tyrien, berceau de l’idéologie religieuse carthaginoise. Au-delà du rapport de ces images avec les divinités invoquées, la typologie à promouvoir doit, en même temps, nous permettre de clarifier le contexte chronologique propre à chacun de ces éléments figurés. / During the first millennium, between the VIIth/VIth and IInd century bc, the Carthaginians have erected votive stelae in an open air precinct. Dedicated to the dyad Baal Hamon and Tinnit Pane Baal, those sculptures show on their decorated surface an iconography mostly composed of geometric signs and symbols: a lozenge, a celestial pattern made up of a disk and a crescent, a “bottle idol”, the “Tinnit sign” and a standard named “caduceus” in the literature. To date, the information tied up with the interpretation of those images are largely disparate and fragmentary and no thorough synthesis has been published on their subject. In order to reach tangible results, it is necessary to gather all known data’s on the subject. To that end, a new methodological approach, based on a diachronic typology limited to the sole Carthaginian metropolis, will be put in place. Moreover, this approach must be defined in adequacy with the Tyrian regional context, cradle of the Carthaginian religious ideology. Beyond the links of those images with of the invoked divinities, the typology to promote must allow us, in the same time, to clarify the chronological context peculiar to each of the studied items. Moon Lozenge Caduceus Sign of Tanit Bottle Idol Tannit Sign Tanit Sign Tinnit sign Astarte Votive stelae Phoenicians Punic Iconography Motye Tyre Carthaginians Tunisia Lune Caducée losange Signe de la Bouteille Signe de Tinnit Signe de Tanit Signe de Tinnit Idole-bouteille Astarté Caelestis Baal Hammon Baal Hamon Tannit Tanit Tinnit Tophet Stèles votives Phéniciens Punique Iconographie Motyé Tyr Carthaginois Carthage Tunisie

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