Thèse de doctorat : Archéologie : Université Nancy 2 : 2007. / Titre provenant de l'écran-titre.

The purpose of this study is to investigate the geological and morphological features around ancient city of Zeugma. To achieve this, a geological map of Zeugma excavation site is prepared / an aerial photographic survey and morphological analyses are conducted on a broader area. Additionally, the biggest ancient quarry in the study area is investigated. In the close vicinity of Zeugma, four lithologies which are, from bottom to top, clayey limestone, thick bedded limestone, chalky limestone and cherty limestone are identified. A major fault with a vertical throw of 80 m is mapped in the area. Geological survey reveals that the excavation site is located within the chalky limestone and the rock tombs are carved within the thick bedded limestone. In the aerial photographic survey, Firat River is classified into 4 morphological classes which are river, island, flood plain and basement. The change among these classes is investigated between 1953 and 1992. The results reveal that there is no considerable variation in the position of the river channel and margins of flood plain within 39 years. The major change is observed in the islands that are built within the flood plain. Testing the elevation of Gaziantep and Firat formations boundary using the relief map, investigating the visibility of selected points in the area, predicting the source area for the water supply, and evaluating the nature of the ancient route, constitute the morphological analysis carried out in this study. However, these analyses are not studied in detail and should be considered as the first attempts for more detailed morphological analyses.

In this study, two sample sets from Zeugma Archaeological Area had been examined. The sample Set I includes 7 sediment, 18 stone, 4 brick/roof tile, 9 mortar, 4 plaster samples and the sample Set II consists of 24 mural painting samples. Samples were examined to get their raw material characteristics, mineralogical and chemical compositions, and microstructural properties using various analytical techniques such as Optical Microscopy, XRD, FTIR, PED-XRF, SEM-EDX and Raman Spectroscopy. In addition, mikroclimatic monitorings for temperature and relative humidity were also performed in that area. Sediments were calcereous soils of Eocene. Rock types of stones were mainly limestone which had 3 subgroups: micritic, biomicritic and recrytallised micritic limestones. The source of the limestones should be from the local formation. The firing temperature of brick/roof tile samples were estimated as 800-850&deg / C. Binder of mortar samples were mainly lime. Aggregate materials of brick/roof tiles, mortars, plasters and mural paintings may come from the river deposites of Euphrates. Mural painting samples have one intonaco layer, and single or double arriccio layers. The mural painting technique was fresco technique. Calcite was common mineral identified for all pigments. The sources of white, black and green coloured pigments were found as vaterite, graphite and malachite respectively. The sources of yellow coloured pigments were identified as ankerite, siderite and goethite. The red colours were identified as hematite, jasper and red earth/ochre. Jasper and vaterite, jasper and calcite, red earth/ochre and calcite, and hematite were the colour forming minerals of pink coloured pigments.

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Gérard Garouste est reconnu en tant qu’artiste peintre et sculpteur français contemporain et fondateur de l’association humanitaire La Source. Notre mémoire cherche à dévoiler la place du discours personnel dans son interprétation des mythes. Nous présentons l’exposition de mars-avril 2018, Zeugma le Grand oeuvre drolatique, afin de mettre en lumière l’évidente relation entre l’homme et l’artiste pour redéfinir dans ses oeuvres le lien étroit entre son art, sa maladie et son histoire. Le regard que nous portons sur l’exposition s’appuie sur la question du mythe, et précisément sa fonction dans le développement de l’être humain, afin d’en comprendre l’application dans le mythe garoustien. Pour ce faire, nous prenons comme appui le processus de mythification de Gérard Bouchard fin d’analyser les enjeux sous-jacents à la création d’un mythe dans le cadre de notre corpus. Nous présentons les trois oeuvres majeures de l’exposition afin d’en étudier la composition structurale et démontrer leur complémentarité. Aussi, à l’aide du concept de la mémoire collective et de son autobiographie, nous analysons la manière dont le corpus relève d’une recherche identitaire individuelle dont témoigne l’exposition. / Gérard Garouste is recognized as a contemporary French painter, sculptor, and the founder of the humanitarian association La Source. Our brief seeks to reveal the place of personal discourse in its interpretation of myths. We present the exhibition of March-April 2018, Zeugma the Great Drolatic Work, in order to highlight the obvious relationship between man and artist to redefine in his works the close link between his art, his illness, and his history. Our view of the exhibition is based on the question of myth, and precisely its function in human development, in order to understand its application in the Garoustian myth. To do this, we take as support the process of mythification of Gérard Bouchard in order to analyze the issues underlying the creation of a myth within the framework of our corpus. We introduce the three major works of the exhibition in order to study their structural composition and demonstrate their complementarity. In addition, using the concept of collective memory and its autobiography, we analyze the way in which the corpus arises from an individual search for identity as evidenced by the exhibition.