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Les historiens de la religion grecque ont longtemps percu l'existence d'une divinite des temps prehelleniques d’origine egeo-anatolienne, la maitresse des animaux, dont le theme iconographique connait un regain d'interet dans differentes productions artistiques du monde grec a la periode dite orientalisante (fin VIIIe - milieu VIe siecle av. J.-C.). Des la fin du XIXe siecle, cette image singuliere fut mise en relation directe avec la protectrice du monde sauvage, Artemis, d’apres le terme πότνια θηρῶν employe par Homere au chant XXI de l'Iliade afin de qualifier la deesse. Des lors, la maitresse des animaux fut interpretee comme une prefiguration de la deesse Artemis, progressivement assimilee a la jumelle olympienne au cours du VIe siecle av. J.-C. Ce rapprochement univoque avec la personnalite complexe et ambigue d'Artemis necessite d’etre reconsidere a la lumiere d’un travail contextuel conciliant l’approche iconographique et archeologique, en s’appuyant en particulier sur une redefinition du repertoire d’images etudiees et une revision de leurs associations cultuelles.   English summary  Historians of Greek religion have long perceived the existence of a deity of pre-Hellenic times of Aegean-Anatolian origins, the mistress of animals, whose iconographic theme experienced a resurgence of interest in various artistic productions of the Greek world during the so-called orientalizing period (end 8th - mid 6th century BC.). Since the late nineteenth century, this particular image has been linked to the protector of the wild, Artemis, according to the term πότνια θηρῶν used by Homer in the book XXI of the Iliad in order to qualify the goddess. Therefore, the mistress of animals was interpreted as a foreshadowing of the goddess Artemis, and gradually assimilated with the Olympian twin in the course of the 6th century BC. This univocal connection with the complex and ambiguous personality of Artemis needs to be reconsidered in light of a contextual work matching an iconographic approach with an archaeological one, relying especially on a redefinition of the studied images repertoire and a review of their cultic associations.

La Пότνια θηρῶν ou les frontières de l’Autre. Réflexion archéologique sur la signification d’une image homérique en Grèce orientalisante