In this thesis, I discuss the function and use of decorated ceramic bowls at Fourmile Ruin, a Pueblo IV site located in east-central Arizona. My research focused on three wares dating to the Pueblo IV period of the American Southwest (AD 1275-1450): White Mountain Red Ware, Salado Polychrome, and Jeddito Yellow Ware. These wares represent the most abundant type of decorated ceramic bowls found at Fourmile Ruin. Ceramic wares and types are described, followed by a description of their physical and stylistic characteristics and functions, an analysis of how vessels were used, and, lastly, a discussion of the contexts within which ceramic bowls may have been used. I found that decorated ceramic bowls likely functioned as serving containers, and were used on a day-to-day basis. They also may have had a symbolic function, as evidenced by the use of decoration, color, and texture, and because of their possible uses in various social or religious rituals. Furthermore, the meaning of the vessels and their uses in rituals may have changed over time. From this information, I suggest that White Mountain Red Ware, Salado polychrome, and Jeddito Black-on-yellow bowls served as utilitarian serving containers, and as a means of communicating information about personal and group identity. They were used in contexts in which expressing, teaching and reinforcing important concepts may have been integral.

The purpose of this thesis was to gain an insight into the macrobotanical subsistence practices of Nancy Patterson Village and see how those practices fit in with the practices of the general Mesa Verde region by analyzing the burnt macrobotanical remains found in processed flotation samples. Previous work done at Nancy Patterson Village showed a shift in the faunal subsistence practices to a greater reliance on domesticated turkey during the Pueblo III period. However, the macro botanical analysis showed a higher richness of wild plant taxa in the Pueblo III period when compared to Pueblo II. The change to a higher richness of plant taxa in the later period is attributed to the changes in social and environmental climates causing difficulties in sustaining the population. These difficulties pushed the inhabitants to expand their selection of plant types used for food. Despite the higher richness of plant taxa in Pueblo III, other sites from the Central Mesa Verde region had higher richness. However, Nancy Patterson Village used the smaller number of wild plants types more intensely than the other sites from the region. No explanation was found to explain this difference.

No description available.

The Land Hill and Hidden Hills study areas were the site of the 2006 and 2007 Brigham Young University's archaeological field schools. The two study areas are located in contrasting environments; the Land Hill area is located along the Santa Clara River in southwestern Utah, and the Hidden Hills area was is located on the Shivwits Plateau in northwestern Arizona. The Land Hill study area is located within a well-watered environment which would support a primarily horticultural lifestyle. The Hidden Hills study area is located in an arid environment without permanent streams which would support a more mobile hunting lifestyle. The contrasting environments of these two study areas allowed for a study of the similarities and differences in the use of stone tools. Based on the results of the analysis and comparison of the stone tool and debitage assemblages, from sites in both areas throughout time, suggests that the people in the Land Hills study area actually seemed to be living a lifestyle similar to the people in the Hidden Hills area.

This paper is a summary of the methods and key results of my analysis of 7,997 sherds from 14 sites in Beef Basin, Utah. I discuss physical attributes of the collection, the results of mean ceramic dating, the results of neutron activation analysis, and the results of refiring a sample of nips in an oxidizing atmosphere. I briefly summarize the architecture at each site , as well as possible Fremont cultural material found in and near Beef Basin. I conclude that Beef Basin was likely occupied in the early Pueblo III period and that the occupation was sudden and brief. I determined that paste color can be used as a general indicator of clay procurement locale north of the Abajo Mountains, just as it is in the Comb Ridge vicinity (Glowacki et al. 2015), that there was ceramic production in Beef Basin using local materials, and that the people of Beef Basin had similar connections as, or connections with the east of the Comb Ridge area, as evinced by similar sources for light-paste ceramics found in both areas.

This paper is a summary of the methods and key results of my analysis of 7,997 sherds from 14 sites in Beef Basin, Utah. I discuss physical attributes of the collection, the results of mean ceramic dating, the results of neutron activation analysis, and the results of refiring a sample of nips in an oxidizing atmosphere. I briefly summarize the architecture at each site , as well as possible Fremont cultural material found in and near Beef Basin. I conclude that Beef Basin was likely occupied in the early Pueblo III period and that the occupation was sudden and brief. I determined that paste color can be used as a general indicator of clay procurement locale north of the Abajo Mountains, just as it is in the Comb Ridge vicinity (Glowacki et al. 2015), that there was ceramic production in Beef Basin using local materials, and that the people of Beef Basin had similar connections as, or connections with the east of the Comb Ridge area, as evinced by similar sources for light-paste ceramics found in both areas.

Previous research in the Northern San Juan Region of the American Southwest has revealed a pattern of change in subsistence patterns from the Basketmaker II through Pueblo III periods. Jonathan C. Driver describes the pattern as: cottontail in Basketmaker III (500 to 750 CE) and Pueblo I (750 to 900 CE), deer in Pueblo II (900 to 1150 CE), and turkey in Pueblo III (1150 to 1350 CE). The transition from deer to turkey as the main subsistence has been recorded at several sites throughout the Northern San Juan Region and is thought to be caused by the overhunting of deer and increasing social strain. This combination is theorized to have caused the domestication of turkey as a last resort. Analysis conducted on faunal remains and eggshell recovered during excavation at Coal Bed Village by Brigham Young University et al. supports part of this pattern. Evidence of ritual display is evident in Basketmaker III and early Pueblo II contexts, with evidence of ritual or communal feasting in the early Pueblo II period. The rest of the assemblage appears to be domestic refuse. When compared to other large sites within the Montezuma Canyon, Coal Bed Village appears to have greater access to small artiodactyl throughout each of the periods. Contrary to expectations, adult turkey appears to have been eaten in the Basketmaker III, early Pueblo II, and Pueblo III periods. SEM analysis on turkey eggshell from each of these periods suggests that turkeys were domesticated since the Basketmaker III period, with the fresh eggs used as a protein supplement to the Puebloan diet throughout each of the periods. Changes to the amount of embryonic development suggest that, as the periods progressed, the Puebloans continued to use fresh eggs, but also increased the amount of eggs that developed to hatching.

Text in English with abstracts in English, Afrikaans and isiZulu. Translated titles in Afrikaans and isiZulu. / This study examines the symbiotic relationships between Hopi traditional arts, the use of art and narrative as mnemonic device, and embedded references to the Fourth World narrative that describes how the Hopi people climbed from a troubled Third World into the current spatio-temporal era, the Fourth World. (The original oral narrative was published by anthropologist Harold Courlander and anonymous consultants in 1971 as The Fourth World of the Hopis: The Epic Story of the Hopi Indians as Preserved in Their Legends and Traditions.) This study posits that the traditional arts of the Hopi and their forebears serve as visual and oral reiterations of the Fourth World narrative, including their emergence from an opening in the earth known as the sipaapuni. After promising to live a harsh but reverent life, the land’s guardian, Maasaw, made the arid southwestern North American land theirs. The Hopi people call these lands Hopi Tutskwa, the original home of the migrating “Ancestral Puebloan” predecessors. The Hopi consider objects, habitation sites, structures, and other sacred features to be these ancestors’ embodied “footprints.” This study describes how diverse Hopi arts are both Ancestral Puebloan “footprints,” and what archaeologists define as “exographic” objects or mnemonic forms of “symbolic storage.” The use of mnemonic objects within the Puebloan culture has been documented as early as 1630 by Fray Alonso de Benavides who noted the use of “knotted strings” as a form of recording “sins” (Morrow, 1996:42). As they relate to mnemonic technology, Hopi arts and lifeways expand the boundaries of Western art history studies to include elements of archaeology and anthropology. Within these interdisciplinary contexts, objects and imagery are not simply “art” in the Western sense, but embodiments of cultural belief and visual reiterations of oral narratives which preserve intrinsic cultural knowledge and belief. This study suggests that what has previously been categorised as Hopi “art” within Western academic contexts is instead an extension of the West’s tradition of ekphrasis, or simply “writing about art.” Therefore, Western academia inappropriately emphasises chronological form, style, and development within Hopi arts rather than the significant cognitive role art plays within the culture of the people. As traditional metaphors for or reiterations of the Fourth World narrative, this study shows how content embedded within Hopi arts is most appropriately studied through iconological and mytholinguistic analysis as they best serve the Hopi people’s non-Western oracy-based tradition. / Hierdie studie ondersoek die simbiotiese verhoudings tussen die Hopi se tradisionele kunsvorme; hulle gebruik van kuns en narratief as mnemoniese middele; en ingebedde verwysings na die Vierdewêreld-narratief wat vertel hoe die Hopi-nasie bo ’n veelbewoë Derde Wêreld kon uitstyg en die huidige tydruimtelike era, die Vierde Wêreld, kon betree. (Die oorspronklike orale narratief, The Fourth World of the Hopis: The Epic Story of the Hopi Indians as Preserved in Their Legends and Traditions, is in 1971 deur die antropoloog Harold Courlander en anonieme konsultante gepubliseer.) Hierdie studie voer aan dat die tradisionele kunste van die Hopi’s en hul voorvaders dien as visuele en orale reïterasies van die Vierdewêreld-narratief, insluitende hulle verskyning deur ’n opening in die aarde wat as die sipaapuni bekend staan.Nadat hulle beloof het om 'n moeilike dog eerbiedige lewe te leef, het die bewaker van die land, Maasaw, die woestynagtige suidweste van Noord-Amerika aan hulle gegee. Die Hopi-nasie het hierdie streek Hopi Tutskwa, die oorspronklike tuiste van die swerwende “Voorvaderlike Puebloaanse” voorgangers, genoem. Die Hopi beskou objekte, woonterreine, strukture en ander heilige elemente as vergestaltings van die voorvaders se “voetspore”.Volgens die studie is uiteenlopende Hopi-kunsvorme nie net Voorvaderlike Puebloaanse “voetspore” nie, maar ook die “eksografiese” objekte of mnemoniese vorme van “simboliese bewaring” wat deur argeoloë omskryf word. Die aanwending van mnemoniese objekte in die Puebloaanse kultuur is reeds in 1630 opgeteken deur Fray Alonso de Benavides. Hy het vermeld dat knope in toue gemaak is om van “sondes” boek te hou (Morrow, 1996:42). Die verband wat Hopi-kunsvorme en -lewenswyses met mnemonise tegnologie hou, verbreed die grense van Westerse kunsgeskiedenisstudie om ook elemente van argeologie en antropologie in te sluit. In hierdie interdissiplinêre kontekste is objekte en beelde nie net eenvoudig “kuns” in die Westerse sin van die woord nie; dit is ook ’n vergestalting van kulturele oortuigings en visuele reiterasies van orale narratiewe wat intrinsieke kulturele kennis en oortuigings bewaar. Hierdie studie voer aan dat dit wat voorheen in Westerse akademiese kontekste as Hopi-“kuns” gekategoriseer is, in werklikheid ’n verlenging is van die Westerse ekphrasis-tradisie, wat eenvoudig beteken “om oor kuns te skryf”. Westerse akademici plaas dus ’n onvanpaste klem op die chronologiese vorm, styl en ontwikkeling van Hopi-kuns in plaas daarvan om die kognitiewe rol wat kuns in die kultuur speel, te beklemtoon. Hierdie studie toon hoe die ingebedde inhoud van Hopi-kunsvorme, as tradisionele metafore vir en reiterasies van die Vierdewêreld-narratief, op die mees gepaste wyse bestudeer kan word deur ikonologiese en mitolinguistieke ontleding van die Hopi-nasie se nie-Westerse tradisie wat op geletterdheid van die gesproke woord (oracy) gebaseer is. / Lolu cwaningo luhlolisisa ubuhlobo bobudlelwane obukhona phakathi kobuciko bamasiko endabuko amaHopi, ukusetshenziswa kobuciko nokulandisa njengamadivaysi aphathelene nokukhumbuza kanye nezinkomba ezifakwe emlandweni Wesine Womhlaba ochaza ukuthi abantu bamaHopi bakhuphuka kanjani ezweni elabe liyinkinga ukufinyeleleni kulesikhathi sanamuhla soMhlaba Wesine. (Indaba yokuqala elandisayo exoxwayo yashicilelwa umuntu oyisazi seanthropholoji esaziwa ngokuthi nguHarold Courlander kanye nabaxhumanisi abangaziwa ngonyaka ka1971 njengengoMhlaba Wesine wamaHopi: Indaba Yokubonga Amaqhawe abantu abangaMandiya angamaHopi njengoba Kugcinwe kuyiZinganekwane Namasiko abo). Lolu cwaningo lubonisa ukuthi ubuciko bamasiko bamaHopi kanye nabokhokho babo babedlulisa imilayezo ngezinto eziphindaphindiwe ezibukwayo nezidluliswa ngomlomo ekulandiseni ngoMhlaba Wesine, kufaka phakathi ukuvela kwawo ekuvuleni emhlabeni owaziwa ngokuthi yisipaapuni. Ngemuva kokuthembisa ukuthi uzophila impilo enzima kodwa ehloniphekile, umgcini wezwe uMasaaw wenza umhlaba omelele eningizimu nasentshonalanga neNyakatho neMelika ukuthi ube ngowabo. AmaHopi abiza lemihlaba ngokuthi yiHopi Tutskwa, okuyikhaya langempela olwafuduka “koKhokho wePuebloan” owayekhona esikhundleni ngaphambilini. AmaHopi abheka izinto, izindawo zokuhlala, izakhiwo kanye nezinye izici ezingcwele ukuba zibe yilezo zinto ezifakwe "ezinyathelweni" zokhokho. Lolu cwaningo luchaza ubuciko obuhlukahlukene bamaHopi obusho “izinyathelo” Zokhokho bePuebloan kanye nalokho okuchazwa ngabantu abaphenya ngezinto zasendulo okuthiwa ama-akhiyoloji njengezinto "eziyi ekzografi " noma izinto iziphathelene nokukhumbula okuthile "okuwuphawu olugciniwe". Ukusetshenziswa kwezinto eziphathelene nokukhujulwayo osikweni lwamaPuebloan laqoshwa phansi kusukela eminyakeni ye-1630 nguFray Alonso de Benavides oye waqaphela ukusetshenziswa “kwezintambo eziboshiwe” njengento yokuqopha noma ukurekhoda “izono” (Morrow, 1996:42) Njengoba zihlobene nobuchwepheshe bezinto ezikhunjulwayo, ubuciko bamaHopi nokuphila kwabo kwandisa imingcele yezifundo zomlando yaseNtshonalanga okufaka phakathi izinto zama-akhiyoloji nama anthropholoji. Ngaphakathi komongo wezizinda ezahlukene, izinto nemifanekiso akuzona nje izinto ezilula “eziwubuciko” ngokomqondo waseNtshonalanga, kodwa ukukhombisa izinkolelo zamasiko kanye imilayezo ngezinto eziphindaphindiwe ezibukwayo nezidluliswa ngomlomo ezigcina ulwazi lwangaphakathi olujwayelekile lwamasiko nenkolelo. Lolu cwaningo lubonisa ukuthi yini eyabekwa yahlelwa nje "ngobuciko" bamaHopi ngaphakathi kwezimo zezemfundo zaseNtshonalanga kunalokho kwandiswa isiko laseNtshonalanga okuwu buciko bokukhuluma, noma “ukubhala ngosiko”. Ngakho-ke, izazi ngezemfundo zaseNtshonalanga zagcizelela okungalungile ngendlela yokulandelana, isitayela nentuthuko ngaphakathi kobuciko bamaHopi esikhundleni sendima ebalulekile yokuqonda edlalwa ubuciko osikweni lwabantu. Njengamazwibela wendabuko wokungathekisa noma ekulandiseni ngoMhlaba Wesine ngokuphindaphindiwe, lolu cwaningo lubonisa ukuthi okuqukethwe kufakwe kanjani ebucikweni bamaHopi okuyindlela efanelekile okufundwa ngayo kusetshenziswa ukuhlaziya ayikhonoloji kanye nesayensi ephathelene nolimi lwezinganekwane njengoba babechaza abantu abangamaHopi olwakhelwe osikweni lokuxoxwa ngomlomo okungelona lwaseNtshonalanga. / Art History, Visual Arts and Musicology / D. Litt. et Phil. (Art History)