The aim of this research is to investigate the functions of ceramic vessels from two well-defined contexts at Tell Ahmar that have been dated to the Middle Bronze Age II (c. 1800-1600 BC). In addition, correlations between socioeconomic activities and ceramic production at a local and regional level are further investigated. Since there is no one-to-one relation between vessel type and vessel function, the research adopts a multi-dimensional approach formed by the following hierarchical investigations. Firstly, a ceramic typology for the Middle Bronze Age pottery from Tell Ahmar, the first to be undertaken, is constructed to provide a working platform for further analyses. Secondly, interpretations of vessel functions are made based on the techno-morphological implications of vessel use. Moreover, since the ceramic assemblage under investigation represents the systemic inventory of artefacts in use in the rooms at the time of the site abandonment, function of the rooms and relative associations with the composition of the ceramic room assemblage at Tell Ahmar are investigated. In addition, comparative analysis from Northern Mesopotamian and Syrian sites are used in conjunction to suggest functional activities for the defined vessel shapes at Tell Ahmar. Inferences of vessel function are finally supported by the results of ceramic residue analysis and by epigraphic and iconographic evidence of vessel use. Functional activities (i.e. transport, storage and processing) are further discussed in order to make socioeconomic inferences at both local and regional levels. This analysis indicated that one of the major activities at Tell Ahmar was associated with long-distance transport and storage, while for those shapes characterised by a perforated base, an association with beer production is suggested. At a regional level, a general similarity of vessel shapes is noted, this being stronger among the Euphrates River Valley sites than in Inner Syria or in the Khabur Valley. However, when these similarities are examined in detail, ceramic production indicates some local distinctions. These variations, which are not associated with any ancient political boundaries, may be explained in terms of local preferences and requirements that emerged within long-distance flourishing relationships established during this period.

This essay explores the reason behind the sexless human figures depicted in rock carvings from the Bronze Age in Scandinavia, to understand why they are sexless while others have indicated sex markers, and to investigate which theories about them are the most reliable - are they sexless by purpose, or are they women, men, children or are they a third gender? This interdisciplinary study with archeology and gender research will discuss and analyze human figures with non distinct sex markers from 10 pictures of rock carvings from Scandinavia with the purpose to understand the lack of sex markers such as phallus and long hair. The ambition of this essay is that a study of this kind will deepen the general knowledge of the subject of rock art and possibly contribute to the discussion about the Bronze Age society's view of gender. The result and discussion of this study have shown that several earlier theories about the sexless human figures could be confirmed, for example that small mostly sexless human figures are children but that they are not a specific indicator of sex and that shamans are depicted in ceremonies, but that not all sexless human figures should be interpreted as shamans. The discussion also contradicted a few of the earlier theories, for example the theory that weapons always indicate male sex and that the lack of it indicates female sex, and that all human figures on ships should be interpreted as male even if they do not have any sex markers. The sexless human figures are still a mystery, but this study have lead to the conclusion that they are sexless by purpose and that sex markers such as phallus and long hair are indicators of masculinity and femininity, not the biological male and female sex.

The main focus of this thesis is the study of the burned bones from Uppgarde, Vallstena, on the island of Gotland. Vallstena is a place where artifacts, graves and other activities are dated from the Stone Age to the Late Iron Age. This indicates that Vallstena was a place humans frequently used for a long period of time and a prominent remain is a Stone Ship Setting that once was placed here but when excavations were carried out in the 1970s only the depressions of the stones became visible. The purpose of this study is toco-analyse osteological and archaeological material found, to obtain a clearer image of the place and contribute to the existing research of this area. The goal study is to determine the nature of the activities seen in relationship to the analysis of the cremated bones found here and how they were connected to the surrounding landscape. The basis for this analysis is a combination of thorough examinations of the osteological material, archaeological features as well as relevant literature.

The cairns on Gotland have been one of the most studied aspects regarding the Bronze Age on the island. Most attention has been directed to how they were built and to whom they belong. My study will focus on Ullviarrojr, which is a so-called crater cairn, and the area around the cairn. Ullviarrojr is among the few large cairns on the Island over 35 meter in diameter and the area around it show very few other archaeological remains. The closest ancient remains are around 400 metres away in an almost circle shape. By making a landscape analysis regarding the area around the cairn and an archive study I want to understand its relationship to the Bronze Age landscape. I have consulted unpublished works and made site visits and interviewed the current landowner to get an overview of if there are additional archaeological remains in the area of if remains have been destroyed and taken away. My study will provide some new information on an area that has not been examined in detail, which would help future studies to understand the cairns and the area around cairns.

The present study investigates the f ormation of tribolayers on bronze CuSn12Ni2. Two different test rigs are used, of which one is a sliding bearing test rig in order to perform lubricated thrust bearing tests. Bronze CuSn12Ni2 is used for the sliding elements and the counter body is made of C45 steel. In addition to that, an axial piston pump test rig was used to determine t he transfera bility of the results to th e axial pist on pump. The test conditions are set up in a way t hat the tribological load s in the contacts are similar to each other. Changes in the subsurfa ce morphology and the chemical composition of the tribolayer were analysed using electron pro be micro a nalysis (EPMA), trans mission electron microscopy (TEM), energy dispersive X -ray spectro scopy (EDS) and X-ra y photoelectron spectroscopy (XPS). Focused ion beam (FIB) milling was used to prepare site -specific TE M foils fro m the wear track. The formation of a nano scale tribolayer was associat ed with red uced wear, which leads to low leak age in the a xial piston pump. This tribolayer is enriched with oxygen, sulfur and zinc, which is an effect of tribochemical reactions of environment molecules and surface molecules.

The electroplating industries use soluble nickel salts in numerous applications. Over the past few years this has become problematic due to the reclassification of these salts from a harmful substance to now a toxic substance. The introduction of the legislation REACH (Registration, Evaluation, Authorisation & restriction of CHemicals) has meant the electroplating industry has had to use less harmful chemicals where possible, thus meaning companies are investing in research to find an alternative to the nickel deposit. In this study, alternative deposits under investigation as a potential replacement to the nickel deposit under the decorative chromium deposit has been characterised in terms of the appearance, surface topography and corrosion resistance by using spectrophotometry, scanning electron microscopy (SEM), atomic force microscopy (AFM), linear polarisation, electrochemical impedance spectroscopy (EIS) and accelerated corrosion salt spray methods. Spectrophotometry identified that a white Cu-Sn alloy gave a bluer appearance in comparison to the nickel deposit, when the chromium deposit was plated on top this modified the colour slightly giving the white Cu-Sn alloy with chromium a similar appearance to the nickel and chromium deposit. The yellow Cu-Sn alloy was yellow in colour with a visibly dull appearance, but when chromium was plated on top of the yellow Cu-Sn alloy the colour was improved but still remained dull. The SEM and AFM results identified that the white Cu-Sn alloy deposit had similar nodulated topography to the nickel deposit and when the chromium was plated on top the topography changed only slightly. While the yellow Cu-Sn alloy deposits showed a more crystalline structure and increased roughness in comparison to the nickel deposit, the chromium deposit plated on top did not change the structure of the underlying deposit but it did reduce the roughness slightly. Electrochemical corrosion tests showed the white Cu-Sn alloy to have a higher polarisation resistance compared to the nickel deposit, thus suggesting it would provide similar corrosion protection to the nickel deposit. The yellow Cu-Sn alloy proved to have a faster corrosion rate in comparison to the nickel deposit. Accelerated corrosion tests proved the white Cu-Sn alloy to be more corrosive than the nickel despite the electrochemical test results, it was concluded that the white Cu-Sn alloy deposit was porous and therefore provided less corrosion protection to the substrate in comparison to the nickel deposit. The yellow Cu-Sn alloy had a lower corrosion protection than the nickel deposit and when combined as a duplex Cu-Sn alloy with the white Cu-Sn alloy deposit there was no improvement in corrosion performance. The plated chromium deposit did improve the corrosion protection for most deposits but none of the alternatives could match the corrosion protection offered by the standard nickel with chromium deposit. This study concluded that the white Cu-Sn alloy with chromium deposit was found to be a potential alternative to the nickel with chromium deposit for applications where appearance is primary, no alternative could be found to match the corrosion protection provided by the standard nickel and chromium process.

Avhandlingen kretsar kring frågan om hur ett förhistoriskt bildskapande var av betydelse. Studien är riktad mot den materiella bilden och syftet är att diskutera betydelser av hällbilders materialitet och hur relationen mellan människor, hällbilder och platser var meningsfull. Utgångspunkten för undersökningen definieras som konceptuell, där en definition av begreppen bild och materialitet ligger till grund för studiens teoretiska och metodiska utformning. Studiematerialet utgörs av den sydskandinaviska hällbildstraditionen, med ett fördjupat fokus på området kring Motala Ström utanför dagens Norrköping. Undersökningen består av tre delar. I den första delen genomförs en diskursanalys, där frågan om hur hällbilders betydelse skall förstås diskuterats i relation till tidigare forsknings syften och resultat. Ett samband visas mellan hällbildsforskningens vetenskapliga illustrationspraktik och sätten hällbilder ansetts vara av betydelse. Ambitionen att avbilda hällbilder så exakt som möjligt är bunden till tolkningen av hällbilder som avbilder. Upptagenheten med avbilden har resulterat i att betydelsen av hällbilders materialitet generellt har varit åsidosatta. En utblick mot hur andra historiska och förhistoriska bildtraditioner varit av betydelse visar att avbildens symboliska betydelse inte alltid kan förutsättas vara den primära. Tvärtom tycks bildens betydelse vara flexibel och föränderlig, särskilt när dess materialitet möjliggör en upplevelse under lång tid. I den andra delen fördjupas studien genom en undersökning av Motala Ström-områdets hällbilder. Hällbildernas materiella kvaliteter definieras i relation till tre skalnivåer, landskapet, platsen och hällen. De materiella kvaliteterna har generella likheter, men varierar även från plats till plats. Upplevelsen av likformighet och variation präglar hällbildernas alla delar. Materialiteten är essentiell för upplevelsen av hällbilder som föreställande. Den nutida upplevelsen av bilder ligger till grund för en kategorisering av hällbilder i föreställande bilder och icke-föreställande former. Kategorierna form och bild ligger till grund för en kvantitativ sammanställning av inventerade hällbilder i socknarna Östra Eneby och Borg. Områdets hällbildsförekomster är strukturerade på ett tydligt sätt i landskapet. De allra flesta lokaler består av ett fåtal hällbilder (färre än 30) och präglas av formmässighet. Ett tjugotal lokaler består av fler än 79 hällbilder, och de präglas av variation och bildlighet. Den nutida upplevelsen av föreställandegraden hos hällbilder har relevans för betydelser under den aktiva hällbildstiden, då hällbilderna brukades på olika sätt i landskapet. På de stora platserna fungerade bilden som ett instrument att tänka med och en konceptualisering av tillvaron, medan de små formaliserade platserna uttrycker en praktik som markerade närvaro i landskapet. Hällbilders placering studeras vidare genom en fenomenologiskt inspirerad undersökningsmetod, där platsbesök bearbetas genom sytematisk fotografering och rendering av 3D-modeller. Tolv lokaler undersöks och det visas att hällbilders materialitet på ett direkt sätt strukturerar upplevelsen, där de antingen skapar en visuell tillgänglighet eller saknar visuell potential. Ett intentionellt bruk diskuteras, där möjligheten att upptäcka bilderna eftersträvats på stora platser och varit mindre viktig på små platser. Det har skapats visuella noder i landskapet, kreativa punkter där världen konceptualiserades. Kring noderna finns en större mängd mindre koncentrationer där estetiska teman upprepats som en del i ett inmutande och markerande i av landskapet där visuella normer upprätthölls.   Avhandlingen avslutas med att hällbildernas sociala och kronologiska sammanhang diskuteras. De sydskandinaviska hällbilderna dateras vanligen till bronsåldern (1 700-500 f.kr.), och produktionen anses ha pågått från början av perioden fram till inledningen av äldre järnålder. Slutet av den aktiva hällbildstiden föreslås som den mest arkeologiskt relevanta eftersom den motsvarar landskapets lämningar. Den aktiva hällbildstidens slut präglas av relationen mellan en materialiserad bildtradition och ett omfattande bildskapande i olika material. Till skillnad från den äldre bronsålderns bildskapande, som var ikonografiskt och repetitivt, så expanderar bildens möjligheter i slutet av aktiv hällbildstid. Bildens format, material och betydelse förändras och varieras. Bilden utvecklas inte enbart i sten utan också i brons och keramik och dess betydelse går från att vara strikt ikonografisk till att bli instrumentell. Hällbilderna spelar en stor roll i utvecklingen av en ”pictoral turn” som uttrycker sociala förändringar i samhället då bronsåldern övergår i äldre järnålder. Bildskapande blir i en del i utvecklingen av ett mer heterogent och regionaliserat samhälle. / The thesis revolves around the central question of how pre-historic images were meaningful. The focus is put on the material image, with the aim to discuss the meaning of south Scandinavian rock art as a relation between materiality, people and places. The empirical focus consists of the south Scandinavian rock art tradition, with a deepened analysis of the rock art area around the river Motala Ström, in south east Sweden. Initially, a connection between the practice of illustrating rock art and the interpretation of its meaning is presented as characteristic for previous research. The ambition to depict rock art as exactly as possible, has led to an archaeological focus on depiction as the primarily meaning of the images. An outlook, consisting of a historical and theoretical perspective on images, shows that the symbolic meaning of depiction cannot be presumed as most valid per se.   The material qualities of rock are defined in relation to three levels of scale; the landscape, specific places and the rock panels. These levels constitute the materiality of rock art and cannot be separated from its meaning. The material qualities have general similarities, but they also vary from place to place. A quantitate compilation of the documented samples of rock art in perishes Östra Eneby and Borg, shows that they are structured according to a principle of variation and likeness in the landscape. The placing of rock art is studied further by a phenomenological method, which reveals the construction of visual nodes in the landscape were imagery was used in creative ways to conceptualize the world. Around these visual nodes, a vast number of small concentrations of rock art is scattered in the landscape. The small places express an attitude towards the landscape, were aesthetical themes and ideals was maintained. The end of the active production of rock art is defined as the most relevant for an archaeological study, due to the material setting of the contemporary landscape. The presence of rock art represents the final stage of production. The end of the rock art tradition is characterized by a relation between a materialized art history and an extensive practice of making images in different materials. The image is materially expanded, being made not only in stone by also in bronze and ceramics. The meaning of images is transformed, from being strictly iconographical to becoming an instrument for thought. Rock art played a major part in the development of a “pictoral turn”, which expresses social changes in the society of the late Bronze Age and Early Iron Age.

This paper outlines a method for the conservation of a large group of similar objects with disparate conditions, using a collection of memorial plaques located at the University of Texas Darrell K Royal-Texas Memorial Stadium as a case study. These bronze plaques, installed in the stadium in 1926, currently exhibit widely varying conditions. The conservation method consists of seven steps: background research, survey of site, survey of objects, conditions report, testing, treatment, and maintenance. This method was applied to the memorial plaque collection, and a recommendation for the treatment of the collection is made, with an emphasis on environmentally safe treatment methods. / text

We have studied the charge density wave (CDW) repolarization dynamics in blue bronze (K0.3MoO3) by applying symmetric bipolar square-wave voltages of different frequencies to the sample and measuring the changes in infrared transmittance, proportional to CDW strain. The frequency dependence of the electro-transmittance was fit to a modified harmonic oscillator response and the evolution of the parameters as functions of voltage, position, and temperature are discussed. We found that resonance frequencies decrease with distance from the current contacts, indicating that the resulting delays are intrinsic to the CDW with the strain effectively flowing from the contact. For a fixed position, the average relaxation time for most samples has a voltage dependence given by τ0 ∼ V −p, with 1 < p < 2. The temperature dependence of the fitting parameters shows that the dynamics are governed by both the force on the CDW and the CDW current: for a given force and position, both the relaxation and delay times are inversely proportional to the CDW current as temperature is varied. The long delay times (∼ 100 μs) for large CDW currents suggest that the strain response involves the motion of macroscopic objects, presumably CDW phase dislocation lines. We have done frequency domain simulations to study charge-density-wave (CDW) polarization dynamics when symmetric bipolar square current pulses of different frequencies and amplitudes are applied to the sample, using parameters appropriate for NbSe3 at T = 90 K. The frequency dependence of the strain at one fixed position was fit to the same modified harmonic oscillator response and the behavior of the parameters as functions of current and position are discussed. Delay times increase nonlinearly with distance from the current contacts again, indicating that these are intrinsic to the CDWwith the strain effectively flowing from the contact. For a fixed position and high currents the relaxation time increases with decreasing current, but for low currents its behavior is strongly dependent on the distance between the current contact and the sample ends. This fact clearly shows the effect of the phase-slip process needed in the current conversion process at the contacts. The relaxation and delay times computed (∼ 1 μs) are much shorter than observed in blue bronze (> 100 μs), as expected because NbSe3 is metallic whereas K0.3MoO3 is semiconducting. While our simulated results bear a qualitative resemblance with those obtained in blue bronze, we can not make a quantitative comparison with the K0.3MoO3 results since the CDW in our simulations is current driven, whereas the electro-optic experiment was voltage driven. Different theoretical models predict that for voltages near the threshold Von, quantities such as the dynamic phase velocity correlation length and CDW velocity vary as ξ ∼ |V/Von − 1| −ν and v ∼ |V/Von − 1|ξ with ν ∼ 1/2 and ζ = 5/6. Additionally, a weakly divergent behavior for the diffusion constant D ∼ |V/Von − 1|−2ν+ζ is expected. Motivated by these premises and the fact that no convincing experimental evidence is known, we carried out measurements of the parameters that govern the CDW repolarization dynamic for voltages near threshold. We found that for most temperatures considered the relaxation time still increases for voltages as small as 1.06Von indicating that the CDW is still in the plastic and presumably in the noncritical limit. However, at one temperature we found that the relaxation time saturates with no indication of critical behavior, giving a new upper limit to the critical regime, of |V/Von − 1| < 0.06.

This thesis undertakes a complete reinvestigation of the archaeology of a large Early Bronze Age cemetery at İkiztepe in northern Turkey, by utilizing oxygen and strontium isotope analysis of human remains in combination with spatial and biodistance analysis and various dating techniques to identify potential immigrants to the site and to examine larger issues of residential mobility and social organization. The occupation of the Northern Anatolian site of İkiztepe is traditionally assigned to the Late Chalcolithic and Early Bronze Ages. However, the site’s chronological framework has been challenged in recent years. These chronological issues have been addressed by applying fluoride and AMS radiocarbon dating to the skeletal remains from the İkiztepe cemetery, to develop an absolute and relative chronology for the burials. These results have shown that the cemetery dates at least a millennium earlier than previously supposed. Oxygen and strontium isotope analyses allowed the identification of individuals whose bone chemistry suggests that they were possible long distance immigrants to the site of İkiztepe, as well as suggesting the existence of a group of mobile individuals who may represent a transhumant segment of the İkiztepe population. Spatial and biodistance analyses suggest that principles of cemetery organization in this period were highly complex. Immigrant individuals and nomadic or semi-nomadic segments of the population do not appear to have been distinguished in any observable way from their sedentary local counterparts, displaying similar burial types, grave goods and spatial locations. Furthermore, burial within the İkiztepe cemetery does not appear to have been kin structured. These results suggest that assumptions about funerary practices as important indicators of cultural identity and lineage affiliation may represent an over-simplification of complex patterns of interaction and integration among and within populations and cultural groups.