This thesis argues that the bird depicted in art found in funerary contexts of the Greek Bronze Age is a representation of the soul released from the body. This conclusion was reached by tracing the origins of the avian qualities of the winged psyche present in Classical funerary art. The soul begins as a bird in the Bronze Age in certain funerary contexts and this continues in the Geometric period. In the Archaic period, the soul takes on human characteristics and it is represented by a figure with human head and feet but a bird body with wings. In the Classical period, the soul is mostly human with only wings remaining as a vestige of the avian origin. These soul-birds appear in art found in funerary contexts that depict some stage of the funerary ritual. The thesis begins by discussing the Greek concept of the soul and how it was first conceived as several different entities but then became unified under the term psyche. The main evidence in this first chapter is the Homeric epics, which date to the eighth century BC, the mythic cycle of Orpheus. which was popular in the sixth century BC, and the philosophy of Plato from the fourth century BC. The progression of the soul toward a unitary model is important to this argument because it complements the increasing amount of human qualities that the bird in art acquires. Chapter Two outlines the funerary customs of the ancient Greeks in order to show how the Greeks treated the dead body and to show how they may have perceived the soul. Chapter Three details some of the scholarship on the birds including early theories about the soul as a bird. The most popular theory is that the bird represents a divine epiphany, meaning a manifestation of the divine in this world, but it is applied uncritically and it is not always appropriate for the bird in funerary art. Chapters Four, Five, and Six discuss the art of the Bronze Age, Geometric period. and the Archaic and Classical periods, respectively. The overall conclusion of this thesis is that the bird in funerary art of the Bronze Age can represent the soul of the deceased in some funerary contexts and it is the antecedent of the winged souls of the art in the Classical period. The aim is not to disprove the theory of divine epiphany in bird form, but to assert and highlight another possible interpretation in order to open up other avenues of interpretation and to shed light on Greek conceptions of the soul.

Samples from nearly 800 Bronze Age pottery sherds from Euboea, Eastern Boeotia and Eastern Thessaly were analysed together with 9 raw clays from the same areas. The-analysis was carried out in an attempt to identify areas of pottery manufacture, to discover the origin of specific groups of pottery, to relate pottery to, raw clays and to see how far pottery compositions can be associated with, and predicted by, geology. The work was done on the same lines as earlier studies at the Oxford Laboratory and at the British School at Athens. The main analytical technique used was therefore optical emission spectroscopy. Some 25% of the total number of sherds were also analysed by atomic absorption spectrophotometry so that the results obtained by the two techniques could be compared. The interpretation of the results was facilitated by the use of, computer program packages for cluster and discriminant analysis. Both optical emission and atomic absorption analysis resulted in broadly similar groupings although the absolute concentrations were not directly comparable. The groupings obtained after atomic absorption analysis had the narrower concentration ranges. Nine elements were measured by both techniques but in atomic absorption potassium was added and proved; useful as an additional discriminant. Six composition groups were distinguished from the data. One of them was identified as Euboean, 2 as Boeotian and 3 as coming from different regions of Thessaly. The greatest movement of pottery within these areas was from Euboea to Thessaly. No composition group which originated from outside these regions was identified. Six of the 9 raw clays were associated with the prevailing composition group in the area from which they came. It was not possible to predict trends in pottery composition by examination of the local geology.

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.

No description available.

The thesis sets out to discuss the Bronze Age cosmology in Scandinavia, based on the results from the investigations at Nibble outside Enköping in Uppland. The excavations were carried out in 2007 and revealed extensive remains of a ritual place with burials, cult houses and food preparation areas. In addition, hundreds of cupmarks and two ship rock carvings were found. The cult place was constructed by moving stones around, gathering them into stone settings, stone walls and heaps of fire-cracked stones. The importance of the stones as cosmological entities is established through this special and deliberate treatment. Nature is transformed into culture. The cult place was established in connection with the construction of a large stone setting at the top of a hillock. Cremated and crushed bones of a man had been placed centrally in the construction, and close by, several cult houses had been erected, complemented by a food preparation area, where sacrificial meals were prepared and eaten.   In many cases, stone settings and heaps of fire-cracked stones are used in similar manners. At a settlement site close to the cult place, there was a heap of fire-cracked stones that contained the cremated bones of a young woman. It had been specially constructed for her burial and contained layers of coal and fire-cracked stones from several cremation pyres. The border between what is a burial and what is not is hard to define. The burnt bones of the dead were handled in much the same way as the burnt stone. They were burnt and crushed, ground to a powder, and restored to the earth. The use of stones in connection with fire and water (and smoke) suggests the existence of a system built on the four elements: stone (earth), fire, water and air. In addition, the existence of a tripartite universe is suggested. Stone settings (and some of the heaps of fire-cracked stones) were constructed as portals to the underground, and the smoke from the funeral pyres was the means of transport to the heaven above.  During the Early Bronze Age, the functions of the warrior and the shaman were often carried out by the same individual. During the Late Bronze Age, however, the functions of the warrior and the shaman seem to have been separated.   The separation of the ritual functions show that a change in ritual practice and cosmology occurred some time in the middle of the Bronze Age. A complete cosmological change was probably not involved, and many older rituals were still carried out in the Late Bronze Age. The relationship between the four elements remained the same, and the treatment of stone in particular remained unchanged. The connection between stone and bone still prevailed, as did the crushing and grinding.

There are none known Bronze Age settlement on Gotland, although there are severalexcavation reports that mention that they have found a probable Bronze Age settlement. In the excavation that have been done in the study areas, there are Bronze Age dated hearths, cooking pits and post holes. These study areas have been investigated if they might be possible Bronze Age settlements. This paper discusses about the criteria of settlements and also investigate if the study areas meet those criterias. There are many different criteria for settlement but only the criteria of FMIS are used in the study. There are also different criteria for hearths and cooking pits, what separates them from each other. There have been measures on the distance between different landscape variables in the study areas to see if there are any differences or similarities between the different study areas.

Although the earliest known literary evidence for a dual-sexed divinity on Cyprus dates to the fifth century BCE, archaeological evidence indicates there was a tradition on the island of sexually ambiguous imagery which predates the literary sources. This information prompted the present research, which traces the tradition back to the earliest known examples on Late Neolithic Cyprus, and tracks its evolution through to the Cypro-Archaic period. Rather than rely upon descriptions, photographs and drawings presented in consulted publications, the various international museums that house the figures were visited by the writer in order to physically examine the images. Controversial aspects of these figures were discussed with senior museum staff and/or curators. If figurines were unavailable for viewing, where possible, photographs were acquired from the relevant museums, and controversial aspects of the figures discussed by email. As a result, the majority of the images discussed in this thesis have been examined and photographed by the author. A catalogue of the sexually ambiguous imagery for Cyprus from the Neolithic to the Cypro-Archaic period has been compiled and is included in this work. It is proposed that the imagery is of Cypriot innovation, and consists of proto-anthropomorphic, anthropomorphic and half-animal, half-human representations. The genre is influenced from its earliest period by the figurative art of the Syro-Anatolian mainland, but from the Late Bronze Age onwards, influences from the western Mediterranean and Aegean are also evident. Despite the periods in which there is little evidence for figurine production, sexually ambivalent imagery re-emerges when figurative evidence is once more apparent in the archaeological records. Furthermore, stylistic continuity of the genre from one period to the next is also apparent. This continuity is regardless of the cultural changes which occur intermittently during the seven millennia period relevant to this study. Although it is not until the Cypro-Geometric period that there is firm evidence to support a religious interpretation of sexually equivocal imagery, it is suggested that the genre from the earliest period was at least associated with fertility, and perhaps religious cult.

Although the earliest known literary evidence for a dual-sexed divinity on Cyprus dates to the fifth century BCE, archaeological evidence indicates there was a tradition on the island of sexually ambiguous imagery which predates the literary sources. This information prompted the present research, which traces the tradition back to the earliest known examples on Late Neolithic Cyprus, and tracks its evolution through to the Cypro-Archaic period. Rather than rely upon descriptions, photographs and drawings presented in consulted publications, the various international museums that house the figures were visited by the writer in order to physically examine the images. Controversial aspects of these figures were discussed with senior museum staff and/or curators. If figurines were unavailable for viewing, where possible, photographs were acquired from the relevant museums, and controversial aspects of the figures discussed by email. As a result, the majority of the images discussed in this thesis have been examined and photographed by the author. A catalogue of the sexually ambiguous imagery for Cyprus from the Neolithic to the Cypro-Archaic period has been compiled and is included in this work. It is proposed that the imagery is of Cypriot innovation, and consists of proto-anthropomorphic, anthropomorphic and half-animal, half-human representations. The genre is influenced from its earliest period by the figurative art of the Syro-Anatolian mainland, but from the Late Bronze Age onwards, influences from the western Mediterranean and Aegean are also evident. Despite the periods in which there is little evidence for figurine production, sexually ambivalent imagery re-emerges when figurative evidence is once more apparent in the archaeological records. Furthermore, stylistic continuity of the genre from one period to the next is also apparent. This continuity is regardless of the cultural changes which occur intermittently during the seven millennia period relevant to this study. Although it is not until the Cypro-Geometric period that there is firm evidence to support a religious interpretation of sexually equivocal imagery, it is suggested that the genre from the earliest period was at least associated with fertility, and perhaps religious cult.

Diss. Uppsala : Uppsala universitet, 2006.

Thesis (Ph. D.)--Universiṭat Bar-Ilan, 2001. / Includes bibliographical references.