Thesis (Ph.D.)--Indiana University, 1983. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (Vol. 1, leaves 262-286).

Thesis (Ph. D.)--University of California, Los Angeles, 1984. / Typescript. Vita. Includes bibliographical references (leaves 674-694).

Thesis (Ph. D.)--Princeton University, 1972. / "Volume II, Illustrations, not microfilmed." Photocopy of v. 1 of typescript: 1972. Includes bibliographical references (leaves 319-323).

Proefschrift - Leiden. / "Stellingen" inserted behind t.p. Bibliography: p. 167-170.

In 1939, a rich archaeological find was made in Afghanistan when a hoard of luxury objects was excavated in a "palatial residence" at Begram, site of ancient Kāpisa. Among the precious articles brought to light were hundreds of Indian ivory carvings which at one time decorated royal furnishings belonging to Kushan kings. Kāpisa was once the summer capitol of opulent and powerful rulers who controlled a land extending from the Ganges River into Central Asia. Created by former nomads whose ruling princes gave themselves the dynastic name of Kushan, the Indo-Scythian Empire straddled the routes to Rome, Iran and China and was virtually the centre of the world in the first centuries of our era. Yet no integral record of the Kushans has been found in any traditional source, and their history has been pieced together from fragments of information gleaned over the last century from the study of coins, cryptic textual references, and worn inscriptions. Similarly, the history of India's art from the same period suffers from a paucity of documentation; its chronology, although now receiving the attention of modern scholarship, is still in a state of flux. The discovery of the ivories at Kāpisa enriches not only our knowledge of the Kushans, but it adds another dimension to our information about early Indian art as it was during Kushan rule, prior to the fourth century when a classical civilization began to emerge under the Gupta dynasty. One of the ivories, analyzed in this study, is unique in its wealth of symbolic detail. Representing a torana and two standing female figures, the ivory plaque once adorned a royal couch that possibly served as a Kushan throne. The ivory's iconography relates to the Kushan dynasty's concern with legitimacy of rule; there is an assertion of the sacred and worthy character of Kushan sovereigns. Moreover, the ivory makes various references to Srl-Lakshmi, Indian Goddess of Royal Fortune, a deity analagous with Roma or the Hellenistic Tyche. In the iconography of the two standing female figures, the concept of Srl-Lakshmi is apparent, but these figures are further shown with overtones of Indian godllngs, divine consorts and Near Eastern goddesses whose functions parallel those of Srl-Lakshmi in assuring the regime political and natural prosperity. The syncretic character of the Ivory's iconography corresponds with that of coins and seals from the period of Huvishka, a name taken by one or more Kushan emperors ruling in the second century A.D. The style of the ivory plaque has often been associated with that of Sanchi, an Indian monument of the first century A.D. where a torana gateway bears a carved panel upon which is inscribed "Gift of the Ivory Carvers of Vidisa". With respect to surface treatment, spatial devices, tonal arrangement, naturalism of poses and figural proportions, however, the Sanchi panel does not compare with the Begram plaque. In tracing the evolution of style during the interval between these two works, an Indian ivory found at Pompeii, a relief from Amaravati, the donor figures at Karli, and the Bhutesvar railing figures from the Mathura region are examined. The Bhutesvar figures are believed to coincide with the early part of the reign of Kanishka, most powerful of Kushan monarchs, whose accession initiated an era beginning perhaps about A.D. 110-15. Although the Begram ivory alludes to the Bhutesvar model, the plaque is closer in style to later Mathura works. Relief carvings and sculptures accompanied by dated inscriptions disclose a period of cultural transition during the second quarter century of Kanishka's era, when new Influences permeate the Indian tradition. This stylistic assimilation is reflected by the Begram ivory; hence in style, as in Iconography, the ivory is representative of the period of Huvishka, whose name appears on inscriptions from the year 28 to the year 64 or 67 of Kanishka*s era. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Master of Arts - European Literature / This study examines the role of power and its manifestation in social and inter-personal relationships, violence, sex, and sexual identity – the construction of identity as well as the perception of identity – in Elfriede Jelinek’s novel The Piano Teacher (1988). The location of the study within a contemporary text, is intended to examine the manifestations and implications of power in contemporary society, using the relationships indicated within the text as case studies. The study attempts to indicate that social and inter-personal relationships cannot be divorced from the dynamics of power which demonstrate themselves in acts of physical, psychological and sexual violence. In light of this, the research attempts to examine the relationship between gender and power, and the manner in which it demonstrates itself in relationships. Power is also examined in light of the concept of generational conflict, through an examination of the exchange between the principal character, Erika, and her mother, and the relationship between Erika and her students, specifically a male student by the name of Walter. Furthermore the study attempts to establish the extent to which women are complicit in, and consequently perpetuate their role as victims. The examination of the relationships serves to indicate the consequences of the female adoption and consequent internalisation of traditional male power roles. Although the study is located specifically within an Austrian text, the issues raised within the text and the study are relevant to many contexts.

Les problématiques qu'aborde cette thèse concernent quatre axes principaux sur lesquels le corpus et le volume de texte ont été construits. Ces axes sont l'iconographie animalière des ivoires, le contexte archéologique et la provenance des ivoires, l'ivoire d'éléphant et les techniques de sculpture et de décoration et enfin les altérations et les maladies qui touchent les ivoires archéologiques. L'omniprésence des scènes animalières répétitives sur les ivoires a suscité plusieurs questions sur leurs styles. Quels sont les styles principaux des ivoires ? Quelles sont les caractéristiques de chaque style ? Quels sont les thèmes et les animaux privilégiés par chaque style ? Pourquoi la plupart des ivoires ont-ils été mis au jour à Nimroud ? Le contexte archéologique peut-il aider à l'identification et à la localisation des différents ateliers d'ivoires? Quelles étaient les techniques de sculpture et de décoration les plus connues dans les ateliers de l'ivoirerie ? Les ivoires du l er millénaire av. J.-C. au Proche-Orient présentent plusieurs formes d'altération. Quels sont les différents types d'altérations que présentent les ivoires archéologiques au Proche-Orient ? Les conditions d'enfouissement ont-elles, au cours de milliers d'années, une influence sur la composition et la stabilité chimiques de l'ivoire? Les conditions climatiques dans le musée (humidité et température) peuvent-elles avoir un rôle dans l'altération des ivoires archéologiques ? Ensuite quelles sont les techniques contemporaines utilisées dans le traitement des ivoires durant les fouilles archéologiques? Puis quelles sont les opérations envisagées dans les laboratoires de restauration? / The topic of the research is connected to four principal axes on which the corpus and the volume of text were built. These axes are: the animal iconography of the ivories, the archaeological context and the origin of the ivories, the elephant ivory and the techniques of sculpture and decoration, the deteriorations and the diseases which affect the archaeological ivories. The presence of repetitive animal scenes on the ivories rises several questions in particular concerning their styles. Which are the principal styles of the ivories? Which are their characteristics ? Which are the ivory workshops specific to each style ? Which are the patterns and the animals privileged by each style ? Why the majority of the ivories were discovered in Nimrud? Can the archaeological context contribute in the identification and the localization of the various ivory workshops? Which were the principal tools used by the ivory carver in the Near-East? Furthermore which were the techniques of sculpture and decoration that were the most known in the ivory workshops ? Ivories of the 1st front millennium BC in the Near East show several forms of deterioration. Which are the various types of deteriorations that present the archaeological ivories in the Near-East ? Do the burial conditions have; during thousands of years, an influence on the chemical composition and the stability of the ivory? Can the c1imatic conditions in the museum (humidity and temperature) have a role in the deterioration of the archaeological ivories ? Which are the contemporary techniques used in the treatment of the ivories during the archaeological excavations? Then which are the operations undertaken in the laboratories of restoration ?

This thesis records the study of over one thousand selected, bone, antler and ivory artifacts from the Upper Palaeolithic in Britain and Belgium, with particular reference to manufacture. The methods used include the experimental manufacture and use of certain bone and antler artifacts, and the recording of the traces produced. This information is used as a reference collection with which to compare the archaeological material. Both the experimental and the archaeological implements are examined either with the aid of a handlens, or at a variety of magnifications using an optical microscope and a scanning electron microscope. Upper Palaeolithic bone tool types as a whole are considered for comparative purposes, as are some ethnographic artifacts. The artifacts studied here are ordered into twenty-six different tool types, each of which is discussed in turn; this includes a description of the raw materials used, of the identifiable traces of manufacture and their interpretation, and of the identifiable traces of use, and their interpretation. The regional and chronological distribution of the specimens is also considered, as is any variation in each type, for example in size or in the raw materials used. Some regional and chronological patterning is found, but in the absence of reliable contextual information, its interpretation is often speculative. It is concluded that a large scale programme of radiocarbon accelerator dating of actual artifacts is required to solve this problem.

A travers notre étude, nous avons voulu mieux comprendre la nature, ainsi que l'impact, des contacts culturels entre le Levant nord (région comprise entre la côte syro-libanaise et la vallée de l’Oronte) et ses voisins au Bronze moyen. L'analyse d'une partie du mobilier céramique, métallique, rocheux, osseux et vitreux - issu d'une trentaine de sites archéologiques du Levant nord - a permis de mettre en évidence diverses influences iconographiques mais également technologiques provenant essentiellement de la région méditerranéenne (d'Egypte, d'Anatolie et du Monde égéen) et de Mésopotamie. La multiplication des échanges diplomatiques et commerciaux a rendu possible la circulation des biens et des personnes ainsi que la transmission de savoir-faire et de procédés techniques méconnus jusqu'alors des artisans levantins nord. Nous assistons à cette période à un véritable essor des artisanats tels que la métallurgie, la faïencerie et l'ivoirerie. / This study aims to understand contacts, and their impacts, between North Levant (area situated between the syro-lebanese coast and the Oronte valley) and his neighbors during the Middle Bronze Age. The analysis of the ceramics, metallic productions, stone, bony and vitreous items - coming from thirty archaeological tells of North Levant - revealed various stylistic and technological cultural influences from Mediterranean's area (from Egypt, Anatolia and Aegean world) and Mesopotamia. The multiplication of diplomatic and commercial relationship promotes people and good's movement but also permits transmission of expertise and manufacturing process unknown by North Levantine craftsmen. This period is characterized by a real progress of metallurgy, faiences and ivory crafts.

Our perception, of the Omrid kings of the Kingdom oflsrael in the ninth century BCE, is based on the Books of 1 and 2 Kings in the Hebrew Bible. The Biblical author's concentration, on Omrid apostasy rather than on their abilities and accomplishments, has robbed these competant monarchs of the prominence allotted to kings like David and Solomon. Recent archaeological excavations, in conjunction with extra-Biblical sources, have however projected a different image. Excavations at the royal Omrid cities of Samaria, and especially Jezreel, have indicated that Omri, and his son Ahab, had erected immense and grandiose structures. These edifices bear testimony to periods of peace, stability and great economic prosperity. The Omrids deserve new assessments as to their accomplishments, and therefore, by means of visible and tangible structural remains, I wish to promote the persuasion of archaeology as vindication of Omrid grandeur and achievement at Samaria and Jezreel. / Biblical and Ancient Studies / M.A. (Biblical Studies)