Archaeologists rely heavily on pottery data to make inferences about the past. Although a critical component of such inferences is knowing how the pots were used, archaeologists at present cannot reconstruct accurately pottery function. This research provides the means whereby actual pottery use can be determined from traces that remain on pots. The study focuses on an analysis of nearly 200 vessels collected in the Kalinga village of Guina-ang. Traces, in the form of organic residues, attrition, and carbon deposits, are linked to pottery use activities observed in Kalinga households. The analysis of organic residue focuses on fatty acids absorbed into the vessel wall; samples are taken from Kalinga cooking pots and several types of food. It is found that rice cooking pots can be discriminated from vegetable/meat cooking pots, though individual plant species cannot be distinguished in the latter. In several cases, however, there is conclusive evidence for meat cooking. An analysis of Kalinga "archaeological" sherds was also performed to look at fatty acid preservation. A pottery attrition analysis, similar to the study of lithic use-wear, is also performed on Kalinga pottery. The objective is to understand the general principles in the formation of an attritional trace. Nine areas on Kalinga cooking vessels are found to have attritional patches. The two forms of Kalinga cooking vessels could be discriminated based on attrition. Carbon deposits reflect what was cooked, how it was heated, and some general activities of cooking. Interior carbon deposits result from the charring of food and is governed by the source of heat, intensity of heat, and the presence of moisture. The processes that govern the different types of exterior soot are difficult to identify and several experiments are performed. It is found that soot deposition is controlled by wood type, temperature of the ceramic surface, and the presence of moisture. This research demonstrates that archaeologists can begin looking at organic residues, attrition and carbon deposits to infer how their vessels were used in the past.

This thesis deals with new found neolithic settlement in Kolín, which is dated from Neolithic - Stroked Pottery Culture. On the site were found also the Lengyel Culture imports. The thesis brings the results of the pottery and the chipped industry analyses. The relative chronology of the settlement and some pits was based upon the pottery analysis. There were some settlement pits, which were situated outside and inside the circle, and circular ditch chosen for it. Marginally is here solved the question of interpretation of the function of objects and intercultural relations. The work brings especially the findings about next neolithic site with circular ditch and Lengyel culture imports in Bohemia. Keywords: Neolithic - The Stroked Pottery Culture - Lengyel Culture - Settlement - Circular ditch - Pottery - Kolín - Central Bohemia

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This thesis explores the ceramic work ofIan Garrett and Magdalene Odundo, in order to examine the manner in which two artists of opposite identity in terms of race, gender and global location, come to create art which is visually, technically and conceptually similar. It is the intention ofthis study to focus primarily on the cross-cultural aspect of the two artist's work. However, it has been necessary to include biographical and technical information as this information gives a more complete understanding ofthe cross-cultural issues involved. Most ofthe information for this study has been gained through interviewing the artists. Copies oftwo interviews with Ian Garrett are appended at the back ofthis thesis. The interviews were conducted with Garrett in Cape Town. The first interview took place in 1998 and the second interview was conducted in the year 2000. Aweek was spent with Magdalene Odundo in Surrey, England, during May 2000. In this time similar questions to those asked ofIan Garrett in October 2000 where put to Odundo. The interview was, however, conducted in a conversational form and was not recorded as Odundo finds recording an interview has the potential to be a limiting factor, preferring her work to remain open-ended. This thesis discusses the broader implications ofGarrett and Odundo's art. The study makes an attempt to situate their work globally, suggesting not only that their work plays an active role in narrowing the boundaries which exist between African art and western art, but that it also plays a part in closing down the distinctions which continue to exist between art and craft. Finally, the thesis suggests that Garrett's and Odundo's art can be seen as a symbol of current cultural conditions and global affairs. / Thesis (M.A.)- University of Natal, Pietermaritzburg, 2001.

In this dissertation the incorporation of cross-cultural imagery and its assimilation is focused on the work of Maggie Mikula, a ceramist from KwaZulu-Natal. Producing within the 1970's and 1980's. her work is investigated within the historical context of the socio-political background of South Africa. Syncretism in the visual arts reflects problems associated with identity and authenticity and this dissertation analyses these issues. A reference is made to select artists and ceramists in South Africa who approach their work in this manner, in particular with reference to the influence that Maggie Mikula has had in their work. Chapter One discusses the history of borrowing in South Africa citing examples of work by artists including amongst others Walter Battiss, Alexis Preller and Cecil Skotnes. This is based around the broad political and ideological relationships in the country that framed local art making. The assimilation and the breakdown of barriers in African/western art in a South African context is argued through a post-colonial reading. The chapter deals with the problems of borrowing related to appropriation and stereotyping from a postmodernist perspective. Chapter Two introduces the history of South African ceramics examining its development and styles, focussing on changing premises within the medium. The second part of the chapter positions Mikula's work, interests, personal history and ideals. Chapter Three deals with the development of Mikula's ceramic work, referring to her technology, processes and sourcing. The reception of Mikula's work and the attitudes to cross-cultural assimilation in the 1980's, as well as current perceptions are addressed in Chapter Four. Her influence on this creative medium is shown with specific examples. Personal interviews attempt to contextualise her position and situate her within the ceramic world. Acknowledging that there is a wealth of collections through out South Africa, the ceramic work predominately researched for this paper is from KwaZulu-Natal. It has been sourced both from the immediate family, and from individual collectors, as this was the site of her production. Other collections have been accessed from around South Africa including the Corobrik collection in Pretoria (of which there are two pieces - one which is broken), the large piece is documented photographically (see Fig.22) and referred to on Page 66. The Nelson Mandela Museum, Port Elizabeth, (accessed on-line and via photographs from the artist's records) has a notable collection, but given the nature of this research, these pieces do not demonstrate any significant features over and above those that were already sourced. This paper is not intended as a catalogue, but is meant to show a variety of Mikula's work to demonstrate her influence and style. Each piece is chosen for its specific aspects and unique features that would support this research. Given the nature of this investigation, the author has been obliged to read widely, including writers such as Berman, Sacks, Cruise and the complete edition of APSA newsletters and magazines to give a comprehensive over view of the changes in style and influence within South African art and specifically, ceramics. / Thesis (M.F.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2004.

Thesis (Ph. D.)--University of Missouri-Columbia, 1998. / Typescript. Vita. Includes bibliographical references (leaves 116-122). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1998. / Typescript. Vita. Includes bibliographical references (leaves 116-122). Also available on the Internet.

Thesis (Ph. D.)--State University of New York at Binghamton, Department of Anthropology, 2008. / Includes bibliographical references.

Thesis (M.S.)--Florida State University, 2006. / Advisor: Rochelle A. Marrinan, Florida State University, College of Arts and Sciences, Dept. of Anthropology. Title and description from dissertation home page (viewed Sept. 15, 2006) Document formatted into pages; contains xi, 227 pages. Includes bibliographical references.