Ao apresentar o relato da trajetória de vida de duas mulheres ceramistas japonesas, Shoko Suzuki e Mieko Ukeseki, inserindo-o em seu contexto histórico e sociocultural, este trabalho tem como objetivo apresentar as construções históricas, representações culturais, experiências pessoais e subjetividades envolvidas na construção da sua identidade. A partir da análise do discurso e da prática destas ceramistas, recolhidos a partir dos preceitos definidos por Daniel Bertaux (1997) como récits de vie (relatos de vida), pretende-se compreender os processos pessoais envolvidos na construção da identidade cultural das duas ceramistas, marcados pela vivência transcultural decorrente da imigração para o estado de São Paulo, Brasil, nas décadas de 1960 e 1970 respectivamente. A história da cerâmica japonesa toma aqui papel relevante para a construção das imagens de japonesidade, traduzidas no discurso e na prática das ceramistas. Contudo, é na apropriação e reinterpretação destas representações em diálogo com suas subjetividades e experiências pessoais que a identidade cultural é recriada. Ao lançar luz sobre o relato pessoal da trajetória de vida de duas ceramistas japonesas no Brasil, esta pesquisa pretende também contribuir para iluminar vários aspetos da história, sociedade e cultura do Japão e do Brasil do último século, em especial, a situação das mulheres na cerâmica nipônica, a imigração de artesãos e artistas japoneses para o Brasil, os processos de construção da identidade cultural japonesa através do artesanato e da cerâmica e os processos pessoais envolvidos na criação de uma identidade nipo-brasileira / By presenting the life-story account of two Japanese women potters, Shoko Suzuki and Mieko Ukeseki, inserting it in its historical and sociocultural context, this work aims to present the historical constructions, cultural representations, personal experiences and subjectivities involved in the construction of their identity. From their discourse and practice analysis, collected from the precepts defined by Daniel Bertaux (1997) as récits de vie (\"life story accounts\"), we intend to understand the personal processes involved in the construction of their cultural identity, marked by the transcultural experience due to the immigration to Brazil in the 1960s and 1970s respectively. The history of Japanese ceramics takes here an important part for the construction of images of \"Japaneseness\", which are translated in the discourse and practice of these potters. However, it is in the appropriation and reinterpretation of these representations in dialogue with their personal experiences and subjectivities that cultural identity is recreated. By shedding light on the personal account of the life stories of two Japanese women potters in Brazil, this research also aims to contribute to illuminate various aspects of the history, society and culture of Japan and Brazil in the last century, in particular, the situation of women in Japanese ceramics, the immigration of Japanese artists and craftsmen to Brazil, the processes involved in the construction of a Japanese cultural identity through craft and pottery and the creation of a Japanese-Brazilian identity

Nesta dissertação apresentamos um amplo quadro da ocupação indígena pré-colonial no vale do Paraíba Paulista, localizado na porção leste do Estado de São Paulo. Apesar da diversidade das populações que habitaram a região, nosso estudo teve como foco as populações falantes de línguas do tronco linguístico Tupi, mais precisamente, aquelas associados aos grupos Tupinambá (língua e cultura). Para o entendimento destes processos, além de nos debruçarmos sobre as fontes disponíveis para região, desenvolvemos um estudo detalhado do histórico e das atividades realizadas no sítio arqueológico Santa Marina e a análise apurada do conjunto artefatual cerâmico e lítico. As ações delineadas ao longo deste trabalho permitem compreendermos as formas utilizadas por estas populações ao se constituírem e estenderem seus domínios sóciopolíticos por séculos, ao longo da paisagem valeparaibana. / In the present thesis, we exhibited a wide scenario of the pre-colonial indigenous settlement in Vale do Paraíba Paulista, situated in the Eastern portion of São Paulo State. In spite of the diversity of populations that inhabited the region, our work is focused on Tupi linguistic branches speakers, precisely, on those associated with Tupinambá groups (language and culture). Aiming to understand that process, a detailed study of the history and activities performed in Santa Marina archeological site was developed, in addition to an accurate analysis of pottery and lytic artifactual sets. Besides that, we looked over the sources at hand for the region. The actions outlined during this work allow us to understand the means those people used in their constituting process and broadening of their social-politic domains through centuries, along the valeparaiban landscape.

Esta dissertação foca na questão da variabilidade artefatual das cerâmicas Guarita da Amazonia central, complexo cerâmico pertencente à Tradição Polícroma da Amazônia, que se inicia por volta do ano 1000 e perdura até a conquista europeia, espalhando-se por toda a Amazônia central e a alta Amazônia. A partir de um recorte analítico sobre um determinado tipo de vasilha muito recorrente na cerâmica Guarita, o vaso com flange mesial, a pesquisa desenvolveu uma abordagem de análise que integra elementos tecnológicos e iconográficos, definindo os elementos distintivos e variações regionais do estilo polícromo. A partir desta variabilidade formal, das linguagens e temas iconográficos elencados, discutem-se os possíveis processos de transmissão e reprodução deste estilo. Partindo da interlocução entre conceitos da Arqueologia, da Antropologia da Arte e da Etnologia, pudemos entender estes componentes cerâmicos enquanto expressões materiais de um estilo introduzido e compartilhado entre distintas regiões na Amazônia, atuando na veiculação de mensagens imbricadas aos sistemas ontológicos ameríndios, centralizados na transformação corpórea. Desta forma, os artefatos foram analisados enquanto agentes em dinâmicas rituais de reatualização cosmológica, dentro de um amplo sistema cosmopolítico. A partir destas discussões pudemos ampliar o debate sobre a expansão do estilo polícromo entre as sociedades pré-coloniais da Amazônia, pensando quais eram as relações existentes entre estas linguagens estéticas pretéritas e as sociedades que produziram as cerâmicas Guarita. / This thesis focus is the variability of Guarita ceramics, a complex belonging to the Amazonian Polychrome Tradition, which begins around the year 1000 and lasted until the European conquest, spread throughout the central and upper Amazon. We chose to work with a very recurrent type of vessel in the Guarita ceramic complex, the vase with mesial flange, in order to apply a method which integrates technological and iconographic variables and define distinct elements and regional variations of the polychrome style. Based on the morphological variability and different iconographic languages, we were able to discuss the possible processes of transmission and reproduction of this style which could explain its regional spread and apparent homogeneity. This work benefits from a dialogue of concepts form Archaeology, Anthropology of Art and Ethnology, enabling us to understand these ceramic components as material expressions of an introduced and shared style among different regions in the Amazon, displaying messages related to specific Amerindian ontological systems, centered on the transformation body. Thus, the artifacts were analyzed as agents taking part in dynamic rituals for reenacting cosmological beliefs, within a broad cosmopolitical system. From these discussions we were able to broaden the debate on the expansion of the polychrome style of the pre-colonial societies of the Amazon, and enhance our understanding of the relation between these ancient aesthetic languages and societies that produced the ceramics.

A première vue, la poterie est une activité qui se pratique seule :la potière possède son propre atelier dans le village et est l’unique bénéficiaire de la vente de ses récipients. Néanmoins les enquêtes de terrain menées dans l’Arewa et le Kurfey oriental (Niger) révèlent qu’à chaque étape de la chaîne opératoire, l’artisane est en contact, plus ou moins proche, avec d’autres praticiennes (apprenties, artisanes de la localité ou d’autres localités). Ces contacts, organisés ou informels, prennent généralement place dans le contexte de certaines étapes de la chaîne opératoire à deux échelles d’analyse différentes :l’échelle villageoise par l’occupation d’un atelier et/ou d’un site de cuisson commun à divers artisanes et l’échelle extra villageoise par la fréquentation de sites d’extraction et de marchés partagés par des artisanes issues de localités différentes. Autant d’espaces de pratiques fréquentés par les potières susceptibles d’échanger leurs savoirs, collaborer et construire, ensemble, un répertoire de connaissances mobilisables. Quand une potière réalise son récipient, elle inscrit sa pratique dans un monde connu et habité. Sa technique est autant marquée par son apprentissage que par son identité familiale et villageoise ainsi que par ses interactions avec d’autres artisanes. Si on admet que chaque pratique est située et que la situation donne du sens à la pratique, il devient impératif d’examiner les situations de partage des savoirs ainsi que les cadres dans lesquels ces situations prennent place. Nous mettrons en évidence les points de contacts qui lient et interconnectent les artisanes d’une même localité et des différentes localités de la zone d’étude. Nous évaluerons les dimensions sociales et relationnelles de l’apprentissage de la poterie ainsi que la façon dont les habiletés sont conceptualisées et investies par les artisanes. En analysant le contexte d’apprentissage et de pratique des artisanes, nous souhaitons apporter un éclairage sur comment s’accroche le social et la technique et ainsi expliquer les configurations techniques observées au sein de la région d’étude. <p> / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Le Sud-Ouest de la France présente, au Second âge du Fer, une situation socio-économique particulièrement originale, dans un espace où circulent biens, hommes et idées. Plusieurs peuples sont ici en contact dont deux ethnies majeures, les Celtes et les Aquitains. Bien que la céramique soit de loin le mobilier le plus abondant sur les sites de cette époque, on connaît mal sa chaîne opératoire et son mode de diffusion. Le travail de thèse s'est ainsi attaché à réétudier dans un premier temps la production céramique à partir des ateliers de potier qui offrent dans le Sud-Ouest la concentration la plus importante de l’Europe celtique. La présence régulière de mobilier détritique dans ces ateliers peut suggérer que toute la céramique régionale n’est pas forcément le reflet de la production. Cette céramique a pu être analysée en suivant un protocole discriminant, notamment en relevant les macrotraces. Cette démarche a permis de dégager les conditions dans lesquelles on peut considérer que ces céramiques sont bien le reflet de la production des ateliers. La céramique a également été étudiée d’un point de vue technologique, typochronologique et stylistique. Dans le secteur du Toulousain, nous avons étendu la réflexion à des sites de consommation (habitats groupés et établissements ruraux), ce qui a permis d’étudier les relations entretenues entre ces sites, mais également avec les ateliers de potier du secteur. À travers le cas d’étude des jarres estampillées de type Aiguillon, la question de la diffusion régionale des productions céramiques a pu être abordée d’une manière plus concrète grâce à des analyses pétrographiques. Enfin, le travail de thèse a permis de relire l'histoire des sociétés du sud-ouest de la France en s’intéressant au statut des potiers, au rôle joué par les ateliers de potier dans l’économie de production céramique et enfin aux problèmes non résolus que posent les faciès de culture matérielle de la région. / In the Second Iron Age, the Southwest of France showed a particular socio-economic situation in a space where goods, men and ideas were circulating. Many peoples were in contact there, including two major ethnic groups, the Celts and the Aquitains. Although pottery is by far the most abundant furniture found in the settlements of this period, we do not know well its chaîne opératoire and its way of circulation. First, this Phd research focused on restudying the ceramic production based on potters’ workshops, as the Southwest concentrated the most numerous workshops in Celtic Europe. Wasted pieces of furniture have been found in these workshops and suggest that local ceramics encountered there did not necessarily represent the overall production. This ceramic has been analysed thanks to a discriminant protocol, including a focus on macro-traces. This approach has underlined the conditions in which these pieces of ceramic can be considered to be the reflection of the whole workshops’ production. Pottery has also been analysed from a technological, typo-chronological and stylistic point of view. In the area of Toulouse, we have extended the study to consumption sites (grouped settlements and rural settlements), which allowed us to study not only the relationships between these sites, but also between the pottery’s workshops within that area. Through the study case of Aiguillon type stamped jars, the question of the regional circulation of ceramic productions has been approached in a more concrete way thanks to petrology analysis. Finally, the history of the societies of Southwestern France has been reevaluated through the PhD research by paying a particular attention to potters’ social status, to the role played by pottery’s workshops in the economy of the ceramic production, and to unsolved issues about the facies of the material culture in the area.

Ceramics, Textiles and the Tiwanaku Integration of Chile's "Norte Grande"In this paper we explore Tiwanaku's iconography of power and its role in integrating south-central Andean frontier areas such as the Azapa Valley and oasis of San Pedro de Atacama, in northern Chile. It is presumed that Tiwanaku's expansive processes, like the powers that maintained its central hierarchy and the strategies that integrated peripheral and ultra-peripheral areas with the center, were ideological and political. This ideological and political nature was expressed materially in the stone sculptures of Tiwanaku, and widely distributed in portable art objects that generated and integrated Tiwanaku's interaction sphere. This idea motivates a reexamination of collections from the nuclear and peripheral areas, including the extreme south of Peru, south-central Bolivia, and northern Chile. Focusing on Chile's Azapa Valley, and San Pedro de Atacama, the authors seek to determine from iconography and artifacts the degree of integration between center and periphery, in hegemonic and territorial terms. / En este trabajo se explora la iconografía del poder en Tiwanaku y su rol en la integración de zonas de frontera del área centro-sur andina, como lo son el valle de Azapa y San Pedro de Atacama, en el norte de Chile. Se asume que en el proceso expansivo de Tiwanaku, las sanciones que apoyaron la jerarquía central y las estrategias empleadas para integrar las zonas periféricas y ultraperiféricas al centro fueron de naturaleza ideológica y política, lo que se manifestaría materialmente en la iconografía que reproduce las imágenes de la litoescultura del lago, y que se distribuyó en objetos portátiles que integraron o generaron su esfera de interacción. Esta idea motivó la revisión de colecciones arqueológicas de las zonas nucleares y marginales de la esfera de influencia tiwanaku, comprendidas entre el extremo sur del Perú, centro-sur de Bolivia y norte de Chile. Aquí, en particular, los autores se referirán a los textiles y a la alfarería del valle de Azapa y de San Pedro de Atacama para, a través de las relaciones iconográficas y artefactuales, intentar determinar el grado de integración centro-periferia, ya sea en términos hegemónicos o territoriales.

Text in English with summaries and keywords in English, Afrikaans and Zulu / Presented in two volumes. Volume 2 contains colour photographs / Bibliography: (volume 1: leaves 181-219) / The history of South African ceramics of the twentieth and twenty-first centuries tends to be presented in a compartmentalised manner in that it focuses on the leading exponents within genres and is limited to an investigation of the contexts that have an immediate bearing on their oeuvres. The result is a fragmented (and sometimes biased) view of the role players, circumstances, influences and incentives that have come to define South African ceramics. The thesis introduces key contributors who have hitherto been considered in relation to crafts and fine art but whose work with ceramic materials places them firmly within the ambit of South African ceramics. It also positions and evaluates the roles of the formal and informal twentieth-century educational and training agencies that, within the constraints of imposed political dogma, produced ceramists who successfully challenged staid Western aesthetics. Particular attention is given to how the black “traditional potters” exercised agency in negotiating a contemporary (as opposed to an ethnographic) presence in which they referenced the forms, meanings and values of “traditional pottery” to meet the expectations of the collector’s market. The thesis posits that the ceramists’ quest to claim an identity (or an “indigeneity”) in the turbulent political era of the later twentieth century has parallels with the intent and outcomes of African Modernism. African Modernism, which arose in postcolonial countries, sought to challenge Western binaries of art, craft, identity and presence and typically made use of hybridity to that end. The same presence of hybridity is evident in twentieth-century South African ceramics, which must be read as an engagement with a multi-cultural society within which the ceramists sought to position themselves. The thesis illustrates the progression of hybrid features from an initially crude and superficial referencing of indigenous and African material culture to subjective translations of that culture that are presented in innovative approaches. This theme is further explored in relation to South African ceramics of the twenty-first century, and evidence suggests that some of the ceramists’ oeuvres can now be considered transcultural and even transnational. The thesis, which is by its nature an enquiry that presents new or reassessed evidence is neither a fully inclusive nor an absolutist revision of the history of ceramics. / Die geskiedenis van Suid-Afrikaanse keramiekkuns van die twintigste en een-entwintigste eeu is geneig om op ʼn onderverdeelde wyse voorgehou te word, omdat dit op die hoofeksponente in genres fokus en beperk is tot ʼn ondersoek na die kontekste wat ʼn direkte uitwerking op hul oeuvres het. Die resultaat is ʼn gefragmenteerde (en soms bevooroordeelde) beskouing van die rolspelers, omstandighede, invloede en aansporings wat Suid-Afrikaanse keramiekkuns definieer. Die tesis stel sleutelbydraers bekend wat tot dusver met handwerk en beeldende kuns verbind is, maar wie se werk met keramiekmateriale hulle sonder twyfel binne die sfeer van Suid-Afrikaanse keramiekkuns plaas. Daarbenewens posisioneer en evalueer die tesis die rolle van die formele en informele twintigsteeeuse opvoeding- en opleidingsagentskappe wat, binne die beperkings van voorgeskrewe politieke dogma, keramiste opgelewer het wat oninspirerende Westerse estetika suksesvol betwis het. Aandag word veral geskenk aan hoe die swart “tradisionele pottebakkers” bemiddeling uitgeoefen het in die verwesenliking van ʼn kontemporêre (teenoor ʼn etnografiese) teenwoordigheid waarin hulle verwys het na die vorme, betekenisse en waardes van “tradisionele pottebakkery” om aan die verwagtinge van die versamelaarsmark te voldoen. Die tesis voer aan dat daar parallelle bestaan tussen die keramis se soeke om op ʼn (inheemse) identiteit te kan aanspraak maak in die onstuimige politieke era van die latere twintigste eeu, en die oogmerke en uitkomste van Afrika-modernisme. Afrika-modernisme het in na-koloniale lande ontstaan en het beoog om Westerse binêre pare van kuns, handwerk, identiteit en teenwoordigheid te betwis; om hierdie doel te bereik is hibridisme gewoonlik gebruik. Dieselfde teenwoordigheid van hibridisme kan gesien word in Suid-Afrikaanse keramiekkuns van die twintigste eeu, wat beskou moet word as ʼn gemoeidheid met ʼn multikulturele samelewing waarin die keramiste hulself probeer posisioneer. Die tesis illustreer die vooruitgang van hibriede eienskappe, van ʼn aanvanklik onafgewerkte en oppervlakkige verwysing na inheemse en Afrika- materiële kultuur, na subjektiewe interpretasies van daardie kultuur wat in innoverende benaderings voorgehou word. Hierdie tema word verder ondersoek in verband met SuidAfrikaanse keramiekkuns van die een-en-twintigste eeu, en bewyse dui daarop dat sommige van die keramiste se oeuvres nou as transkultureel en selfs as transnasionaal beskou kan word. Die tesis, wat in wese ʼn ondersoek is wat nuwe of hersiende bewyse voorhou, is nóg ʼn ten volle inklusiewe nóg ʼn absolutistiese hersiening van die geskiedenis van keramiekkuns. / Umlando weseramiki yaseNingizimu Afrika kwikhulu leminyaka lamashumi amabili namashumi amabili nanye uvamise ukwethulwa ngendlela ehlukaniswe ngezigaba ngokuthi igxile phezu kwezingcweti ezihola phambili ngaphakathi komkhakha wezinhlobo kanti lokhu kugxile kuphela kuphenyo lwezizinda ezinomthintela osheshayo phezu kwemisebenzi yonke yalezo zingcweti. Umphumela ukhombisa umbono owehlukene (kanti ngesinye isikhathi umbono owencike kwingxenye eyodwa) wabadlalindima, wezimo, wemithelela kanye neziphembeleli ezichaza iseramiki eNingizimu Afrika. Ithesisi yethula abagaleli abasemqoka ukufika manje okudala benakiwe mayelana nemisebenzi yobuciko kanye nemisetshenzana yobuciko obuncane kodwa imisebenzi yayo yomatheriyali weseramiki ibabeka ngaphakathi komkhakha wezeseramiki eNingizimu Afrika. Lokhu kuphinde futhi kuhlole izindima zezinhlaka zemfundo nezoqeqesho ezihlelekile nezingahlelekile, lezo ngaphaklathi kwezihibhe zohlelo olumatasa lwepolitiki, lukhiqize osolwazi bezeseramiki abaphonsele inselele ngempumelelo osolwazi bezobuhle beNtshonalanga. Kugxilwe kakhulu kwindlela ababumbi bendabuko abamnyama “traditional potters” abasebenzisa ngayo ubummeli uma bexoxisana ukubonakala emsebenzini wesikhathi samanje (njengoba lokhu kuphambene ne-ethinigrafi) lapho baye bariferensa izindlela, izincazelo kanye nezinga lobugugu bobuciko bendabuko bokubumba ukufeza izinhloso ezilindelwe zemakethe yabaqoqi bomsebenzi wobuciko. Ithesisi iyasho ukuthi impokophelo yosolwazi bezeseramiki yokuzitholela uphawu oluchaza ubunjalo babo (or an “indigeneity”) esikhathini esibucayi sezepolitiki sekhulu leminyaka yamashumi amabili inezimpawu ezifanayo ngenhloso kanye nemiphumela yohlelo lwesimanjemanje sase-Afrika African Modernism. Uhlelo lwe-African Modernism, oluqhamuka kumazwe avele ngemuva kombuso wobukoloni, luphonsela inselele yezinhlelo zobuciko, yesithombe sobuciko kanye nobukhona bobuciko kanti ikakhulukazi bukhandwe ngobuciko bokuhlanganisa izinhlobo (hybridity) ezahlukile. Ubukhona bohlelo lokusebenzisa izinhlaka ezahlukile lwe-hybridity lubonakala kwimisebenzi yeseramiki yesenshuwari yamashumi amabili yaseNingizimu Afrika, okufanele ifundwe njengomsebenzi ohlanganiswe ndawonye nomphakathi wamasiko amaningi, kanti ngalo msebenzi ababumbi beseramiki bafuna ukuziphakamisa ngawo. Ithesisi ikhombisa intuthuko yezimpawu wumsebenzi oyingxubevange (hybrid) ovela kwindlela yokureferensa eluhlaza neyobuciko bamaqhinga bosiko lwendabuko lomatheriyeli wase-Afrika ukuphawula ngemisebenzi ehunyushiwe yalolo siko eyethulwe ngezindlela ezinamaqhinga amasha. Lesi sihloko siqhubekela phambili nokuhlolwa mayelana nohlelo lweseramiki eNingizimu Afrika kwisenshuwari yamashumi amabili, kanti ubufakazi buyasho ukuthi eminye imisebenzi yosolwazi bobuciko beseramiki ingathathwa njengemisebenzi ekhombisa ukushintsha amasiko kanye nokushintsha kwesizwe. Ithesisi, ngokwemvelo yayo ingumbuzo owethula ubufakazi obusha noma ubufakazi obubuyekeziwe, le thesis ayiwona umsebenzi oxuba konke futhi ayikona ukubuyekezwa kwangempela komlando weseramiki. / Art History, Visual Arts and Musicology / D. Phil. (Art)

The Seminole Indians were Creek Indians from Georgia and Alabama who migrated to Florida for several reasons, including much conflict from not only other native groups but European pursuits. This thesis documents the early Creeks coming into northwest Florida, and thereby contributes to the larger research question of Seminole ethnogenesis. By compiling not only the confusing and often unclear historical documentation, but also the archaeological record, this thesis examines Creek/Seminole archaeological sites along the Apalachicola River and lower Chattahoochee River and matches them up with known historical towns to see where and when the Creek Indians were coming into Florida within this valley and when these groups were being referred to as Seminoles. Another question addressed is why the sites, either known historical or archaeological, all fall in the northern portion of the project area and on the west bank of the rivers. The significance of this research is to try to correlate archaeological sites with historic towns and get a better understanding of which native groups are being referred to as Seminole, when they came into Florida, where they were settling, and what the settlements look like archaeologically.

( esky) Základním úkolem je vyhodnocení archeologických výzkum provedených na ran st edov kém hradišti Vraclav (okr. Ústí nad Orlicí) do roku 1963. Základním pramenem budou nálezové vypracované L. Hrdli kou a L. Skružným uložené v archivu Archeologického ústavu AV R, Praha, v. v. i. Hlavním úkolem je shromážd ní dostupné terénní dokumentace z dosud provedených výzkum a vyhodnocení jednotlivých sídlištních a poh ebních komponent s cílem rekonstrukce jejich uspo ádání na akropoli hradišt . Diplomantka se zam í p edevším na rozsah poh ebišt a rekonstrukci zachycených stavebních konstrukcí. Zpracování a vyhodnocení terénních nálezových situací bude provedeno v prost edí GIS. P i zpracování movitých nález bude v nována pozornost zejména výb ru keramických soubor klí ových pro vývoj hradišt . Sou ástí celkového vyhodnocení bude srovnání s výsledky povrchových pr zkum detektory kov a geofyzikálního m ení a další nedestruktivních metod archeologického výzkumu provedených Regionálním muzeem ve Vysokém Mýt a Archeologickým ústavem AV R, Praha, v. v. i., které budou diplomantce k dispozici. Abstrakt (anglicky) The basic task is an analysis of the archaeological researches performed at early medieval fortification site Vraclav (Ústí nad Orlicí district) since 1963. The basic source is the documentation of the...