Författaren till denna uppsats har ett brett allmänt intresse av alla tänkbara relationer mellan hällbilder och runor ur ett vitt spektrum av aspekter såsom kronologiska, kulturella, epokmässiga, geografiska, semiotiska, språkfunktionella och skrifthistoriska. Särskilt intressant vore att kartlägga och analysera, hur hällbilder och runor kan symboliskt uttrycka religiösa, rituella, kosmologiska och livsåskådningsmässiga föreställningar och ideal. Andra viktiga faktorer, som måste beaktas, är kulturkontinuitet och hur forntidens människor såg på sina ännu äldre föregångares kultur, föreställningar och livsföring. Uppsatsen måste dock begränsa sig att främst behandla två specialområden dels lokaler med överlappande förekomster av hällristningar och runor, dels en jämförelse mellan runnamnens semantiska sfärer och symboliseringar av väsentliga delar i livsvärlden hos de mest frekventa skandinaviska hällbildsfigurstyperna. De frågor uppsatsen vill besvara är primärt: 1/ Vilka samlokaliseringar av hällbilder och runor finns det? 2/ Verkar runinskrifterna på dessa samlokaliseringar kommentera eller anspela på hällbilderna och i så fall hur? 3/ Vilka semantiska sfärer representerar runnamnen och vilka komponenter i de dåtida människornas levnadsvärld refererar de till? 4/ Finns det hällbildsfigurer, som rimligen kan sägas symbolisera samma levnadsvärldskomponenter som runorna? För att besvara dessa frågor presenteras: A/ fem samlokaliseringar av hällbilder och runor; B/ tolkningar av samspelet mellan de fem lokalernas hällbilder och runor; C/ en genomgång av de äldre runnamnens betydelser; D/ förslag på hällbildsfigurer, som symboliskt skulle motsvara runnamnen.  En angenäm effekt av denna uppsats vore, om den kunde leda till en rekategorisering av hällbildernas motiv och symboler utifrån runsystemets förutsatta levnadsvärld och kosmologi.. / The author of this thesis has a broad general interest in all imaginable relations between rock art and runes out of a wide spectrum of aspects such as cronological, cultural, epochic, geografic, semiotic, linguistic and the history of writing. It would be specially interesting to describe (map down) and analyse how rock art and runes in a symbolic way can express beliefs and ideals out of a religious, ritual and cosmological  conception of life. Other important considerations are continuity of culture and how ancient people looked at the culture, beliefs, ideas and living of their ancesters. This thesis has to be limited to deal with two areas, firstly lokacations with overlapping occurrence of rock art and runes and secondly a comparison of the semantic sphere of the names of the runes and symbolizations of important parts of life that can be seen in the most frequently occurring Scandinavian types of rock art figures. The thesis primarily wants to answer the following questions: 1) Which common localisations of rock art and runes are there? 2) Do the runes in these colocalization seem to comment or allude to the rock art? If so, in what way? 3) Which semantic spheres do the names of the runes represent and to which components in the life world of the ancient people do they refere? 4) Are there rock art figures who probably can be said to symbolize the same components of life world as the runes? To answer these questions I will present: A) five common lokalisations of rock art and runes. B) interpretations of the interaction of the rock art and runes in these five lokalisations. C) a catalogue of the meanings of the names of the older runes. D) proposals concerning rock art figures which in a symbolic way could correspond the rune names. A pleasant effect of this thesis would be, if it could leed to a recategorization of the motives and symbols of rock art from the provided life world and cosmology of the runes.

The importance of the elk (Alces alces) in the Stone Age societies of northern Sweden constitutes the major focus of this thesis. The point of departure is a simple but crucial observation: this animal is the common denominator between the three stationary types of remains known in this region from the period 4000-1800 BC. Here, I refer to the pit falls, the rock art sites, and the mounds of burnt stone. Pit falls have been used for trapping elks, and can be found on the migration trails that have been used by these animals for thousands of years. On the rock art sites, the elk constitutes the most frequently depicted motif, and the mounds of burnt stones contain extremely large quantities of elk bones. If the elk had not held a central position in the life world of prehistoric people in the northern Swedish region of Norrland, these archaeological materials would certainly have had a different appearance. I claim that it is the significance of this animal that has led to, and shaped, the emergence of these material remains. In this study the overall importance of the elk is investigated. My main question is how the elk’s significance affected the prehistoric societies of Norrland. I found that the elk’s material remains led to a range of consequences. The pit falls, rock art sites and mounds of burnt stone tied the prehistoric people to certain areas in the landscape. However, at the same time, these remains required to be constantly in transformation to be usable. Pit falls, for example, have to be re-digged in order to at all function as traps for big game. The conceptual dichotomy between permanence and change can be traced in the ways in which the elk motif at the rock art site at Nämforsen was altered. The elk figures are depicted with either straight or angled legs. I interpret this variation as an indication of the fact that the elk motif functioned as a key symbol – a motif that is able to express a range of meanings when it becomes altered and varied. The emergence of depicting the opposition between mobility and permanence tells us that the Stone Age societies had problems uniting these two concepts. I interpret this as signifying that these hunter-gatherers became aware of the “Neolithic aspects” of their own social structure.

Made available in DSpace on 2015-04-17T15:01:40Z (GMT). No. of bitstreams: 1 parte1.pdf: 2323797 bytes, checksum: 3b93658d0b238fa4ae886f0038b8109c (MD5) Previous issue date: 2011-10-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work aims to infer the relationship between the realm of myth with the production of rock graphics, ie, whether the production of these graphics are rituals linked to a mythic structure whatever, being able to express a sacred dimension. Through authors such as Eliade (1991, 1983, 2007, 2008 a, 2008 b), Leroi-Gourhan (2007), Levi-Strauss (1996, 2007, 2008), Insoll (2004), Martin (2005), among others we seek to build a theoretical framework that provides a support for the possibility of discussions undertaken between the expressions of relational cave rituals and actions that produced them. In this paper we seek to support this theme in the theoretical overview presented by the authors that were the basis for discussing the question of sacred and ritual in the theoretical universe of Archaeology. As the focus of the research was chosen the Cariri Region, in the west of the state of Paraíba, especially the municipality of Camalaú, where the two sites were analyzed. To reach the objectives proposed in this study, we used two sites: the site Roça Nova and Beira Rio both fit the requirements established by the work because they have elements where the representations linked to the Traditionin the northeast standout, interspersed with elements of the tradition of the Agreste. It was possible to establish hypotheses of relationship that we set out to do. Using a comparative methodology and, a qualitative, we used the typological method to make comparisons between the two sets of signs of the sites. Aggregated data were collected from the contexts of insertion sites, topography, environment and spatial relationship with the water. Thus, we could demonstrate that the rite of producing rock graphics in each of the sites seem to indicate that the mythic structures vary according to the combination of graphics, distribution and typology, forms the supports with a possible relationship with other topography and ritual sites chosen at each site, even with the similarities between the proximity of the water and the techniques which they represent. Although it is not possible to identify a mythological arrangement in these sites at this time, it is demonstrated that it deals with completely different ritual moments. This leads one to suppose that this deals with a mythical structure for each group. / O presente trabalho tem como objetivo inferir a relação entre a esfera do mito com a produção dos grafismos rupestres, isto é, saber se as produções desses grafismos são rituais vinculados a uma estrutura mítica qualquer, podendo enunciar uma dimensão sagrada. Através de autores, como Eliade (1991, 1983, 2007, 2008 a, 2008 b.), Leroi-Gourhan (2007), Levi-Strauss (1996, 2007, 2008), Insoll (2004), Martin (2005), entre outros, buscamos construir um arcabouço teórico que fornecesse sustentação às discussões empreendidas dessa possibilidade relacional entre as expressões rupestres e as ações rituais que as produziram. Buscamos neste texto fundamentar essa temática na visão teórica apresentada pelos autores que foram a base para discutimos a questão do sagrado e o rito dentro do universo teórico da Arqueologia. Como lócus da pesquisa foi escolhida a região do Cariri Ocidental do Estado da Paraíba, em especial o Município de Camalaú, onde se encontram os dois sítios analisados. Para atender aos objetivos propostos neste estudo, utilizamos dois sítios: o sítio Roça Nova e o sítio Beira Rio ambos se enquadram nos critérios estabelecidos pelo trabalho, porque eles têm elementos onde predominam as representações vinculadas à Tradição Nordeste, entremeados de elementos da Tradição Agreste. Ali foi possível estabelecer hipóteses da relação pretendida. Usando uma metodologia comparativa, de cunho qualitativo, recorremos ao método tipológico para efetuar as comparações entre os acervos de signos dos sítios. Agregados a esses dados, foram levantados os contextos de inserção dos sítios, sua topografia, meio ambiente e relação espacial com a água. Assim, foi possível demonstrar que o rito de produção dos grafismos rupestres, em cada um dos sítios, parecem indicar que se trata de estruturas míticas diferenciadas em função das dos conjuntos de grafismos, sua distribuição e tipologia, forma dos suportes, possível relação com outros sítios rituais e topografia escolhida em cada sítio, mesmo com as semelhanças entre proximidade da água e técnicas que apresentam. Embora não seja possível identificar um arranjo mitológico nestes sítios, neste momento, fica demonstrado que se trata de instantes rituais completamente distintos. O que leva a supor que se trata de uma estrutura mítica para cada grupo.

Vaste plateau de grès découpé d'innombrables vallées sèches au sein du Sahara oriental, le Gilf el-Kebir a servi de zone refuge pendant l'optimum holocène, d'environ 8000 à 4000 avant notre ère. Les données archéologiques permettent de restituer les pratiques quotidiennes et les stratégies de moyen ou long terme des groupes ayant fréquenté la région pendant cet intervalle. L'habitat et la mobilité, la gestion des ressources et approvisionnements et l'organisation des activités sont autant de témoins de la relation de l'homme à son environnement, et de la façon dont il l'exploite pour ses besoins. Au Gilf el-Kebir, l'appropriation de la nature se traduit en termes matériels et idéels. Au VIe millénaire avant notre ère, l'adoption du pastoralisme implique des changements sur le plan de l'économie domestique, de l'organisation sociale et des symboles. Sur les parois des abris du nord-ouest, l'art rupestre traduit en images la façon dont l'homme conceptualise sa place et son rôle au sein de son environnement. Les figurations atypiques de bêtes mi-homme mi-animal participent à notre compréhension des procès de socialisation de la nature. / With its foothills carved by numerous dry valleys, the sandstone plateau of the Gilf el-Kebir has been used as a refuge area in the Eastern Sahara during the Holocene optimum, from around 8000 to 4000 Be. Archaeological data allow understanding the daily practices and also the medium- and long-term strategies of the groups who settled in the region. Housing and mobility, management of resources and procurement and organization of the activities are ail witnesses of the relationship of man to his environment, and how he uses it for his needs. In the Gilf el-Kebir, the appropriation of nature is reflected in the material and conceptual fields. During the VIth millennium BC, the adoption of cattle pastoralism involves changes both in domestic economies and in social and symbolic life. In the northwestern shelters, rock art translates into images the conception that the painters and the engravers had of their own place and role among their environment. The atypical representations of half-human half-animal beasts take part in our understanding of the process for socializing nature.

En se basant sur le profil des figurations humaines et sur quelques présupposés particulièrement tenaces sur un monde des masques et un animisme considérés comme proprement noir-africains, nombre des auteurs ayant traité des images rupestres du Sahara central ont confondu «culture» et «identité raciale», canons artistiques et types anthropologiques, s'appliquant à écrire une Histoire culturelle hachée que rien ne justifie a priori. Ainsi, à Ozan Ehéré, de remarquables cas de rapports explicites illustrés par des scènes montrant un anthropomorphe touchant un zoomorphe invitent à suggérer un parallèle entre des figurations en style des Têtes Rondes et des images bovidiennes (styles de Séfar - Ozan Ehéré, d’Abañher, d’Iheren), alors que ces groupes sont généralement tenus pour indépendants l’un de l’autre et cloisonnés par souci typologique. Une première approche structurale de l’art rupestre de la zone permet aussi d’ouvrir quelques pistes stimulantes quant à la nature des êtres représentés sur les parois (qui ne sont peut-être pas des humains et des animaux ordinaires vaquant à quelque occupation banale), et conduit à s’interroger sur la fonction de ces images. À la lumière de leur possible dimension féminine, quelques peintures en style des Têtes Rondes pourraient sortir du dossier des représentations énigmatiques et l’on pourrait également — sans recours à des lectures littérales — faire quelque peu quitter aux images bovidiennes le monde de la peinture décorative et celui de la chronique historiée. / Considering the face of human representations and evoking particularly firm presuppositions on a world of masks and animism considered as strictly black - African, number of the authors who studied the rupestral images of central Sahara mixed up "culture" and " racial identity ", artistic canons and anthropological kind, establishing a chopped cultural History, which is not argued. In Ozan Ehéré, remarkable cases of relationships illustrated by scenes showing an anthropomorphic touching a zoomorphic invite to suggest a parallel between representations in style of the Round Heads and the bovidians images (styles of Séfar - Ozan Ehéré, of Abañher, Iheren), while these groups are considered generally independent one of the other one and divided up by typological concern. A first structural approach of the rock art of the zone finally allows us to open stimulating ways, for example about the nature of beings represented on walls (who may not be human beings and ordinary animals attending to some commonplace occupation), and drives us to wonder about the function of these images. According to their possible feminine dimension, some Round Heads paintings could be taken out from the file of enigmatic representations. We could also get bovidians images out from the world of ornamental paintings, or of the chronicle - without appeal to literal readings.

O Carste de Lagoa Santa e a Serra do Cipó, que compõem a área da pesquisa, abrangem parte da Região Metropolitana de Belo Horizonte-RMBH, centro do estado de Minas Gerais. Possuem inúmeros sítios arqueológicos em abrigos sob rocha calcária e de quartzito, com diversos tipos de grafismos rupestres; pintados, picoteados e incisos. Boa parte desses grafismos é atribuída à Tradição Planalto, elaborada nessa região, pelo menos, a partir do Holoceno Médio. Inúmeros conjuntos estilísticos sucessórios e temáticos atribuídos a essa tradição foram identificados e reorganizados, buscando, sempre que possível, realizar analogias e correspondências entre as duas regiões componentes. Foram ainda identificadas outras unidades ou expressões gráficas não-Planalto em níveis picturais, intermediários e recentes, que, em alguns casos, indicam possíveis influências de outras regiões do país. Também foram propostas para os conjuntos de figuras picoteadas, variações estilísticas que congregam repertórios temáticos peculiares. As incisões rasas, por sua vez, apresentam dimensões e visibilidades variadas, inclusive miniaturas que não haviam sido consideradas em estudos anteriores. A observação de padrões de exploração de utilização do espaço internos dos abrigos para a execução das figuras, levando em consideração os diferentes suportes rochosos, a interação das figurações com as preexistentes, além da distribuição das expressões gráficas de alta e baixa visibilidade nos sítios e na paisagem, foram fundamentais para a proposição de panorama crono-estilístico mais detalhado, levando em consideração as alterações, diferenças e similaridades estilísticas ao longo do tempo. / The Lagoa Santa Carste and the Serra do Cipó, comprises the research area, covering part of the metropolitan region of Belo Horizonte-RMBH, center of Minas Gerais state. Numerous archaeological sites have shelters in limestone and quartzite, with various types of rock art, painted perforated and incised. Much of this artwork is attributed to the Tradição Planalto, stablished in this region, at least from the Middle Holocene. Several sets stylistic and thematic succession assigned to this tradition have been identified and rearranged, seeking, where possible make analogies and correspondences between the two regions components. Other units or non-Planalto Intermediate and recent pictorial expressions levels were identified which, in some cases, indicated possible influences of traditions from other regions of the country. Combinations of dotted figures, stylistic variations that bring unique themed repertoires have also been proposed. The shallow incisions in turn, have varying sizes and visibility, including miniatures that had not been considered in previous studies. The observation of pattern of use of the internal space of shelters for the execution of the figures, taking into account the different rock media, the interaction of figurations with the background, beyond the distribution of graphic expressions of high and low visibility sites and landscapes, were fundamental to the proposed landscape of chrono-stylistic more detailed, taking into account the changes, stylistic differences and similarities over time.

Este trabalho apresenta os resultados de uma pesquisa voltada à contextualização arqueológica do fenômeno da confecção das gravuras rupestres pré-coloniais na bacia do baixo rio Urubu (Estado do Amazonas). Com o objetivo de caracterizar o registro rupestre regional, foi desenvolvida uma pesquisa intensiva no sítio AM-IT-31 Caretas, portador da maior densidade e variabilidade formal de arte rupestre da área de estudo. O sítio foi abordado a partir do controle espacial dos petróglifos e dos demais vestígios arqueológicos. Sua documentação foi realizada de forma integral e sistemática e foi organizada em um banco de dados relacional, possibilitando a articulação entre diferentes classes de evidências. Para caracterizar a arte rupestre do ponto de vista de sua inserção na paisagem arqueológica, foi investigada a relação crono-cultural com o sítio cerâmico em matriz de terra preta AM-IT-30 Pedra Chata, espacialmente associado. A cronologia das gravuras foi relacionada à dinâmica de sedimentação fluvial; com três datações foi estabelecida a idade mínima dos petróglifos e foi proposto um modelo paleoambiental hipotético para inferir sua antiguidade máxima. Os resultados, embora preliminares, atribuem a formação do sítio ao Holoceno Recente, no âmbito das ocupações ceramistas da região. A análise do registro gráfico tem evidenciado elementos de homogeneidade, tanto no tema como também na apresentação gráfica dos petróglifos, que remetem a uma substancial coerência interna, apesar da variabilidade formal. / This thesis presents the results of research seeking to archaeologically contextualize the precolonial production of engraved rock art in the Lower Urubu River drainage (Amazonas State, Brazil). With the objective of characterizing the rock art of this region, I carried out an intensive research project at the site AM-IT-31 Caretas, which has the highest density and formal variability of rock art in the entire area. Spatial control of both the petroglyphs and other archaeological remains at the site was established to permit their complete and systematic documentation. The records were organized in a relational database, allowing for the analysis of the relationships between different sets of evidence. In order to characterize the placement of rock art within the archaeological landscape, I studied its chronological and cultural relationships with the adjoining archaeological site AM-IT-30 Pedra Chata where ceramics occur in a matrix of \"dark earth\". The chronology of the engravings has been correlated to the fluvial dynamics. Thanks to three dates a minimum age has been proposed for the petroglyphs and a paleoenviromental model suggests their maximum age. Preliminary results point to site formation during the late Holocene in synchrony with ceramic period occupations. The analysis of petroglyphs indicates some homogeneity in regard to themes and graphic representation. This suggest a internal consistency in design despite some formal variability.

A região de Diamantina, em Minas Gerais, guarda um amplo acervo de grafismos rupestres e ricos conjuntos artefatuais e estruturas atribuíveis aos últimos 1.500 anos de ocupação humana. Esta pesquisa investiga os dois conjuntos de registros arqueológicos: o horizonte recente e as pinturas rupestres. Numa análise que procura congregar estudos intra e intersítios, os dois conjuntos são explorados, em busca de identificar sistemas de ocupação e construção da paisagem. Nas ocupações recentes, vêem-se coleções líticas bastante variadas, em sítios de atributos diferentes, que se pretende conectar por meio do emprego das noções de organização tecnológica e cadeia operatória. No que tange aos grafismos rupestres, esta pesquisa investe na identificação de estilos e no reconhecimento das relações cronológicas entre esses. São analisadas também as formas de interação diacrônica entre figuras e as formas de sua composição gráfica. / The region of Diamantina, in Minas Gerais, has a large rock paintings assemblage and rich artefactual assemblages, and structures from the last 1.500 years of human occupation. This research explores the both archaeological features: the occupations of the later pre-colonial period and the rock art. Trying to put together intra and inter-site studies, we intent to identify systems of landscape building. In the later human occupation, there are many lithic artifacts, in different kinds of sites, that are studied here with the use of two basic concepts: technological organization and chaine operatoir. The rock art is explored through stylistic and chronological approaches. We also explore the ways of diachronical interactions and graphic construction among the paintings.

The management of South Africa's heritage resources is still lacking a great deal and many resources are being destroyed by ignorance, development and plain greed. Although South African legislation is adequate in theory, commitment on the side of the government in terms of staff, skills and resources to implement it, is not forthcoming. On the global platform however, we have much to learn as heritage management is regarded as a priority in most of the first world countries. Four steps to reach this goal, is summarizing it effectively: the identification, understanding how it was created and used, selecting the appropriate conservation techniques, and stakeholder involvement. The focus of this study is on the diverse heritage resources of the Blyde Canyon Nature Reserve in Mpumalanga, the largest green canyon in the world. This area has a rich, irreplaceable and unexplored cultural heritage. The tangible and intangible values were classified in a typological framework, including archaeology (stone age and iron age), rock art, historical industrial features, sacred sites, monuments, burial sites, graves and historic tourist features. Authorities are in the process of changing the status of the Nature Reserve to that of a National Park and it is also envisioned to nominate this unique natural and cultural landscape for World Heritage status. The database and overall objectives of this study has been identified to highlight the relevance and importance of the cultural heritage resources and to ensure its future protection and management. This area is already a popular tourist destination which is currently under-utilised, and by contributing to the protection and responsible development of the heritage resources, and by having the correct management principles set in place, the visitor experience will not only be enhanced but the surrounding towns and communities will benefit extensively. Copyright / Dissertation (MHCS)--University of Pretoria, 2010. / Historical and Heritage Studies / unrestricted

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The sites of rock art, term conventionally defined and used by a great number of researchers, about this subject, are expressed since the Paleolithic. The developed studies aimed to understand the presence of these archeological sites are not notorious in Sergipe State. In these terms, there was a concern to develop a more detailed research on rock art and the symbolic universe of its producer, since the Canindé de São Francisco is pointing as a place of great archaeological potential and raises discussions about it. When analyzing the figures applying the semiotic method, it was noticed that the sites with rock art inserted into the Mundo Novo Farm can be read as signs that communicate. Each has its own peculiarities and similarities in the types of signs displayed in a color of the symbolic elements shared among individuals living in the area. The semiotic approach to rock art was made possible by the establishment of subdisciplinary fields in Arqueologica, consolidated in the last decade. / Os sítios de arte rupestre, termo convencionalmente definido e utilizado por um grande número de pesquisadores, são manifestados desde o período Paleolítico. Os estudos desenvolvidos que buscam entender a presença desses sítios arqueológicos não são notórios no estado de Sergipe. Nesses termos, houve a preocupação em desenvolver uma pesquisa mais detalhada sobre a arte rupestre e o universo simbólico de seu produtor, visto que o município de Canindé de São Francisco é apontando como local de grande potencial arqueológico e suscita discussões a respeito. Ao analisar as figuras aplicando o método semiótico, percebeu-se que os sítios com arte rupestre inseridos na Fazenda Mundo Novo, podem ser lidos como signos que comunicam. Cada qual possui particularidades e similaridades quanto aos tipos de signos expostos, sendo a cor um dos elementos simbólicos compartilhado entre os indivíduos vivendo na área. A abordagem semiótica para a arte rupestre foi possível devido o estabelecimento dos campos subdisciplinares na Arqueologica, consolidados na última década.