Many archaeologists have been intrigued by how often symbolic houses of varying forms are used on the burialgrounds of the Scandinavian Bronze Age. Some scholars even claim that to deal with the dead did not mean to set them apart from the world of the living during this period. Since several examples show that there seem to be an active connection between the ship-setting and different types of symbolic houses, this study seek to demonstrate and interpret how the ideology behind these symbols vary between three regionally different Swedish areas: Halland, Småland and Gotland. The purpose is to show that the way chosen to shape the symbols materially not only had fundamental impact on the organization of the burialground itself, but also on how the surrounding world came to comprenhend and use them. This study suggests that even though the special shapes of the graves and the gravefield itself can carry meaning, the materialization of the monuments can be interpreted as incorporated in a practice of remembrance in where the individual shaping of the grave most probably formed part of a greater story.

<p>Many archaeologists have been intrigued by how often symbolic houses of varying forms are used on the burialgrounds of the Scandinavian Bronze Age. Some scholars even claim that to deal with the dead did not mean to set them apart from the world of the living during this period. Since several examples show that there seem to be an active connection between the ship-setting and different types of symbolic houses, this study seek to demonstrate and interpret how the ideology behind these symbols vary between three regionally different Swedish areas: Halland, Småland and Gotland. The purpose is to show that the way chosen to shape the symbols materially not only had fundamental impact on the organization of the burialground itself, but also on how the surrounding world came to comprenhend and use them. This study suggests that even though the special shapes of the graves and the gravefield itself can carry meaning, the materialization of the monuments can be interpreted as incorporated in a practice of remembrance in where the individual shaping of the grave most probably formed part of a greater story.</p>

This thesis studies the contacts between Scandinavia and the Mediterranean area during the Scandinavian Bronze Age. These contacts have been the topic of controversy for a long time as one side of the debate believes in direct contacts between Scandinavia and the Mediterranean area, and the other side believes that contacts between the two areas could only have been by down the line trading contacts. This thesis then aims to see what evidence there is that the contacts would have been direct or otherwise. This is done by studying the archaeological evidence as well as the pictographic depictions on rock art in Scandinavia and painted pottery from the Mediterranean area, as well as ships and ship technology to understand if Scandinavian ships would have been able to travel to the Mediterranean in the first place. Further, this thesis also studies the urn burials introduced to Scandinavia during the Bronze Age from northern Italy to see the spreading of ideas, as well as isotope analysis of bronze from Sweden and Denmark together with strontium analysis of Bronze Age individuals to form a complete picture about these contacts and how they took place.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / In the Amazon the burial practices carried out by prehistoric peoples are explored and studies of bone and traces of the contexts involved even less discussed. The study of funerary contexts are made later excavations of the site, and this hinders understanding of the contexts involved in addition to making more difficult the analysis and interpretation of the collected material associated with the burials. In this context, this study aims to identify places with funerary contexts in the lower tapajós, specifically the area comprising the city of Aveiro in the State of Pará, focusing the burials in urns tradition related item-dotted encountered during the archaeological survey of the site Paraná de Arau-is-man in 2009 carried out under the technical supervision of archaeologist Dr. Denise Pahl Schaan. And from the study of these burials using methods proposed by Arqueotanatologia and Bioarqueologia this paper sought to identify and understand the funerary contexts present in the place of Paraná de Arau-é-pá. / Na Amazônia as práticas funerárias realizadas por povos pré-históricos são pouco exploradas e os estudos dos vestígios ósseos e dos contextos envolvidos ainda menos debatidos. Os estudos de contextos funerários são feitos posteriormente as escavações do sítio, e isso dificulta a compreensão dos contextos envolvidos além de tornar mais difícil a análise e interpretação do material coletado associado aos sepultamentos. Neste âmbito, este trabalho tem como objetivo a identificação de sítios com contextos funerários na região do baixo tapajós, especificamente a área que compreende o município de Aveiro no estado do Pará, tendo como foco os sepultamentos em urnas ligados à tradição inciso-ponteada encontrados durante o levantamento arqueológico do Sítio Paraná de Arau-é-pá em 2009 realizado sob a supervisão técnico-científico da arqueóloga Dra. Denise Pahl Schaan. E a partir do estudo destes sepultamentos utilizando métodos propostos pela Arqueotanatologia e Bioarqueologia este trabalho procurou compreender os contextos funerários presentes no sítio Paraná de Arau-é-pá.

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De la céramique italiote du IVe siècle av. J.-C., qui reprend et adapte certains épisodes du cycle d’Achille particulièrement liés à l’univers funéraire (Néréides apportant les armes d’Achille, mort de Troïlos, mort de Penthésilée etc…), en insérant dans les scènes figurées des éléments de la culture locale, au mobilier funéraire étrusque (Tombe François, urnes, sarcophages peints et sculptés), en passant par les miroirs et les cistes prénestines des périodes classiques et hellénistiques, l’existence d’une codification et d’une transmission des schémas iconographiques est clairement visible entre les différentes cultures. Au Ier siècle av. J.-C. et au Ier siècle ap. J.-C., certains épisodes du cycle d’Achille continuent à peupler le répertoire figuré, d’autres disparaissent ne correspondant plus aux nouvelles aspirations des commanditaires et d’autres apparaissent, incarnant des valeurs propres à la culture romaine. A Rome, les sources écrites nous informent sur la présence d’Achille dans la sphère publique (temple de Neptune et Saepta Julia). L’usage de la copie et de la diffusion d’un chef-d’œuvre tel le groupe d’Achille et Chiron, s’insèrent dans une volonté d’imiter l’Urbs, centre du monde méditerranéen. Les peintres renouvellent le répertoire iconographique du cycle d’Achille en créant deux épisodes : la Découverte d’Achille à Skyros et Thétis dans les forges d’Héphaïstos. Ces deux épisodes trouvent un grand succès à Rome (Domus Aurea) et sur les parois des demeures pompéiennes et permettent à la figure d’Achille de se détacher du cycle troyen. Ainsi, le héros grec devient grâce aux adaptations stylistiques et techniques des peintres romains le symbole de la paideia tout en conservant son caractère héroïque / The italiote ceramic the fourth century B. C., which incorporates and adapts some episodes cycle Achilles particularly related to posthumous glorification (Nereids bringing the arms of Achilles, Troïlus death, death of Penthesilea, etc…) by inserting the figurative scenes elements of the local culture, in Etruscan funerary (François Tomb, urns, sarcophagi carved and painted) through mirrors an prenestines cysts, Classical and Hellenistic periods, the existence of a consolidation and a transmission of iconographic patterns with clearly visible between different cultures. The first century B. C., and the first century A. D., some episodes of Achilles cycle continue to populate the figurative repertory, others dissapear no longer corresponded to the new aspirations sleeping partners while others appear embodying specific Roman culture values. In Rome, written sources inform us about the presence of Achilles in the public sphere (Temple of Neptune and Saepta Julia). The use of copy and distribution of a masterpiece such as Achilles and Chiron group, are part of a desire to imitate the Urbs, the center Mediterranean world. Painters renew the iconography of Achilles cycle by creating two episodes: The Discovery of Achilles in Skyros and Thetis in the forges of Hephaestus. These two episodes are a big success in Rome (The Golden House) and on the walls of Pompeian houses and allow the figure of Achilles to detach from the Trojan cyle. Thus the Greek hero becomes through stylistic and technical adaptations of Roman painters symbol paideia while maintaining his heroic character.