Nesta tese, estudamos os vasos cerâmicos produzidos pelo Pintor de Gela, um artista ático, cujo período de atividade vai da última década do século VI a meados do século V. Esse Pintor pertence à geração de artistas tradicionalistas que prossegue produzindo vasos de figuras negras no período em que a técnica de figuras vermelhas é introduzida e adotada por diversos artistas em Atenas. O Pintor de Gela pode ser considerado um artista completo, uma vez que tanto molda como decora seus vasos com a mesma dedicação; ele pensa como um ceramista, porque ele é um deles, consciente do volume sobre o qual ele coloca os elementos da imagem que constrói, consciente assim da natureza do objeto suporte da imagem e das manipulações e rotações que serão feitas ao longo de sua utilização. Em sua obra, o Pintor apresenta qualidades artísticas interessantes e importantes que devem ser levadas em conta sob diversos aspectos: a originalidade técnica com a qual produz vasos em que se percebe a preocupação com simetria, volume e proporção; a capacidade de abstração e ordenação de imagens; a criatividade e liberdade artísticas com que apresenta novas representações e versões de temas desenvolvidos por outros artistas e oficinas contemporâneos a ele. A produção desse Pintor merece uma revisão e novas interpretações já que o que possuímos de publicações dedicadas ele é muito pouco em relação à sua importância como artista pertencente a um período tão produtivo da arte grega. Apontamentos sobre qualidade artística, estilo, produção e cronologia podem ser feitos a partir do estudo sistemático de seus vasos, inseridos no universo de artistas e da produção de vasos áticos de figuras negras. O conhecimento da produção desse artista, tanto no nível formal quanto imagético, contribui para uma caracterização e maior conhecimento do desenvolvimento técnico e artístico pelos quais passa a cerâmica grega, permitindo questionamentos sobre o que conhecemos da arte, tecnologia e iconografia gregas do período / This thesis deals with the pottery vases produced by the Gela Painter, an attic artist who worked from the last decade of the sixth to the beginning of the fifth century BC. This painter belongs to a generation of traditional artists who keeps on producing black figured vases when the red figured technique is introduced and adopted by many artists in Athens. The Gela Painter can be considered a complete artist due to the fact that he makes and decorates his vases with the same dedication. He thinks as a ceramist because he is one - he is aware of the volume in which he creates the elements of image, conscious of the nature of the object in which the image is placed and of the manipulations and shifts that will happen during its use. In his work, the Painter shows interesting and important artistic qualities which have to be considered under different aspects: the technical originality used to produce his vases through which it is possible to notice his worries about symmetry, volume and proportion; the capacity of abstracting and arranging images; the artistic creativity and liberty with which he shows new representations and versions of the same theme developed by other contemporary artists and workshops. This Painter\'s production deserves to be reviewed and re-interpreted due to the fact that all the works dedicated to him are really few when we take into account his importance as an artist belonging to such a fruitful period of the Greek art. Considerations about artistic quality, style, production and chronology can be taken out studying his vases systematically, always having in mind the production of attic black figured vases universe. The knowledge of this Painter\'s production, taking into account both its form and imagery characteristics, contributes to a better characterization and a greater understanding of the artistic and technical development seen in the Greek ceramic production, allowing us to question what we know about art, technology and iconography of this period

Pour les périodes dites préhistoriques, la tendance générale d’assimiler les objets aux personnes et les communautés aux cultures persiste toujours. Ce phénomène est particulièrement observé pour la production céramique halafienne (datée de 6400 à 5400 BC cal.). Or, toute production céramique ne se résume pas à un objet et encore moins à de la vaisselle. C’est avant tout une matière première (l’argile) qui a vécu différentes étapes de transformation. L’objet n’est que l’aboutissement d’un projet pour lequel a été mis en œuvre une chaîne opératoire spécifique, se déroulant dans un temps imparti, le tout répondant à une nécessité. Dans une perspective de recherche pluridisciplinaire associant trois domaines : l'archéologie, l'archéométrie et l'ethnographie/ethnologie, nous nous proposons de reprendre une partie du dossier Halafien. Nous montrerons, à partir d'études de cas portant sur du matériel attribué aux phases de transition Proto-Halaf/Halaf ancien et "Halaf-Ubaid-Transitional", que bien plus qu'un marqueur culturel, la production céramique (qu'il s'agisse de vaisselle, de jetons, de figurines, de disques….) est un marqueur technique et social qui informe sur les activités, les modes de vie des communautés ; en quelques mots, l'état d'une société, mais aussi les transformations auxquelles elle est sujette. / Generally speaking, for prehistoric periods, pottery is compared to people, and by extension, to culture concept. Evidence of such a combination was noted for halafian remains (dated from 6400-5400 BC cal.). However, ceramic production can't be reduced to sherds, even less to vessel typology. Above all, it's a raw material (clay) which is affected by various transformations' stages. Final object is just the result of a previous project answering to life necessity. The execution requires a specific "chaîne opératoire", which takes allowed time.Following this point of view, pluridisciplinary research was selected and three fields were used : archaeology, archaeometry and ethnography. With this subject, we propose to take again part of the Halafian discussion. Intend to demonstrate that more than a cultural marker, halafian ceramic production (vessel type, tokens, figurines, disks…) can be considered as a technical fact or a social fact indicator which gives informations about activities, way of life of various communities, but also about the state of the society and its transformations, we decide to study ceramic assemblage coming form characteristic Proto-Halaf/Halaf and Halaf-Ubaid Transitional sites.

A series of recent excavations on the 2nd Century AD Antonine frontier forts of the Midland Scottish valley, have produced results which suggest that the army was making its own pottery on an appreciable scale. This was at a time when pottery production was thought to have moved almost exclusively into civilian hands. The possible local ware groups identified by the excavations were largely independent of firm source indicators such as kiln and waster material and the number of available samples was often-small. A program of Neutron Activation and Thin Section petrological analyses was undertaken along with an investigation into Textural Analysis, a facet of the Petrological toolkit. The aim was both to define the site ware groups and a group of specialist vessels thought to be local to Scotland, the Mortaria, and to make statements as to their provenance. Although the Mortaria analysis was limited by problems of sample group size and availability, by improving the objectivity of the statistical handling of the derived data sets and developing methods for the high level study of textural data, the site ware groups were defined successfully at both the "intrall and "inter" site levels. The analyses also furnished interpretations as to the mode and nature of the site production schemes. Through the full analysis of' site Daub samples linked to more traditional provenancing techniques, in all but one case the ware groups could be assigned to the source sites, where contrasting production modes could be identified with military as opposed to civilian production. / SERC

O presente trabalho visa a desenvolver um modelo de referência específico para o desenvolvimento de novos produtos e de tecnologias de produção para o setor da produção industrial brasileira de cerâmica para revestimento. É baseado no uso das metodologias de Desenvolvimento de Produtos, Análise e Gerenciamento do Ciclo de Vida Total e de Desenvolvimento de Produtos Sustentáveis, integrando os aspectos industriais com a redução do impacto ambiental e a sustentabilidade de processos e produtos. O setor de produção de cerâmica não foi ainda abordado amplamente, em termos de pesquisa acadêmica, naquilo que concerne à metodologia de projeto de produto e do processo de fabricação. O presente trabalho pode colaborar para o preenchimento desta lacuna e trazer uma contribuição útil a um setor estratégico nacional, já que atualmente o Brasil é o segundo produtor e o segundo consumidor mundial. Do ponto de vista energético, a produção de pisos e azulejos cerâmicos é intensiva e a redução eficiente do impacto ambiental deve ter foco prioritário no próprio processo produtivo. A análise do setor tem revelado fragilidades estruturais, que devem ser corrigidas para alcançar um nível de competitividade internacional. O desenvolvimento da presente pesquisa fornece, como resultados principais, a geração de um modelo de referência para o projeto e desenvolvimento de novos produtos cerâmicos e tecnologia de produção, a partir da análise da prática atual de desenvolvimento, da teoria de processo de desenvolvimento de produto e da análise comparativa do estado da arte no Brasil e na Itália. O modelo proposto é validado com pesquisa de campo realizada em empresas do setor cerâmico no Brasil e na Itália e com análise crítica sobre o cálculo de análise do ciclo de vida. Como resultado secundário, são apresentadas diretrizes para aplicação da metodologia na produção nacional, visando a orientar uma reestruturação estratégica do setor. / The present work intends to develop a specific reference model for new products and production technologies development in the Brazilian ceramic tiles industrial sector. It is based on Product Development, Total Life cycle Analysis and Management and Sustainable Products Development methodologies, integrating the industrial aspects with the environmental impact reduction and the sustainability of processes and products. The ceramic tile production sector has not yet been widely approached, as academic research, about the product and production project methodology. This work can cooperate to fulfill this gap and perform a useful contribution to a national strategic sector, for being, nowadays, Brazil the second producer and the second consumer into the world market. Form the energy point of view, the ceramic tile production is intensive and an efficient environmental impact reduction must have the main focus in the production process. The sector analysis revealed structural fragilities that must be revised to achieve an international competition level. The present research development engender, as main result, the creation of a reference model for new ceramic product and production technology project and development, based on the analysis of the current practice for product development, on the product development process theory and on its application by a comparative analysis of the state of the art in Brazil and Italy. The proposed model is validated by field research in Brazilian and Italian ceramic industries, as well as critical analysis about Life Cycle Analysis calculation. As secondary result, guidelines are presented, to apply this methodology into the national production, aiming to orient a strategic sector restructuration.

Cette recherche porte sur la production céramique du Bronze ancien IV (2500-2000 av. J.-C.). L'objectif principal de cette thèse est de caractériser le matériel céramique de la région qui se trouve à l’est de la moyenne vallée de l’Oronte, en particulier la steppe syrienne (Bādiyat Al-Shām), et d'établir des jalons chronologiques solides des différents niveaux et phases de la deuxième moitié du IIIe millénaire. Pour atteindre ces objectifs, cette étude s’appuie sur les données de trois sondages stratigraphiques que j’ai réalisés dans le cadre des fouilles syriennes sur les sites suivants : Mishrifeh-Qatna, Tell Shʻaīrat et Tell Al-Ṣūr. Ont été également étudiées les céramiques provenant d’une série de prospection effectuées sur plusieurs régions de Syrie centrale. Cette étude ne s’est pas limitée à l’approche morphologique et stylistique mais elle y a ajouté des analyses technologiques, minéralogiques et physico-chimiques réalisées sur le matériel de plus de 35 sites inédits de Syrie centrale, afin d’étudier les modalités de production et de distribution de la céramique pendant la deuxième moitié du IIIe millénaire dans cette région et d’essayer de déterminer la localisation des centres de production. En croisant les résultats des fouilles avec ceux de l’étude du matériel céramique, nous avons tenté de replacer cette région encore inexplorée dans son contexte chronologique et historique. / This research focuses on the ceramic production of the Early Bronze Age IV (2500-2000 B. C.). The main goals of the thesis is to characterize the ceramic material in the region located east of the middle Orontes valley, mainly the Syrian steppe (Bādiyat Al-Shām), and to establish solid chronological landmarks for the diverse levels and phases of the second half of the third millennium. To reach its goals, this study includes data provided by three stratigraphical soundings which I made in the frame of Syrian excavations at Mishrifeh-Qatna, Tell Shʻaīrat et Tell Al-Ṣūr, as well as the data of a series of surveys in several regions of Central Syria. Morphological and stylistical approaches have been successfully combined with the results stemming from technological, mineralogical and chemical analyses carried out on the material from more than 35 sites in Central Syria, aiming to study pottery production and distribution modalities during the second half of the third millennium BC in Central Syria, to try to identify the location of production centres and to reconstruct the networks of exchanges. Combining the excavations results with the ceramic studies we attempted to set this previously unexplored region in its chronological and historical context.

O presente trabalho visa a desenvolver um modelo de referência específico para o desenvolvimento de novos produtos e de tecnologias de produção para o setor da produção industrial brasileira de cerâmica para revestimento. É baseado no uso das metodologias de Desenvolvimento de Produtos, Análise e Gerenciamento do Ciclo de Vida Total e de Desenvolvimento de Produtos Sustentáveis, integrando os aspectos industriais com a redução do impacto ambiental e a sustentabilidade de processos e produtos. O setor de produção de cerâmica não foi ainda abordado amplamente, em termos de pesquisa acadêmica, naquilo que concerne à metodologia de projeto de produto e do processo de fabricação. O presente trabalho pode colaborar para o preenchimento desta lacuna e trazer uma contribuição útil a um setor estratégico nacional, já que atualmente o Brasil é o segundo produtor e o segundo consumidor mundial. Do ponto de vista energético, a produção de pisos e azulejos cerâmicos é intensiva e a redução eficiente do impacto ambiental deve ter foco prioritário no próprio processo produtivo. A análise do setor tem revelado fragilidades estruturais, que devem ser corrigidas para alcançar um nível de competitividade internacional. O desenvolvimento da presente pesquisa fornece, como resultados principais, a geração de um modelo de referência para o projeto e desenvolvimento de novos produtos cerâmicos e tecnologia de produção, a partir da análise da prática atual de desenvolvimento, da teoria de processo de desenvolvimento de produto e da análise comparativa do estado da arte no Brasil e na Itália. O modelo proposto é validado com pesquisa de campo realizada em empresas do setor cerâmico no Brasil e na Itália e com análise crítica sobre o cálculo de análise do ciclo de vida. Como resultado secundário, são apresentadas diretrizes para aplicação da metodologia na produção nacional, visando a orientar uma reestruturação estratégica do setor. / The present work intends to develop a specific reference model for new products and production technologies development in the Brazilian ceramic tiles industrial sector. It is based on Product Development, Total Life cycle Analysis and Management and Sustainable Products Development methodologies, integrating the industrial aspects with the environmental impact reduction and the sustainability of processes and products. The ceramic tile production sector has not yet been widely approached, as academic research, about the product and production project methodology. This work can cooperate to fulfill this gap and perform a useful contribution to a national strategic sector, for being, nowadays, Brazil the second producer and the second consumer into the world market. Form the energy point of view, the ceramic tile production is intensive and an efficient environmental impact reduction must have the main focus in the production process. The sector analysis revealed structural fragilities that must be revised to achieve an international competition level. The present research development engender, as main result, the creation of a reference model for new ceramic product and production technology project and development, based on the analysis of the current practice for product development, on the product development process theory and on its application by a comparative analysis of the state of the art in Brazil and Italy. The proposed model is validated by field research in Brazilian and Italian ceramic industries, as well as critical analysis about Life Cycle Analysis calculation. As secondary result, guidelines are presented, to apply this methodology into the national production, aiming to orient a strategic sector restructuration.

En Languedoc oriental, durant la fin du Néolithique final, on assiste à un accroissement important des occupations préhistoriques, en particulier au Néolithique final 3 (culture de Fontbouisse). Ce territoire a fait l’objet d’un découpage en faciès culturels, essentiellement sur la base des productions céramiques (Gutherz, 1975 ; 1990). La recherche s’est majoritairement concentrée sur les villages en pierre sèche des garrigues depuis les années 1950 jusqu’au début des années 1990. En effet, à partir de ces années-là, les investigations archéologiques se concentrèrent en plaine, sur des occupations à systèmes de fossés s’étendant sur plusieurs hectares. Le mobilier céramique, abondant, méritait une analyse plus poussée. Le travail présenté se penchera sur plusieurs séries céramiques des plaines datées du Néolithique final 3. La quantité massive de mobilier servira à vérifier si des régularités dans les productions céramiques peuvent être observées ou non. L’intérêt de ce travail est double : préciser les tendances stylistiques se dégageant des ensembles étudiés ; utiliser le contexte des successions de comblements stratigraphiques en vue d’affiner la chronologie de la production céramique et son évolution durant le Néolithique final 3. / In eastern Languedoc, during the late Neolithic, there has been a significant increase in prehistoric settlements, especially in the late Neolithic 3 (Fontbouisse culture). This area has been divided in cultural facies, mainly on the basis of ceramic production (Gutherz, 1975; 1990). Research has mostly focused on the garrigue’s dry stone villages from the 1950s to the early 1990s. Indeed, from those years, archaeological surveys have focused in plain, on ditch system settlements over several hectares. The abundant ceramicware deserved further analysis. This work will focus on several plain ceramic series dated to late Neolithic 3. The massive amount of ceramicware will make it possible to assess whether patterns in ceramic production can be observed. The value of this work is twofold: outline stylistic trends emerging from the sets studied, use the context of stratigraphic successions of fillings to refine the chronology of ceramic production and its evolution during late Neolithic 3.