Cette thèse porte sur la chapelle cimétériale du monastère de Bačkovo (Bulgarie), étudiée dans le contexte des églises sépulcrales du monde byzantin médiéval. Parmi les rares monuments de ce type architectural, cette chapelle se singularise notamment par son décor peint datant de l’époque médiobyzantine. Conservant certains thèmes iconographiques à caractère exceptionnel, son importance résulte également de la cohérence parfaite entre le décor, la fonction de l’édifice et le rite célébré. À la lumière des données d’une sélection de typika byzantins, complétées par des sources liturgiques, nous nous attachons, d’une part, à clarifier le contexte de fondation de la chapelle cimétériale, et, d’autre part, à réévaluer sa place unique dans la vie monastique d’antan. Notre investigation vise aussi à réexaminer la classification architecturale à laquelle le monument fut longtemps rattaché, celle des « églises sépulcrales bulgares », avancée par André Grabar. De plus, nous proposons une analyse iconographique détaillée de l’intégralité de son décor peint. Une attention particulière est portée aux représentations à forte connotation eschatologique, envisagées par le biais des spécificités fonctionnelles de l’édifice, liées à la célébration d’offices funèbres et commémoratifs. En outre, nous développons une analyse comparative avec les programmes iconographiques des principaux monuments sépulcraux médio- et tardodyzantins. L’apport de cette thèse consiste ainsi en la recontextualisation de la chapelle cimétériale bačkovienne, sur les plans à la fois architectural, iconographique et liturgique. / The subject of this thesis is the cemetery chapel of the Bačkovo monastery considered in the context of the sepulchral buildings of the Byzantine medieval world. Among the rare monuments of this architectural type, it stands out by its decoration dating from the middle byzantine period. Conserving some exceptional iconographic topics, its importance ensues also from the perfect coherence between decoration, function and ritual. With reference to a selection of byzantine typika, completed by liturgical sources, I try to clarify the context of foundation of the Bačkovo cemetery chapel and to reassess its place in the monastic life of yesteryear. The purpose of this investigation is also to reconsider the architectural classification of this building which has been refered to as the “églises sépulcrales bulgares” for a long time as mentioned by André Grabar. Furthermore I offer a detailed iconographic study of its entire fresco programme focusing especially on the representations with strong eschatological connotation, examined in the light of the functional particularities of the edifice, related to the celebration of funeral and commemoration services. In addition I give a comparative analysis of the monument following the iconographic programmes of the most significant sepulchral monuments from the middle and late byzantine period. The contribution of this thesis thus consists in the recontextualization of the Bačkovo cemetery chapel in terms of architecture, iconography and liturgy.

O presente trabalho propõe um enfoque na arte e no estilo da cerâmica arqueológica funerária da Amazônia com o objetivo de aprofundar o entendimento sobre as formas de organização social e as dinâmicas précoloniais de ocupação humana da região. Utilizando-nos de conceitos da antropologia social e da antropologia da arte sobre estilo e agência, analisamos os objetos rituais funerários enquanto mediadores e transformadores das relações sociais. Uma incursão exploratória na etnologia de rituais funerários, em particular nas implicações do perspectivismo ameríndio sobre as concepções de humanidade, ancestralidade, morte, corpo e alma na Amazônia, somada a um breve panorama da variabilidade estilística das urnas antropomorfas das diferentes tradições e fases cerâmicas arqueológicas, propomos alguns parâmetros comparativos para a correlação entre estilos funerários e formas de reprodução social. Os parâmetros propostos são então verificados para o caso particular de um conjunto de urnas funerárias da fase marajoara. Concluímos que a cerâmica ritual e, em particular a funerária, apresenta um enorme potencial analítico para resolvermos algumas incongruências epistemológicas que tem se apresentado entre a arqueologia e a etnologia da Amazônia, notadamente sobre os diferentes princípios de organização social das sociedades do passado e do presente. / This dissertation proposes a focus on the art and style of archeological funerary vessels from Amazonia to improve understanding of patterns of social organization and pre-colonial change in the human occupation of the region. Drawing from concepts about style and agency in social anthropology and the anthropology of art, we analyze objects in funerary rituals as mediators and transformers of social relations. An exploratory incursion into the ethnology of funerary rituals, especially the implications of Amerindian perspectivist conceptions of humanity, ancestry, death and soul in Amazonia, and a summary comparative panorama of the stylistic variation of anthropomorphic urns from different archaeological ceramic traditions and phases, we propose some comparative parameters for correlations between funerary styles and forms of social reproduction. These parameters are then examined for the particular case of funerary vessels from the Marajoara phase. We conclude that ritual ceramics, especially funerary ceramics, presents an enormous analytical potential for resolving epistemological incongruences that have appeared in Amazonian archaeology and ethnology, notably that of different principles of social organization in the past and present.

This thesis will look at the depiction of the Achilles and Troilos death myth on the Attic Black-Figure “Tyrrhenian” Group and its possible influence in Etruria from the mid 6th century BC to the Hellenistic period. The appearance of this Attic-made export ware in Etruscan sites of the 6th century BC, distribution of extant group pots with known provenance along with the emulation of the “Tyrrhenian” neck-amphora style and narrative frieze content in mid to late 6th century BC Etruscan pottery supports evidence for the popularity of the group amongst the Etruscan population. I will approach my investigation in Chapter Three by first giving an overview of the construction and decoration of the Attic-made “Tyrrhenian” Group and listing the variety of traits that characterize this group as being a true case of Athenian export product to Etruria. In Chapter Four I will focus on the appearance of the Achilles and Troilos myth on pots of the “Tyrrhenian” Group and trace the development of the myth’s iconography in Greek art starting in the mid 7th century BC. In Chapter Five I will focus on the appearance of the myth in Etruscan art in the mid 6th century BC and its subsequent development in Etruscan mythology through the analysis of Etruscan-made specimens. I will also attempt to give a reasoning behind the Etruscans’ adaptation of the Greek myth into their corpus. / Thesis (Master, Classics) -- Queen's University, 2009-09-22 13:27:11.548

Etruscan art was greatly influenced by Greek art, which is especially apparent in the Etruscan funerary art. A common motif within Greek funerary art is the prothesis, the lying in state, which appears in Etruria during the sixth and fifth centuries BCE. However, the Etruscan scenes differ from the Greek scenes in that they portray a wider flexibility when it comes to gender roles. Women and men are not limited to gestures or positions within the scenes of prothesis. This in turn, along with other factors not discussed in this paper, has led to discussions of a more gender equal Etruscan society. Yet there is a specific gesture within the Etruscan scenes that is not found in the Greek material. The gesture in question, portrayed with both hands on the chest either in fists or placed one on top of the other, appears in other funerary art outside of the prothesis scenes. The aim of this thesis is to examine this gesture and its relation to gender and whether it is gender constricted. By analyzing and comparing funerary art limited to Chiusi and Vetulonia that includes the gesture, found in reliefs, statuettes as well as sculptures, this paper sets out to deepen our understanding of Etruscan gender roles. Since the material being examined is extremely restricted, the only thing an analysis of this size can determine is that there is indeed a gender constriction within the funerary art from the cities of Chiusi and Vetulonia, speaking to a possible wider occurrence within the entire Etruscan society. To delve deeper into the questions of gender roles and how they affect the Etruscan art, it is necessary to broaden the scope of material – both in form and origin.

The Earliest Human Remains of Northern Perú: Balances and PerspectivesGenerally in American prehistory the very first protagonists have been kept outside of the main discourse. This absence of information is evident if we review the construction of this history and accept that there has been a preconceived pact of indifference towards skeletal remains. The north of Peru is a good example and choice for the objectives of this paper. Given this lack of information, we present our findings about these "lost" bodies in order to finally integrate these data into the study of the earliest people of the Americas. / De manera genérica, la prehistoria americana ha mantenido fuera de su discurso a los restos de sus propios protagonistas. Semejante afirmación adquiere sentido si observamos la confección de esta historia pasada y aceptamos una cierta indiferencia pactada hacia los restos óseos. El norte peruano resulta un buen ejemplo y compromiso de intereses encontrados. Con este trabajo se busca cómo entender esta ausencia, encontrar los cuerpos "ausentes" y finalmente integrarlos al acervo de los materiales de estos primeros grupos humanos.

Megalithic Funerary Structures in Huari ComplexBetween 1995 and 1997 the Universidad Nacional San Cristóbal de Huamanga studied several prehistoric monuments in the Ayacucho Valley region, especially the ruins of Huari, that included an examination of the condition of architectural remains as well as the recovery of artifacts. As a result of this work new information about megalithic funerary architecture has been collected, consisting of multi-level subterranean buildings, one resembling the outline of a camelid, that surely served as tombs for individuals of great social status. These structures belong to the moment of maximum urban development and political expansion of Huari, that dominated the Central Andes during the 7th through 10th centuries. These funerary structures demonstrate advanced knowledge of stone construction by specialists of the Ayacucho area, who were influenced not only by Tiahuanaco, but also by contemporary cultures of the north-central Peruvian highlands. / Entre 1995 y 1997, la Universidad Nacional de San Cristóbal de Huamanga desarrolló labores de recuperación y puesta en valor de diversos monumentos prehispánicos, como en el complejo Huari, donde se excavaron y definieron nuevas evidencias de arquitectura megalítica de carácter funerario, con edificaciones subterráneas de varios niveles, algunas con plantas que evocan figuras de camélidos y cámaras funerarias para personajes de alto rango social. Estas son atribuidas a la época de máximo desarrollo urbano y expansión territorial del imperio Huari, el que dominó los Andes centrales entre los siglos VII y X d.C. Las estructuras en mención expresan un elevado conocimiento de la tecnología constructiva en piedra y probablemente fueron hechas por especialistas ayacuchanos que debieron recibir influencia no sólo de Tiahuanaco, sino también de otras culturas coetáneas de la sierra nor-central peruana.

À partir du récolement critique de plus de cinq cents accessoires vestimentaires sud-alpins découverts au nord des Alpes, le présent travail vise à caractériser la participation de la culture de Golasecca dans l’accroissement des réseaux de circulation reliant la Méditerranée occidentale aux sociétés celtiques. Les objets personnels découverts dans de nombreux habitats et sépultures alpins et transalpins indiquent une implication directe du domaine de Golasecca dans les échanges à moyenne et longue distance. Elle se traduit par des phénomènes de métissage culturel, de transfert technologique et de mixité de population, lisibles dans certains sites du massif alpin, mais aussi à travers des déplacements et des fréquentations relativement longues des nombreux sites hallstattiens, de nature et statut différents. Phénomène en partie lié avec l’émergence des sociétés aristocratiques, la circulation de ces objets et de biens plus luxueux illustre le rôle d’intermédiaire privilégié joué par Golasecca dans les circuits à très longue distance. / Based on the critical inventory of more than five hundred clothing accessories from the southern-Alps discovered in the northern-Alps, the present work aims at characterising the role of the Golasecca civilisation in the growth of circulation networks linking up the western Mediterranean to Celtic civilisations. Personal belongings discovered in many alpine and transalpine settlements and burial places bear witness of a direct implication of the Golasecca culture in medium and long-distance trades. This implication results in phenomena of cultural mix, technological transfer and mixed nature population, that are perceptible in certain areas of the alpine massif as well as through some displacements and relatively long-time frequenting of the main Hallstattian local settlements of varied kind and status. As a phenomenon which is partly linked to the emergence of aristocratic societies, the circulating of luxurious objects and ornaments illustrates the fact that Gollasecca has been a major go-between in the trade and communication networks between Mediterranean cultures and Hallstatt chiefs.

No description available.

Funerary Practices at Puerto Supe during the Middle HorizonThe article presents a summary of the investigation related to a group of 21 funeral contexts, dated to the Middle Horizon and recovered during the Archaeological Rescue Project at Puerto Supe-Sitio 1, during March 1991. The Project was in charge of Mercedes Cárdenas. / El artículo presenta un resumen del estudio de un conjunto de 21 contextos funerarios, en su mayoría del Horizonte Medio, procedentes del Proyecto de Rescate Arqueológico en Puerto Supe-Sitio 1, realizado durante marzo de 1991. La dirección del Proyecto estuvo a cargo de Mercedes Cárdenas M.

Funerary Contexts at the Ancón Necropolis from Final Middle Horizon. Analytical Perspectives and InvestigationThis note deals with the potential analytical strength of a series of funerary contexts from Ancón, attributed to Middle Horizon 4 and excavated during 1946 and 1949 by different teams of Peruvian archaeologists. This suggested analysis is based on an appropiate methodology of the reconstruction of contexts parting from extant documentation and associated objects. / En el presente trabajo se expone brevemente las potencialidades de análisis de una muestra de contextos funerarios provenientes del sitio de Ancón, asignados a la Época 4 del Horizonte Medio y excavados entre 1946 y 1949 por diversos equipos de arqueólogos peruanos. Dicho análisis supone el empleo de una metodología apropiada de reconstrucción de los contextos mismos, a partir de los registros (gráficos y escritos) y de los materiales arqueológicos que hasta hoy se han preservado.