Abstract 3200 years ago a massive battle took place at the river Tollense in MecklenburgVorpommern, Germany, possibly involving thousands of people. 130 victims have been found so far. Several show signs of former violence. Axes, wooden clubs, knives and a vast number of arrowheads have been found among the human skeletal remains. According to isotope analyses on tooth enamel from human remains at the site, a considerable amount of the victims did not originate from the local area. The isotope analyses divided the victims into two major groups, one local and the other probably originating from Central Europe. In other words, the battlefield of the Tollense were not fought by local farmers and craftsmen. This, together with the extent of the battle, the weapon finds and traumata on the human remains, has led archaeologists to assume that the battle was fought by professional warriors. If this is true, the battlefield of the Tollense would be the first of its kind in the Northern European Bronze Age. Sammanfattning Uppsatsen diskuterar omfattningen och karaktären av slaget vid floden Tollense som utspelade sig för 3200 år sedan i vad som idag är Nordtyskland. Slagfältet har uppmärksammats för att vara den första konflikten med professionella krigare i bronsålderns Nordeuropa. Tidigare forskning om ämnet saknar en konsekvent definition av begreppet professionell krigare. För att avgöra om det var professionella krigare som stred vid Tollense definierar uppsatsen begreppet utifrån teoretiska perspektiv såsom antropologiska klassifikationer av hövdingadömen, krigare och soldater, men också genom att belysa kontaktnätverken och den långväga handel som växte fram under bronsåldern. Omfattningen och karaktären av slaget vid Tollense beskrivs utifrån hur många människor som deltog på slagfältet samt vilka arkeologiska fynd som talar för huruvida de var professionella krigare och inte lokala bönder och hantverkare som drabbade samman. Uppsatsen är en klassisk litteraturstudie. Utgrävningarna vid Tollense pågår i skrivande stund, vilket innebär att det inte finns någon slutpublikation med färdigställda resultat. För att besvara frågeställningarna om antalet deltagare i konflikten samt huruvida de var professionella krigare eller inte, redogör uppsatsen för analyser av de mänskliga kvarlevorna som återfunnits vid Tollense och vapnen som användes på slagfältet. Avslutningsvis ger uppsatsen en personlig tolkning av vad fyndmaterialet säger om hur många människor som var involverade i konflikten och vad som talar för att de var professionella krigare. Diskussionen lyfter fram hövdingadömen som centraliserade och hierarkiska samhällsstrukturer och hur detta möjliggör organiserad krigföring.

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Cette thèse vise à établir différentes relations et différents liens musicaux, ainsi que des évolutions, dans le cadre de la guerre antique, en d'autres termes, il s'agit d'établir des parallèles entre la musique militaire et d'autres musiques guerrières. Pour ce faire, elle se concentre en priorité sur la musique militaire qui forme le fil conducteur de l'ouvrage. On étudie en particulier beaucoup la musique de trompette, en se posant les questions suivantes : la musique militaire a-t-elle pu être à l'occasion artistique ? A-t-elle pu servir à se détendre ? Quelles sont les constantes et les évolutions de la musique militaire et des instruments de musique militaire au cours de l'antiquité grecque et romaine ? A cette fin, toutes les sources anciennes qui traitent de la musique en général et de la musique militaire sont mentionnées. Les sources historiques et philosophiques sont prises aussi en considération, ainsi que les traités de musique (Aristide Quintilien, Philodème de Gadara). Les instruments sont passés en revue : trompette, aulos et tibia, lyre et orgue hydraulique. Un chapitre est consacré aux musiciens de l'armée et aux guerriers musiciens. Les hymnes delphiques d'Athénaios et de Liménios sont étudiés, ainsi que le fragment épique d'Oslo. / This thesis aims to define different relations and different musical links, and some evolutions as well, in the framework of the ancient war, in other words, it means to establish parallels between military music and other warlike musics. For that, this thesis focuses principally to military music which forms the principal line of the work. We particularly study a lot of trumpet's music, and we answer or define the following questions : had military music been for occasions artistic music? Or music for relaxation? What are the common points and evolutions of military music and military music instruments along greek and roman antiquity?To treat these subjects, all the ancient sources which are concerned by antic music generally and military music particularly are mentioned. Historic and philosophic sources are taken in consideration too, and musicologic books as well (Aristide Quintilien, Philodème of Gadara). Music instruments are studied : trumpet, aulos and tibia, lyre and hydraulic organ. A chapter is dedicated to the warfare musicians. The delphic hymns of Athenaios and Limenios are studied, and the epic fragment of Oslo as well.

This dissertation evaluates veteran participation in the martial art of Brazilian Jiu Jitsu (BJJ) as a tool of reassimilation for veterans suffering from anxiety, stress and/or combat PTSD associated with military deployment. From the onset of Operation Iraqi Freedom, Operation Enduring Freedom and Operation New Dawn, challenges associated with U.S. Veteran assimilation and reintegration have been increasing. Coping with long term displacement, trauma, loss, and making sense of identity shifts between being an active duty service member and civilian can often present challenges when navigating back into civilian life. By utilizing a neuroanthropological lens, ethnographic inquiry, surveys, semi-structured interviews, and focus groups, this research advances anthropology’s understanding of how sport participation may have the ability to combat assimilation and mental health challenges that are a result of combative trauma exposure. I examine BJJ as a physical and mental tool for strengthening social bonds, buttressing identity formation, and easing the burden of transitioning into a civilian life after enduring time within a combative theater. This analysis is a building block for future research that will explore BJJ as an avenue of elective intervention for veterans suffering from stress and anxiety disorders associated with time in service.

This essay deals with the political upheavals which occurred in Japan with the Meiji Restoration of 1868 and its impact on the Samurai Class. This transitional period in Japanese history is portrayed in the film The Last Samurai from 2003, and it's the comparison between this Hollywood production and the current research on the subject on which this essay focuses. Two key figures who are portrayed in the film are Nathan Algren (Tom Cruise), an American soldier from the Indian Wars of the 1860/70s who travels to Japan to quell the Samurai rebellion but ends up in captivity; only to learn their codex of honor and way of life and eventually become a Samurai himself. The other character calls himself Katsumoto (Ken Watanabe) and becomes the representative of the Samurai's struggle for their existence. Their friendship and cultural exchanges will remain a cornerstone throughout the film. Katsumoto has his historical counterpart in Saigō Takamori – also known as The Last Samurai during the times of the Meiji Restoration and its aftermath. Closely intertwined with the Samurai come ideals in which the warrior must follow specific precepts and behavior patterns both on the battlefield and in civilian life. Bushidō (“the way of the warrior”) and the ritual suicide that is seppuku (“stomach-cutting”) therefore play a significant role in the film and become a symbol of the clash between the old values of the Samurai and the inevitable process of modernization according to Western standards. The film explores both the theoretical and practical dimension of bushidō and is a tribute to the Samurai; their ideals, living and learning philosophy and to their codex of honor. It also depicts the unexpected and forbidden friendship between a Samurai and a soldier with their separate Western and Eastern values – which ultimately results in their common defeat before the new age in Japan.

This essay have its main focus on understanding how the usual naval battle under the viking agelooked like. The timeline in question is the year 793 to the middle of 11th century. The main sourceof information are taken from the sources that have the runes and scaldic verses as their referecepoint. The study will take a brief look at the viking ships used in those battles and the weapons andarmor the soldiers would use. And then try to understand their part on the battlefield.

Pere III of Catalonia (1319-1387) began his reign in 1336. As count-king, he reigned over Aragon, Catalonia, and Valencia. The Chronicle of Pere III of Catalonia covers the years 1319-1369, fifty years of a nearly seventy year life. Pere wrote this chronicle in collaboration with his chancery office. Bernat Descoll was the main contributor from the chancery, and he consulted with the king as he wrote it. The chronicle reflects spiritual justifications for actions that occurred during Pere's reign, such as his conflict with the Uniòns of Aragon and Valencia, as well as his conflict with Pedro I of Castile. In the prologue to the chronicle, Pere compares both himself and Catalonia to several events in the reign of King David of Israel. References to Biblical kings are not featured in the rest of the chronicle; however, there are many general spiritual references to God. It is my contention that Pere chose to emulate David because David was a highly respected Biblical king, as well as the fact that David's history as a warrior could be used to spiritually justify the military actions of Pere. I will seek to prove this by reviewing ancient and medieval interpretations of David's reign, and by analyzing both the representations of David in the prologue and Pere's religious references in the main text of the chronicle. This study shows that Pere used the idea of King David in an aberrant way to serve his own purposes. Prior to Pere's usage, David typically served as an example of a humble, righteous, servant king in political and theological works, not the righteous warrior king that Pere co-opts to justify his reign.

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Darbo objektas – lietuvių liaudies dainose vaizduojamas karys, šaltiniai – daugiausia tik karinės-istorinės lietuvių liaudies dainos. Iškeliama problema – kaip liaudies dainose yra vaizduojamas – suvokiamas, apibūdinamas, vertinamas – karys. Darbo tikslas – išnagrinėti ir atskleisti šį kario įvaizdžio suvokimą bei vaizdavimą. Naudojami empirinio ir iš dalies – teorinio lygio metodai. Darbe išskiriami anksčiau netyrinėti kario bruožai, praplečiama pati kario samprata ir atskleidžiamas gana plačiai suvokiamas priešo (taip pat kario) įsivaizdavimas. Kario samprata išryškėja aptariant įvardijimą ir bendruosius bruožus. Kariai dainose vadinami labai įvairiai, tačiau pirmiausia akcentuojama ne karinė jų padėtis, o santykiai su artimaisiais. Būdingiausi karių bruožai dainose – jaunystė ir „mandrumas“, polinkis pasipuikuoti. Kario sampratą atspindi ir jo išskirtinumas bendruomenėje. Karys, kaip ir medžiotojas, yra visiškai priešingas žemdirbiškai bendruomenei. Jauno bendruomenės žmogaus ir, taip pat jauno, kario skirtumai dainose matomi meilės, vedybų perspektyvoje. Karys, atskirtas nuo bendruomenės, dainose vaizduojamas vienišas, dėl to matoma metaforiška jo giminystė su dangaus kūnais. Darbe išskiriami svarbiausi kario atributai, atskleidžiantys sunkią kareiviavimo dalią. Neatsiejama kario įvaizdžio dalis dainose yra žirgas. Karinis priešas senosiose dainose suprantamas kaip tokio paties likimo brolis, o vėlyvosiose dainose yra žiaurus, todėl paniekinamas ir išjuokiamas. ... [toliau žr. visą tekstą] / The object of the work – a soldier that is represented in Lithuanian folk songs, sources – mainly military-historical Lithuanian folk songs. The problem is being raised – how a soldier is represented, perceived, valued in Lithuanian folk songs. The purpose of the work – to analyze and disclose the perception and the portrayal of this soldier image. Empirical and theoretical methods are used. Earlier not analyzed characteristic features of a soldier are separated, the concept of a soldier is broadened and the portrayal of an enemy (soldier) is disclosed in this work. The concept of a soldier comes into the light while discussing its` naming and general features. Soldiers are named differently in folk songs, but, first of all, not their military position, but their relationship with family members is accentuated. Main features of soldiers in folk songs – youth and bent for put on airs. The concept of a soldier is reflected in his exceptionality in the community he lives. A soldier, like a hunter, is entirely opposite to the agricultural community. The differences of young human being of a community, young soldier also, are visible in folk songs on the perspective of love, marriage. A soldier, separated from community, is portrayed as alone, lonely person. That is why his metaphorical relationship with heaven bodies is seen. Main attributes of a soldier that reveal the hard fate of serving in the army are picked out in the work. The military enemy in old folk songs is... [to full text]

A depositional framework for the Mississippian (Chesterian) Pride Mountain Formation/Hartselle Sandstone clastic tongue and the lower Bangor Limestone carbonate ramp in the Black Warrior basin, Mississippi and Alabama, is constructed from approximately 250 geophysical well logs, 15 well cuttings descriptions, and outcrop data. The framework is based upon cross sections, isopach maps, and transgressive-regressive sequence stratigraphy. The Lowndes-Pickens synsedimentary fault block controlled sediment dispersal in during Pride Mountain/Hartselle deposition. The basin filled from the southwest, which pushed the depocenter northeastward during Hartselle deposition. The Hartselle sub-basin is composed of the Hartselle barrier-island and back-barrier deposits to the southwest, including the Pearce siltstone. The Pearce siltstone, a previously unidentified subsurface unit, was deposited in a restricted environment controlled by the Lowndes-Pickens block. The Pride Mountain, Hartselle, and lower Bangor succession contains one complete and one partial transgressive-regressive stratigraphic sequence. An exposure surface at the top of the Hartselle Sandstone and Monteagle Limestone is a maximum regressive surface. The upper part of the Bangor ramp is highly cyclic and grades from oolitic shoal deposits southwestward into a condensed section, the Neal black shale, at the toe of the ramp. The entire thickness of the lower Bangor is equivalent to the Neal shale.