Central Europe during the third millenium BC is characterized by changing cultures and high mobility. One of the cultures at the start of the millennium is the Corded Ware Culture (CWC), deviating...Show moreCentral Europe during the third millenium BC is characterized by changing cultures and high mobility. One of the cultures at the start of the millennium is the Corded Ware Culture (CWC), deviating from the Neolithic farmers and inheriting cultural traits from the Yamnaya-culture in the east, such as language, ideology and burial traditions. One of these burial traditions is the placement of dog remains in CWC burials. In previous research, dog teeth have been noted to be jewellery, purely aesthetic. These artefacts are also linked to the female gender. On the other hand, complete dogs are linked to the male gender and are noted to be higher valued as representation of the third millennium BC ideology. These conclusions are drawn based on the excavated burial complex, and perhaps one other correlated complex. At the time of writing this thesis, the archaeological research is lacking an overview of dog remains in CWC burials in Central Europe, and therefore a (supra)regional understanding of the dog motif. This thesis aims to elevate the practice of dog remains in burials, and therefore the dog motif, to a level higher than ‘just ornamental’ by answering the research question: How do patterns in the deposition of dog remains in third millennium BC burial sites in Central Europe inform us about the representation of dogs in Corded Ware Culture communities? With the sample data set of CWC burials from Central Europe patterns are traced by comparing burial types, orientation, flexing positions, age groups, types of remains and their placement within different types of depositions, and other burial goods. Based on these patterns, the thesis argues that the dog motif transitioned into referencing ancestry of both local Neolithic farmers as of the Yamnaya-nomads through a process called hybridization. The motif is linked to the high mobility of the period, due to the migratory character of wolves. The material representation functions also as a beacon for travelers, and as a mode of storytelling to mark boundaries the traveler is also part of or warned not to cross. The supraregional motif is spread, however, the implementation of the practice of wearing dog teeth is locally different. Especially canines were telling markers, because their shape was imitated in other animal bone in 25% of the burials. These were only encountered with left-flexed individuals, whereas the complete dogs seem to be linked, although not exclusively, to right-flexed individuals. The burial practice of placing dog remains in CWC burials could be one of the signs of the transformation from Neolithic Europe to the Early Bronze AgeShow less
This thesis has sought to answer how gara, a type of embroidery embellished on traditional sari, works as a communicative tool of Parsi identity to both non-Parsi and Parsi. In order to achieve...Show moreThis thesis has sought to answer how gara, a type of embroidery embellished on traditional sari, works as a communicative tool of Parsi identity to both non-Parsi and Parsi. In order to achieve this, we shall see first how dress is able to communicate identity to oneself and others through a process this thesis dubs embellishment, before focusing in on the social, historical, and religious aspects of gara, and uncovering what collective Parsi identity is communicated through gara exactly. This thesis concludes that the process of embellishment communicates an identity that is Parsi through applying an identity narrative on dress which is interacted with by others to formulate a temporarily fixed identity of the wearer. This identity narrative embellished on gara has social, historical, and religious roots, all of which are discussed in the thesis at length. This thesis thus answers two important questions in the study of identity communication through dress, by explaining how identity can be transmitted though dress, as well as how this identity is formulated.Show less
Ancient Roman notions of the feminine were ambiguous: on the one hand the feminine was defined as wild, irresponsible and dangerous, but on the other hand the feminine was defined as a cultured,...Show moreAncient Roman notions of the feminine were ambiguous: on the one hand the feminine was defined as wild, irresponsible and dangerous, but on the other hand the feminine was defined as a cultured, productive and essential element of society. Pearls regularly feature in Roman discourses about the feminine, and posess a similar ambiguity. Pearls were used as a symbol or metaphor for both sides of the ambiguous identity of the feminine in literary, visual and archaeological sources. This thesis analyses the underlying thoughts and connections between pearls and the ambiguous notions of feminine identity in the Roman world.Show less
