Dissertations / Theses on the topic 'Brooches'

The various surviving disc and composite brooches provide proof of the skill and craftsmanship of Anglo-Saxon metalsmiths. Surprisingly, no one has conducted a full geometrical analysis of these brooches to discover the design process preceding the casting and decoration. This thesis endeavors to rectify this through a geometrical investigation of the sophisticated geometrical planning principles used by Anglo-Saxon craftsmen in the creation of these elaborate brooches. Through the use of simple geometrical constructions, smiths were able to create works of great beauty and sophistication. Closer inspection reveals that Anglo-Saxon smiths produced all the composite disc brooches in this study using similar processes of planning. In order to plan out the compositions of each brooch, master smiths would only need a compass, a straightedge, and some material on which to write. Each brooch reveals the same kind of coherent geometry, sharing traits and patterns; with proportions tend to be governed by a series of modular association. Although the master smiths or designers of the composite brooches used simple tools to create the composition, the figures in this thesis were created using the Vectorworks CAD program. This significantly expedited the analytical process and allowed for exact measurements. Despite using the computer program to replicate the planning process, all the figures can be recreated with just a compass and straightedge. While a complete geometric study of all the composite disc brooches needs to be done, this study examines five of the best preserved and well-crafted of that type, ranging from some of the simplest to the most elaborate, as an introduction to the subject.

There is much that is unknown concerning the creation of Viking age brooches. Recreating these brooches in the same way they would have been created in the Viking age to try to understand how they were created is a time consuming project for experimental archaeologists.   This study has been done in order to find out if the time spent can be reduced and at the same time gain a better understanding of the creation of a Viking age brooch using 3D scanning and computer simulations. Casting simulations of a real Viking age brooch have been done using Magma5, a state of the art simulation software.   Simulations were run with several different casting systems, initial metal and mould temperatures, and both with as well as without the brooches distal figurines attached.   It was found that the initial metal and mould temperatures has got impact on the final result of the brooch, but the alloy and casting system has a much greater effect on the final result. The casting system that yielded the best result has the pouring basin directly above the medial part of the brooch and two sprues leading to gates on the north and south medial sides.
Det är mycket som inte är känt om tillverkningen av vikingatida broscher. Att försöka återskapa dem på samma sätt som vikingarna antagligen skapat dem för att öka kunskapen kring broscherna är ett tidsödande jobb.   Denna studie har gjorts för att ta reda på om den tiden kan reduceras och samtidigt öka kunskapen kring broscherna med hjälp av modern teknik som 3D skanning och datorsimuleringar. Gjutsimuleringar av ett äkta vikingatida spänne har skett i Magma5, ett kraftfullt simuleringsprogram.   Simuleringar utfördes med hjälp av flera olika gjutsystem, stor variation i smältans och formens initiala temperaturer, och både med och utan broschens distal figuriner.   Studien har funnit att smältans och formens temperaturer har påverkan på broschens slutresultat, men legeringen som används och gjutsystemet har betydligt större påverkan på slutresultatet. Gjutsystemet som gav bäst slutresultat har ett inlopp som är placerat direkt över mitten på den mediala delen, och sedan förgrenar sig i två delar och ansluter till den norra och södra delen av formkaviteten.

The goal of this thesis was to go beyond typology and consider the form, material, size and context of brooches in order to determine their meanings and functions to the Late Iron Age/early post-Conquest peoples of northern France. Apart from assembling a database of these ubiquitous objects, the objectives were: first, to standardize typological language and description in order to consider material and size; second, to ask broader questions about contexted finds from sanctuaries, funerary, rural sites and oppida. The evidence examined demonstrates that brooches were seldom stand-alone finds, as one would expect of lost or casually discarded objects. Rather, their deposition with other objects demonstrates their integration into ritualized practices that were more complex and varied than previously assumed. Moreover, the increase of ornamental types during La Tène D2 marks a distinct change from the homogeneity of earlier types; perhaps relating to the impact of increased competition, or need to promote co-operation, between the different family, household groups and social classes at that were increasingly intermingled at oppida, as well as sanctuaries. The transition from iron to copper alloy during this period matches the amplified interest in ornamental types, aided by the malleability of the material. However, this shift also parallels certain changes in iron production in the study area, echoing possible increased restriction of iron production during La Tène D2b/GR1. Beyond typology, brooches are a useful means of tracking changes in Late Iron Age social and ritual practice, as well as responses to conquest and increasing contact with the Roman world. By considering the chronological and contextual relationships of brooches this thesis examines how Late Iron Age and Early Roman societies in northern France reproduced themselves through material culture.

This thesis explores the evidence for the earliest brooches in Britain. The first brooches were used and made in Britain in the Early Iron Age from c.450 BC. During this period, and into the Middle Iron Age, methods were devised for constructing brooches with mock springs and hinges. In tandem with these changes a greater variety of types came into use. Some are relatively widespread across Wales, England and into Scotland. Others are concentrated in central or western and eastern regions of England. Brooches were manufactured from both bronze and iron. Bronze brooches dominate in the earlier period but iron brooches are as common as bronze in the Middle Iron Age. Some bronze brooches are constructed with small elements of iron and vice versa. Other materials are also employed as decoration on the body of the brooch including coral and glass. A revised chronology and typology are proposed, drawing on both intrinsic attributes and external archaeological evidence. The evidence from burials shows brooches were used to clasp fabric. The fabric was probably a woollen cloak wrapped around the body as a shroud. The brooch was positioned so it was visible during the funerary process. Some brooches fastened bags and other small brooches were better suited as ornaments or badges. These have distinctive designs that would have made them recognisable, perhaps as objects belonging to a particular person and/or associating that person with a specific group. Brooches are also found at settlements, at hillforts and in rivers, as well as at sites with or deposits of a ritualised character. Aside from cemeteries these latter sites contain the highest numbers of brooches. The deposition of personal objects at these types of site may have asserted the individual’s connection to the community in a manner comparable to the burial of a person in a cemetery.

A close examination of spatial variability in the specified objects in an area between the Rhine/Danube and the Loire, stretching as far as Britannia in the west and Pannonia in the East. Initially a theoretical framework is set out in the context of the archaeological background. Each object type is then analysed in terms of form and decorative style and the occurrence of specific features is shown on distribution maps. Possible production areas can be suggested for different decorative styles. The distribution maps and studies of the range of variability in each category also provide information concerning the scale of manufacture and mechanisms of dispersal; in turn these relate to the level of demand and the changing function of the object. Patterns occurring are then compared to one another and interpreted in terms of their gender and status associations and their overall economic, social, political and cultural significance for the late Roman Western Empire. Links are established between different regions and it is possible to trace the movements of those travelling with the army. Many sites can be shown to have a significant foreign element, with clusters of associated objects which can be sourced to another area. Concentrations of finds along the frontier and in linear distributions in other areas give an indication of contemporary activity at adjacent sites, and shifts in the spatial patterning of objects during the fourth to fifth century transition period provides a fresh insight into the late Roman west and beyond.

This thesis aims to examine the modes of production and the sources of metal supply for Migration period bow brooches, concentrating on a single form, the Anglian cruciform brooch. The thesis is in two volumes; text and bibliography (volume 1), catalogues, tables, illustrations (volume 2). The text is in six chapters. Attitudes to artefact studies are briefly discussed in Chapter 1 and the techniques employed in this study are outlined. Chapter 2 places the cruciform brooch forms into a simple hierarchical typology by formal similarity. A relative chronology is gained by contextual evidence, with absolute dates given by associations with other artefact types. Similarities between early English and continental forms are shown to be adequate to suggest importation, during the first half of the fifth century. Frisian and north German brooches have a special place in this system. Parallel stylistic development persisted during the second half of the fifth century but sixth-century English brooches are well distinguished from their continental contemporaries. Simple brooch types are thought to have had a long period of production and use. By examining methods of casting and assembling cruciform brooches, Chapter 3 establishes the types and ranges of technical variation observable. Some of these technical attributes provide links between England, Frisia, northern Germany and Denmark. English brooch manufacture is diverse throughout the period under study. Norwegian metalworkers developped a very different style and the technical evidence suggests a movement towards standardisation and mass production. In Chapter 4 we discover the types of alloy used and discuss the likely sources. Initially the alloys used were leaded brasses or bronzes. By the sixth century, copper alloys were commonly very impure. It is suggested that recycling provided a major part of the raw materials for cast copper alloys. Imports of copper alloys from France or the Celtic regions of Britain are relegated to a position of minor importance. The chemical compositions of Norwegian, Frisian, north German and Dutch cruciform brooches demonstrates access to high-tin, high-purity bronzes prevailed throughout the period. Brasses and mixed alloys were also available, probably originating from scrap. With the exception of Frisia, which appears to be more similar to Kent, alloy supplies were similar throughout the Scandinavian and continental cruciform brooch production. Chapter 5 provides a synthesis for these findings. Plans are given for a project extension into other regions (Chapter 6).

В роботі розглянуто сучасні тенденції в аксесуарах, що застосовують в своїх колекціях сучасні дизайнери на світових подіумах. Визначено особливості дизайн-проектування сучасних аксесуарів hаnd mаde.
In the article the modern tendencies of accessories in the collection of designers on world podiums are considered. The features of design-design of modern accessories hаnd made are determined.

This thesis seeks to establish how to set up chronologically reliable classifications of fifth- and sixth-century metalwork, using square-headed brooches as the principal example. The problem arises from the absence in this period of the usual, more reliable, dating tools such as documents, coins and pottery. As a primary dating tool metalwork is therefore unsupported, and it is crucial that classification is carried out with great rigour and objectivity. The first half of this thesis (chapters 2 to 7) discusses various requirements which need to be met if classification is to be rigorous and objective. The overall conclusions are that: - existing classifications, not just of square-headed brooches but of all fifth- and sixth-century metalwork, may be unreliable; - reliance on existing chronologies, not just of square-headed brooches but of all fifth- and sixth-century metalwork, should be suspended for the time being; - the entire system should be re-assessed from first principles. The first stages of such a re-assessment are attempted in the second half of the thesis. Chapter 8 attributes much of the faulty existing methodology to a misunderstanding of the method devised and practised by Montelius in the late nineteenth century, compounded by a false analogy with biological evolution; and in chapter 9 a revised version of Montelius' actual method is proposed as a sound basis for re-assessing early Anglo-Saxon metalwork classifications. Chapters 10 to 12 then exemplify various attempts to classify a corpus of 95 complete great square-headed brooches by rigorous, objective methods. In chapter 13, however, it is shown that further progress is likely to be limited, for the time being, to applying the suggested methods to other artefact-types, thus producing groups of various artefacts all free-floating and awaiting evidence that will tie them down chronologically. Finally, in chapter 14 it is recommended that classifications of early Anglo-Saxon metalwork currently in use should be re-examined and if necessary revised; that (except for tentative dates for the beginning and end of Salin's Style I) the attaching of even suggested dates to artefacts of this period and their find contexts should be suspended; and that archaeologists should make an urgent search for objective methods of demonstrating contemporeanity of objects in addition to decorative similarity, especially toolmark links.

В роботі досліджено сучасні тенденції моди щодо прикрас (на прикладі брошок) та конструктивні особливості виготовлення прикрас ручної роботи. Наводяться дані про історію виникнення та розвиток сучасних форм брошок. Виконано аналіз існуючих різновидів прикрас за різними класифікаціями. У роботі визначено основні характеристики споживача та проаналізовано модні тенденції цього сезону. Виконано розробку дизайн-проєкту колекції брошок. Надано основні принципи виготовлення, охарактеризовано матеріали та обладнання. На основі отриманої інформації виготовлено колекцію прикрас.
В работе исследованы современные тенденции моды по украшению (на примере брошек) и конструктивные особенности изготовления украшений ручной работы. Приводятся данные об истории возникновения и развитии современных форм брошей. Анализируется информация о существующих разновидностях украшений по разным классификациям. В работе определены основные характеристики потребителя и проанализированы модные тенденции этого сезона. Выполнена разработка дизайн-проекта коллекции брошей. Даны основные принципы изготовления, охарактеризованы материалы и оборудование. На основе полученной информации изготовлена коллекция украшений.
The paper examines modern fashion trends in jewelry (for example, brooches) and design features of making handmade jewelry. Data on the history of the origin and development of modern forms of brooches are given. Information on the existing types of jewelry according to different classifications is analyzed. The paper identifies the main characteristics of the consumer and analyzes the fashion trends of this season. The design project of the brooch collection has been developed. The basic principles of manufacturing are given, materials and equipment are characterized. A collection of jewelry was made on the basis of the received information.

The focus of this study is to detect any similarities – or lack thereof – between the alloys of different types of oval brooches from the later Iron Age in Scandinavia. The study is furthermore concerned with how the alloys and the typologies can be mutually complimentary to one another in regards to dating or determining the age of specific oval brooches. For this purpose X-ray fluorescence (pXRF) was used on five different items deriving from Birka, Vendel and one of unknown context. The results indicate continuity with earlier studies regarding copper alloys with contents of zinc, and that this study’s brass brooches may have been produced in this alloy for its gold-like appearance. A higher level of lead can be found in the younger brooches, therefore indicating that tortoise brooches of a later date may contain more lead than their earlier counterparts. Furthermore, the study shows that brass may be mistaken for gold, and it raises questions about the use of metal originating from native copper sources. This study is a part of the Birka Black Earth Harbour project.
The Birka Black Earth Harbour project

This paper looks at how I as a jeweller can use my craft knowledge to raise awareness of environmental issues. In our society we are informed on a daily basis how elevated average temperatures, melting glaciers and forest fires affect and will affect our future, but also future generations’ living conditions on earth. Despite this, most of us just try to live our lives as usual. But all this information worries me, mostly for the future of my children, and I don’t know how to relate to it. I think about what inheritance I will leave behind. In this paper, I explore how I, in my role as a jewellry artist, can contribute to the discussion about the climate. To investigate this, I use theories of semiotics and visual communication as a frame for my work and I have chosen to dig where I stand and use work methods that I can find at home, but which I can also link to my profession as a jeweller. I have collected plastic  packaging that is the result of my family’s consumption. With this as a starting point, I have created plastic stones that leads my thoughts to future fossils and the Anthropocene era. My main tool has been the iron, with which I have achieved heat and a certain pressure to mimic the conditions under which minerals in nature are created. The plastic stones were made into brooches and the work has finally resulted in pictures where my children wear the brooches I have made of our common waste. Both the brooches and the images are linked to the theoretical framework of the paper.

När vikingatiden kommer på tal, leds tankarna ofta osökt till Birka. För även om Birka låg på en ö i Mälaren, så var det allt annat än isolerat. Istället ingick Birka i ett komplext nätverk som täckte såväl nära bygder som fjärran stränder. Därav följer att nyckeln till vår förståelse av Mälardalens vikingatid ofta finns i Birka. Men även det motsatta gäller, och ibland behöver arkeologer titta åt andra håll för att uppnå en bättre förståelse av Birka. Detta ömsesidiga förhållande ska illustreras med hjälp av ett båtgravsfynd från Turinge i Södermanland.

Övriga forskningsfinansiärer:

Berit Wallenbergs stiftelse ("Transformationer inom vikingatidens djurornamentik"), Helge Ax:son Jonsons stiftelse ("3D-laserskanning som verktyg vid vikingatidsstudier")

En förlorad värld? - Turinge re-visited
3D-laserskanning som verktyg vid vikingatidsstudier
Transformationer inom vikingatidens djurornamentik

In the town of Grobiņa in Latvia several cemeteries with grave goods and burial traditions that could be linked to Gotland have been excavated, as well as cemeteries of local type. The town itself has been interpreted as the site of a Vendel age settlement, possibly beginning around 650 AD. The aim of this thesis is to study the characteristics of the settlement and in particular its relation to Gotland. A study of the age of circular disc brooches discovered in and around Grobiņa has also been carried out as a part of the analysis. This type of brooches is very typical for Gotland during Vendel and Viking age.
I Grobiņa i västra Lettland har ett flertal vendeltida gravfält med gravgåvor och begravningstraditioner som kan kopplas till Gotland påträffats. Även gravfält av lokal typ har påträffats. Grobiņa har tolkats som platsen för en vendeltida bosättning, möjligen grundad cirka 650 e. Kr. Syftet med uppsatsen är att studera bosättningens karaktär, och i synnerhet dess förhållande till Gotland. En studie av de dosformade spännen som påträffats i och omkring Grobiņa har också genomförts som en del av analysen. Denna typ av spännen är typisk för Gotland under vendel- och vikingatid.

Les fibules de l’oppidum de Bibracte sont l’objet de ce travail. D’ordinaire, les fibules sont classifiées et analysées par types, mais cela pose des problèmes méthodologiques. Pour les éviter, je développe une nouvelle méthode pour construire une chronologie en général et pour dater les fibules de Bibracte en particulier. Je me fonde sur l’approche théorique de John Collis (2009) et j’adopte ainsi le concept d’horizon chronologique, qui n’a donc pas de fin et se concentre sur des caractéristiques spécifiques à la place des types. La chronologie de fibules pour le site de Bibracte se fonde sur 122 fibules stratifiées de cinq fouilles du site, datées par les autres catégories de trouvailles comme la céramique. Cette chronologie se divise en huit horizons de fibules définis par une première occurrence de 130 caractéristiques de fibules et huit combinaisons des caractéristiques. Sur cette base il est possible de dater une fibule de manière transparente et vérifiable objectivement. La datation d’une fibule peut être estimée automatiquement sur la base de données numériques ci-jointe. Cette méthode est transférable à d’autres sites et catégories de trouvailles. La chronologie des fibules de Bibracte développée dans ce mémoire de thèse permet d’observer le développement de l’occupation de Bibracte, la durée de l’utilisation de la nécropole associée et le développement de la fabrication des fibules
This work is about the brooches from the oppidum Bibracte. Commonly brooches are classified and chronologically interpreted as types. However, inherent methodological issues are evident, in particular for today’s chronological system of the late iron age. To overcome these issues, I consider a theoretical approach by John Collis (2009), and develop a new method to construct chronologies in general and to date the brooches of Bibracte in particular. Thereby I primarily use the concept of a chronological horizon, that has only a beginning but never ends, and rather focus on brooch attributes than on types. Based on the aforementioned, I construct an alternative brooch chronology using 122 stratified brooches from five excavations in Bibracte, whose stratigraphies are dated absolute in time by ceramic finds. The herein constructed chronology consists of eight brooch horizons, that are defined by the first appearance of 130 individual brooch attributes and of eight attribute combinations. The brooch chronology obtained in this manner allows to date any brooch or fragment of a brooch replicable and inter-subjectively verifiable for future work; the brooches can be dated automatically by means of the enclosed database. Moreover, the method presented is transferable to other archaeological sites and materials. On the basis of the alternative brooch chronology of Bibracte, various results about the settlement activity of the oppidum, the utilization period of the associated cemetery and the development of the brooch production in Bibracte are obtained
Gegenstand dieser Arbeit sind die Fibeln aus dem Oppidum Bibracte. Für gewöhnlich werden Fibeln nach Typen klassifiziert und chronologisch ausgewertet. Dies birgt jedoch methodische Probleme, die u. a. im derzeitigen Chronologiesystem der späten Eisenzeit begründet sind. Um diese Probleme zu vermeiden, entwickle ich auf der Basis eines theoretischen Ansatzes von John Collis (2009) eine neue Methode zur Konstruktion von Chronologien im Allgemeinen und zur Datierung der Fibeln von Bibracte im Besonderen. Grundlegend sind hierfür das Konzept eines chronologischen Horizontes, der nur einen Beginn hat, jedoch kein Ende, sowie die Konzentration auf Merkmale anstatt auf Typen. In diesem Sinne konstruiere ich anhand von 122 stratifizierten Fibeln aus fünf Grabungen in Bibracte, deren Stratigrafien mithilfe der Keramik absolut datiert sind, eine alternative Fibelchronologie. Diese besteht aus acht Fibelhorizonten, die durch das jeweils erste Auftreten von 130 einzelnen Fibelmerkmalen und von acht Merkmalskombinationen definiert werden. Die auf diese Weise konstruierte Fibelchronologie ermöglicht es zukünftig, Fibeln und Fibelfragmente transparent und intersubjektiv überprüfbar zu datieren sowie die Datierung mithilfe der beiliegenden Datenbank automatisch zu berechnen. Diese Methode ist auch auf andere Fundorte und Fundkategorien übertragbar. Auf der Basis der alternativen Fibelchronologie von Bibracte werden darüber hinaus u. a. Ergebnisse zur Besiedlungsgeschichte des Oppidum erzielt, zur Belegungszeit des zugehörigen Gräberfeldes und zur Entwicklung der Fibelherstellung in Bibracte

Animal art is one of the more mystical aspects of Scandinavian Iron Age culture. It has foremost been regarded in the light of art and style history. Interpretation has also – mainly from the 1990s and onwards – been made through iconographic analysis. But the problem here is that iconography requires textual analogy, something that the Scandinavian Iron Age lacks. The purpose of this paper is to lift some of the ”mystical fog” that engulfs the scandinavian animal art, by developing a method for interpretation of pre-historic images that evades the flaws in the iconographic method. This by doing an interpretation of the gripping beast motif on Gotlandic Viking Age animal-head brooches. The study is divided into three parts. Part one focuses on reception within research history and how the use of language and methodological approaches shapes the perception of animal art within it's own time, it also discusses animal art in the light of style, motif and communication. Part two aims to outline a method for pre-historic image interpretation, a structuralistic iconology with addition of contextualization and anthropological theories of agency. The chapter also discusses the cosmological order through means of ”structuralistic iconology”. Finally part three contextualizes the gripping beast to the object – the animal head-brooch – through notions of use, combination and age. Concluding that the gripping beast should be understood as a hybrid creature closely linked to ancestry, odal and the fatalistic worldview of Iron Age Scandinavia.

Three-dimensional (3D) laser scanners are becoming increasingly more affordable and user-friendly, making 3D-modeling tools more widely available to researchers in various countries and disciplines. In archaeology, 3D-modeling has the particular advantages of facilitating the documentation and analysis of objects that are fragile, rare, and often difficult to access. We have previously shown that 3D-modeling is a highly useful tool for shape analysis of archaeological bone material, due to the high measurement accuracy inherent in the latest generation of 3D laser scanners (Sholts et al. 2010; 2011). In this work, we explore the utility of 3D-modeling as a tool for Viking Age artefact analysis. To test the usefulness of 3D-modeling when analyzing artefacts with a very complex morphology, we chose highly ornate Viking Age baroque shaped brooches as study objects. These baroque shaped brooches constitute a group of dress ornaments mainly encountered in eastern Viking Age Scandinavia. Due to their large cast and/or attached bosses they obtain an almost baroque appearance, hence their name (cf. Jansson 1984: p. 81). They appear in two major versions, i.e. circular or equal armed, and in two kinds of material, i.e. silver- and copper-based alloys. Because of the position of bronze brooches in burial contexts, it appears they were used to fasten the cape or shawl in the female dress (cf. Jansson 1984: p. 75ff., Aagård 1984: p. 96ff.; Neiß 2006, figs. 3, 4; Capelle 1962: p. 106). For the present work a recently excavated brooch from Denmark was analyzed, together with three Russian brooches with nearly iconic status in the field of Viking Age studies. In the three case studies, we investigated possible uses of 3D-modeling for artefact analysis, artefact reconstruction, and tool mark and motif analysis. Exploring the usefulness of 3D-modeling for these purposes allowed us to draw conclusions regarding how 3D-analysis can be best incorporated into future artefact analysis. In addition, the case studies allowed us to gain new insights about the baroque shaped brooches and their uses.

Forskningsfinansiärer: Helge Ax:son Johnsons stiftelse, Svenska institutet (Visby-programmet), Kungliga vitterhets historie och antikvitets akademin (Montelius minnesfond); Svenska fornminnesforeningen

3D-laserskanning som verktyg vid vikingatidsstudier

In a place that has been abandoned I have collected the human-made traces. Preserving the perishability of places and people. Saving the small memory. To hold close and pass on to the next. Placing them in a jewelry context where we may care for them more tenderly. To approach the people through adornment and wearing. I don't want to physically mark anyone, but I still want to come close. A piercing of the clothes: brooches. You who left it. I who collected. Next one to wear. Where all of us become involved and equally important. With the traces taken from the place, I add my own imprint in the craftsmanship of the jewelry. Each brooch fragile and where the next one, the wearer, will become part of our traces and history. Each brooch with a part of us and in transformation. Traces can be left, and memories preserved. They can be passed on through the visible, the tangible, the sound and the anecdotes. They can be experienced or relived when we feel, listen and see. Therefore, I needed to pass on the traces in several ways. Through the brooches and through film. For more people to take part of. Where the next one can see, hear and feel a place; its traces, stories and the imagination created in the experience.

This thesis uses the cruciform brooch, a well-represented and highly decorative dress-fastener, as an entry point for looking at the construction of identities relating to ethnicity, gender, age, and power in the early Anglo-Saxon period. The examination of this artefact is holistic and multi-dimensional, and the major topics of consideration are: (a) typology and stylistic variability, (b) chronology, (c) distribution, (d) mortuary context, (e) use, repair and costume, and finally (f) iconography and symbolism. These threads come together to provide an understanding of why and how the cruciform brooch evolved as it did, how it was used in life and death (and by whom), and the complex social identity the artefact was used to construct and display.

Penannular brooches are a simple form of dress fastener used in Britain from the late Iron Age, through to the Roman and Early Medieval periods. This thesis represents the first full study of their British development for fifty years. The catalogue of penannulars originally compiled by Elizabeth Fowler in the late 1950s has been more than doubled, allowing a thorough re-analysis of chronological variation and continuity in stylistic development, distribution, use and deposition. This has been carried out via broad analysis of the penannular database and two regional case studies looking at South-West England and Yorkshire and North Lincolnshire, the two areas where penannulars were concentrated throughout their chronology. Many previous studies have focused only on the later penannular types, leading to an unbalanced approach dominated by the preoccupations of early medieval archaeology. This has created the perception that penannulars had a simple evolutionary development that contributed to the straightforward survival of a ‘Celtic’ culture in some regions during the Roman period and beyond. To counterbalance this, analysis here has particularly focused on the earlier end of the penannular chronology. As a result an alternative picture is presented, of a highly complex development influenced by Continental parallels, which stands in deep contrast to the simplistic sequences proposed in most previous studies. The ever increasing corpus of theoretical work on bodily adornment has also been drawn on, enabling a more nuanced approach that moves us away from the idea that appearance is just an external manifestation of a single, static form of identity and instead recognises that it plays a vital role in an active and continual process of forming and maintaining multiple, complex, overlapping and sometimes opposing identities.

The Vendel period, Early Medieval or Merovingian period as it’s called in the rest of Europe, is a time full of wonderful artefacts. Many are those that have heard of the fantastic boat-graves in Vendel and Valsgärde in Sweden and the very similar Sutton Hoo in Great Britain, but what about Gotland? Most of the papers discussing this period focus only on the area around lake Mälaren but I want to contribute by placing Gotland and its artefacts in the center. This paper will focus on disc-on-bow brooches, the special kind of gilded buckles, inlaid with garnets or niello, that are found mostly in women graves from the Vendel period on Gotland and how they can be dated from the differences in shape and the ornamentation. The aim of this text is to by analysing the grave finds in several women graves on Gotland get an idea about the woman who wore the brooch and her social status. The discussion has a gender theme and will discuss the sometimes flawed theory that graves that contain jewellery always belongs to women and graves with weapons always belongs to men. This study shows that the button-on-bow brooches does not indicate any clear differences between women with brooches and those who does not have them, but other artefacts in the graves might.

Now and then other people’s comments and/or behaviour reminds me that I look different and that my external features are connected to something beyond my Swedish identity. My black hair, dark brown eyes and my brownish skin color talk about something else. My appearance is connected to an identity, cultural identity and a country I have little knowledge of and a language I do not master. But still the way I look is a part of my heritage, a part of who I am and a part of me which I am proud of. It makes me wonder what actually makes up an identity and the power we all possess in deciding what or who another person is based on appearance. What do we become in the eyes of the beholder? Personal experiences from being Swedish, and adopted from another country, becomes the starting point for my investigation where the color of the skin leads to questions about norms, categorisations and the power of labelling another person. Living in the western world, my skin color automatically place me outside the norm. In a way that amazes me, that a single color can determine so much. As a jeweller maker in this degree project I make brooches. I use them as a method and as tools to both investigate the relationship between personal and social identity and to shed light on how structures in society and other peoples gazes push us into categories consciously and unconsciously. I use my objects as conversations pieces to reflect on history, present and future, from my perspective. There is always a beginning, but it is  in the middle of the process it all comes alive. This is where I explore material, techniques and methods and where the brooches are born. They all have a history and part of it is public. At first sight you see the surface. But the brooches are like our bodies, they also have an inside/backside which creates an intimate relationship with the wearer. The brooches are more than ornamented pins, I want them to raise awareness of diversity, different perspectives, care and their ability to communicate as they move through various places attached in different ways to the body. My degree project, Who I am and who you see, touches upon questions and emotions about belonging, inclusion and exclusion and the state of being in-between. What makes up an identity? What different parts make up a whole? Which layers are added and which are peeled off? All these questions triggers my curiosity and search for more knowledge about the human being and being human.

Sámi culture and resources have long been exploited by the Swedish state, church and government. The material culture that was collected during the late 19th and early 20th century, has many times lost their original meaning and context later on in museum collections. This is problematic and needs to change in order to prevent further damage to the Sámi material and immaterial culture. This study aims to analyse the Sámi silver brooches with Marian-symbols, that were found together with other types of silver artefacts at Passekårsa, Gällivare parish. By doing this type of analysis it allows for further and mor difficult discussions to be adressed and it also allows for the silver find in question to be further contextualized. We non-Sámi archaeologists, scientists and staff at museums need to talk about how we are interpreting, examining and portraying Sámi cultural heritage whether it concerns human remains, places of sacrifice or small silver brooches.

Il presente lavoro individua quale ambito della ricerca lo studio archeologico e al tempo stesso storico artistico delle fibule a disco portate alla luce in età longobarda (fine VI-VIII secolo) nei territori della Penisola italiana. La volontà di tale approfondimento è nata dall'esigenza di colmare un vuoto degli studi relativo a questo specifico documento di cultura materiale che, ad oggi, era stato indagato sommariamente e con il solo fine di evidenziare la ricezione di un costume della romanitas da parte di una popolazione cosiddetta "barbarica". La terminologia con la quale si è voluto indicare tale fenomeno ha preso però le distanze dall'espressione tanto superficiale quanto generica di "acculturazione", preferendo un'indagine che individuasse in tale manifestazione un processo di "assimilazione". Il primo momento di questo studio è da individuare nella redazione del Catalogo delle fibule a disco di età longobarda (secoli VI-VIII) portate alla luce sul territorio italiano. Il testo, che supporta e completa la narrazione principale, è costituito dalla schedatura di tutte le fibule a disco che rispondono ai parametri sopraindicati; tali manufatti sono stati accostati per la prima volta e, inoltre, si è cercato di fornire la loro immagine complessiva (placca anteriore e placca posteriore), nella quasi totalità dei casi inedita. L'esame approfondito del catalogo ha consentito di individuare due tipologie di manufatti, sulle cui funzioni distinte si è fondata l'intera scrittura: la prima è costituita dai monili ascrivibili alla categoria delle fibule a disco di carattere elitario (sei in tutto) che in antico, con ogni probabilità, appartenevano a individui maschili e avevano la funzione di simboli di potere; la seconda tipologia si compone invece di manufatti portati alla luce in sepolture femminili o emersi in rinvenimenti sporadici. Questi ultimi, benché spesso realizzati in materiali di pregio, erano oggetti comuni utilizzati quali accessori di chiusura del mantello femminile secondo una consuetudine mediterranea. L'analisi della seppur limitata diffusione di tali monili di pregio in ambito longobardo ha richiesto tuttavia che ci si confrontasse in principio con la creazione del prototipo di tale manufatto durante il Basso Impero e nella prima età bizantina attraverso lo studio analitico degli esemplari giunti sino a noi; che si indagasse la duplice funzione – simbolica ed estetica – che sembrerebbe aver connotato, da subito, tali preziosi manufatti, prestando una particolare attenzione al portato simbolico e cosmologico evidenziato da alcuni documenti riconducibili alla produzione artistica della Siria romana (stele funerarie, tesserae); e, infine, che si avessero chiari alcuni fenomeni di interazione culturale tra il mondo germanico e quello proto-bizantino. Quanto emerso dalla prima parte dell'indagine ha costituito la base su cui fondare la seconda parte della ricerca, certamente la più rilevante e originale perché completamente focalizzata sullo studio dei manufatti di ambito longobardo. La duplice tipologia di fibule a disco ha inevitabilmente richiesto di modellare la ricerca su due linee: l'attenzione si è quindi rivolta anzitutto sui manufatti di carattere elitario per poi spostarsi sugli oggetti più comuni. Nel primo caso si è messo in luce come la quasi totalità delle fibule elitarie vanti una provenienza dalla Langobardia Minor e, di conseguenza, da un milieu culturale fortemente influenzato dall'Italia bizantina tanto da aver sempre ricercato una sorta di autonomia rispetto alla parte settentrionale del Regnum. L'analisi del Ducato di Benevento ha quindi permesso non solo di evidenziare alcune "consonanze bizantine" bensì anche di leggere l'attestazione di tali manufatti come attributi di potere in un'ottica autonomista rispetto alla Langobardia Maior nonché quali indizi di dialogo nei confronti dell'Italia bizantina e del suo sovrano. L'analisi storico artistica ha inoltre consentito di giungere a nuove conclusioni sia rispetto alle coordinate spaziali della produzione (es. fibula da Capua) sia per quanto riguarda le datazioni (es. fibula cosiddetta Castellani). A proposito dei manufatti più comuni, oltre ad aver ridimensionato quello che anche nei più recenti dibattiti era stato definito il "fenomeno delle fibule a disco", merito di questo lavoro è stata l'identificazione dei preziosi monili che possono essere riconducibili alla cultura artistica longobarda e di quelli che, invece, attestano un momento di passaggio e sono quindi ascrivibili alla sensibilità estetica e al linguaggio espressivo merovingio.
This study aims to investigate disc brooches brought to light in Italy (VIth-VIIIth) from an archaeological and historical artistic point of view. The will of this research must be identified in the need to fill a gap in the studies related to this specific document of material culture. To date disc brooches were investigated summarily and with the sole purpose of highlighting the reception of a costume related to the romanitas by a so-called "barbaric" population. The first step of this study has been the drafting of the Catalogo delle fibule a disco di età longobarda (secoli VI-VIII) portate alla luce sul territorio italiano. This document supports and completes the thesis work: it consists of the recording of all the disk brooches which meet the above parameters. Such artifacts have been combined for the first time and, moreover, I tried to provide their overall image (front and back plate) that was in almost all the cases unpublished. The deep analysis of the above mentioned Catalogo has allowed to identify two kind of artifacts, on whose distinct functions was founded the whole writing. The first type consists of the jewels attributable to the category of élite disc brooches (six in total): these, in the early medieval period, belonged to male individuals and were symbols of power. On the contrary, the second type of disc brooches belonged to female individuals: although made of valuable materials, they served as accessories to close the cloak according to a Mediterranean tradition. The analysis of the limited diffusion of such precious jewels in the Lombard context required that we confronted in principle with the creation of the prototype of this kind of artefact during the Late Roman Empire and in the Early Byzantine age. Then we have investigated the double function - symbolic and aesthetic - which would seem to have immediately characterized these precious artifacts, paying particular attention to the symbolic and cosmological significance highlighted by some documents referable to the artistic production of Roman Syria (funerary reliefs, tesserae). What emerged from the first part of this research constituted the basis on which to base the second part of the research, certainly the most relevant and original because it is completely focused on the exam of the Lombard objects. The dual type of disc brooches has inevitably required to model the research on two lines: the focus was therefore on the élite artifacts first and then move on the most common objects. In the first case it was highlighted that almost all the élite disc brooches have a provenance from the Langobardia Minor and, consequently, from a cultural milieu strongly influenced by Byzantine Italy. The duchy of Benevento indeed tried always to achieve a kind of autonomy from the northern part of the Regnum. The historical artistic analysis has also allowed to reach new conclusions both with respect to the spatial coordinates of the production (e.g. brooch from Capua) and with regard to the dating of most of them (e.g. the so-called Castellani brooch). About the most common artifacts, in addition to having resized what even in the most recent debates had been defined the "phenomenon of disc brooches", the merit of this work was the identification of the precious jewels that can be traced back to the Lombard artistic culture and of those that, instead, attest a moment of transition and are therefore ascribable to the Merovingian aesthetic sensibility and expressive language.

This dissertation evaluates Germanic fibulae of the Early Roman Period found in the area of Bohemia. The catalogue mainly consists of ca. 740 already published brooches. For the purpose of this dissertation, many of them have been newly documented as well as some so far unpublished finds which are introduced in the appendix of the dissertation. The dissertation sums up our present knowledge of particular types and variations of fibulae and makes their chronology more accurate - based on various combinations of brooches occurring in graves. Alternatively it deals with their connection to certain sex, age and social status. The most common type of brooches is by far the group of the eye-brooches (ca. 300pcs). Regarding the dating, the author managed to cast doubt upon information about some of the brooches found in the literature. The analysis has proven a long survival of some types of fibulae. Key words: brooches - fibulae - Early Roman Period - Germans - Chronology

Od okresu przedrzymskiego po okres wczesnego średniowiecza fibule – ozdoby służące spinaniu szat – stanowiły integralną część stroju. Na przestrzeni dziejów zmieniały się technika ich wykonania, konstrukcja i ornamentyka. Dla archeologów zabytki te stanowią jeden z najbardziej precyzyjnych wskaźników datujących. W tym samym okresie na terytoriach różnych kultur występowały odmienne formy zapinek, stąd też w pracy postawiono hipotezę, że ozdoby te stanowią wyznacznik nie tylko chronologiczny, lecz także kulturowy i etniczny. Celem pracy jest analiza fibul datowanych na wczesny okres wpływów rzymskich (I-II w. n.e.) znalezionych na obszarze kultury Dollkeim-Kovrovo, a więc na terenie dzisiejszego Obwodu Kaliningradzkiego Federacji Rosyjskiej i w północno-wschodniej Polsce. From the Pre-Roman Period up to the Early Middle Ages brooches – ornaments fastening clothes – were an integral part of a dress. During those times their workmanship, construction or ornamentation were changing. For archaeologists those finds are one of the most precise chronological factors. In the same period at territories of different cultures different fibulas were worn. That is the reason why the following hypothesis was accepted – brooches could have been not only the chronological factor, but also cultural and ethnic factors. The aim of the thesis is the analysis of brooches dated to the Early Roman Period (1st-2nd cc. AD) found at the area of the Dollkeim/Kovrovo Culture, so at the present Kaliningrad Oblast of the Russian Federation and in the north-eastern Poland.

1 Abstract (in English): This dissertation compares depictions of Roman jewellery and brooches on monuments with archaeological finds. These monuments are mainly of funerary character and they come primarily from Noricum, Pannonia, Germania, in lesser amount also from Gallia and some other areas. Jewellery is also related to local variants of provincial clothing. A typology of Roman jewellery is given and subsequently I try to find analogies to these jewellery types among the depictions. The typology mentioned here doesn't represent a complete list of jewellery types and variants. It focuses on the most common variants and variants which are relevant to the depictions of jewellery. By comparison of the archaeological finds to the depictions it is possible to obtain more accurate image of the appearance of clothing in different provincial areas and also of some specific traditions related to jewellery. The majority of depicted jewellery was identified with archeaological finds of jewellery, yet some cases stay unclear.

碩士
東方設計大學
文化創意設計研究所
107
Jewelry accessories are known to be exceptionally expensive and noble, hence the appearance of hand-made accessories has redefined the classic accessories. Traditional jewelry craftsmanship mostly involves complicated steps with high production threshold; however, the products mentioned herein can be completed with only metal wires and semi-precious stones, which are easy to acquire and less expensive; as a result, a beautiful brooch jewelry can be created with cheaper materials, and therefore be widely accepted by most people. Standardized jewelries give people a rather cold mechanical look, but the warmth of a hand-made accessory will be very different from the mechanical production, so women nowadays who enjoy customized and unique accessories will prefer the hand-made jewelry while the overall price is not as high and can still maintain the quality design. As a matter of fact, one can participate in the project from the very beginning to the completion, the finished products are unique and non-replicable. Therefore, different people can express their own artistic tastes. In fact, the creation work of the hand-made art brooch has not yet wildly acknowledged by the public. In the past, jewelries are not as familiar to our daily life, but now through the production of metal wire and semi-precious stones, we can enjoy eye catching accessories with wide varieties from different weaving and twisting techniques. The main content of this paper includes the basic weaving and gem setting techniques while analyzing the application of art theory into the modern hand-made jewelry craftsmanship and allowing the brooch jewelry to lighten up our life. After all, Everyone can be their own brooch jewelry designer.

The concept or phenomenon od performativity occurs in different forms or terms in many humanity studies, especially in the second half of the 20th century. It interferes with linguistics, philosophy of thought, narratology, gender and cultural studies and even with epistemology and ethics. The notion of performativity appeared in philosophy and linguistics for the first time along with J. L. Austin's speech and perfomative acts. The first one describes the situation, the second one generates the situation. J. Derrida pointed out that the realization of speech acts and communication are not so obvious and depend on performance that maintains their status and identity. J. Derrida furthermore shows that performance does not only appear in the literary field; the law is for example performative in the sense that it sets itself up by a speech act. M. Foucault was interested of the role of performativity within a socially organized body and subjectivity. The performance of language and discourse is also essential in J. Butler's work which follows M. Foucault or J. Derrida and describes mechanisms for establishing gender subjectivity and physicality. She claims that the body is created simultaneously by the linguistic naming which it decribes. Butler writes up the process of gender differentiaton as...