Publication: Cerámica y sociedad: la producción alfarera neolítica en el sur de la Península Ibérica
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2015-01-14
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Universidad Complutense de Madrid
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Abstract
"INTRODUCCIÓN" Toda producción material es, más allá de una entidad física, un conjunto de normas y valores que se encuadran dentro de un contexto social específico. Como creaciones humanas, también son la expresión de la identidad del agente que las manipuló y de aquel a quien están destinadas. Dentro de esta visión, entendemos la alfarería como el resultado material de prácticas socialmente construidas en el seno de un grupo doméstico. "OBJETIVOS" En esta tesis se plantea delinear un conjunto integrado de variables que permitan definir dentro de qué márgenes se tendría que trabajar para definir la identidad alfarera. Se revisan así los esquemas vigentes para el estudio de la alfarería y los ejemplos de elaboración de cerámica etnográfica y tradicional publicados. Asimismo, se incluye el estudio de nuevos colectivos que complementan los datos previos. Ello permite elaborar un modelo para la definición de la identidad alfarera en cuanto a los requisitos de las personas participantes. Complementariamente, se utilizan los conceptos y el modelo propuestos para explicar el caso de la producción cerámica en el Neolítico medio-final en Andalucía. "RESULTADOS" La Arqueología de género y su vertiente focalizada en las actividades de mantenimiento y en los espacios domésticos permite, en conjunción con los requisitos antes mencionados, ampliar el modelo vigente en la actualidad de la definición de los productores cerámicos, incluyendo en la nueva propuesta a todos los agentes que podrían participar en esta actividad por sus características físicas, mentales, cognitivas y sociales. Para ello, tendremos en cuenta una serie de variables que incluyen la manifestación de los distintos niveles de destreza y conocimiento de técnicas y herramientas, la edad, las características físicas y mentales del alfarero, y las posibles restricciones y aceptaciones sociales que podrían manifestarse en forma de tabúes y restricciones o, alternativamente, de acceso a ciertos materiales." CONCLUSIONES" Consideramos en nuestra exposición que la alfarería a mano es un arte colectivo, aunque evidentemente algunas personas están más involucradas en su manufactura que otras, ya sea por sus características individuales o por su habilidad. Identificar la presencia de los distintos individuos dentro de esta forma de trabajo desde el aprendizaje hasta la ejecución de las piezas fue el eje en torno al cual se desarrolló la discusión. La aplicación de estas definiciones al estudio de las cerámicas elaboradas por los alfareros del Neolítico medio-final andaluz tuvo en cuenta las características morfológicas, tecnológicas y de diseño de las cerámicas organizadas según la cadena operativa utilizada. A la vez, se indagó en la identidad de los alfareros a través de las huellas –en términos literales y figurativos- que plasmaron en la cerámica, permitiendo ampliar nuestro conocimiento de estas sociedad alfareras tempranas
"INTRODUCTION" As well as a physical entity, any material production embodies a set of norms and values framed in a specific social context. Being human creations, they also manifest the identity of the agent who manipulated them and of the one they are intended to. In this view, we understand pottery-making as the material result of social practices buit up in the heart of a domestic group. "OBJETIVOS" This thesis aims at identifying a series of integrated variables in order to establish the range of possibilities defining the potter’s identity. Hence, available models for the study of pottery technology, together with examples of ethnographic and traditional pottery-making are considered. Supplementing this data, we study some social groups previously neglected in the bibliography. This information is later used to elaborate a model to define the potter’s identity regarding the ideal profile of the participating agents. Complementarily, the proposed concepts and models are used to explain the study case of the pottery production in the Middle-Late Neolithic in Andalusia. "RESULTS" Gender Archaeology and the perspective focused on maintenance activities and domestic spaces, as well as the definitions aforementioned, allow expanding the current model of the definition of other agents that, according to the suggested profile, may participate in potterymaking due to their physical, mental, cognitive and social characteristics. Hence, a series of variables are discussed, such as the manifestation of different skill levels, the effective use of tools and techniques, the age, physical constitution and mental capabilities of the potter, and the possible social restrictions and acceptance which may be materialised in terms of restricting taboos or access to certain materials." CONCLUSIONS" We consider in our discussion that hand-made pottery is a collective art, though some agents would evidently be more involved in the manufactue than others due to their peculiarities or skill. The identification of the presence of different individuals in this craft from the learning process to the modelling of the vessels was the axis guiding the discussion. The application of these definitions to the study of the ceramics produced by Middle-Late Neolithic potters in Andalusia considered general morphological, technological and design features of the pottery, organised to reproduce the possible chaîne operátoire followed. Furthermore, the question of the potter’s identity is discussed by using both the physical and inferred traces they left on their products in order to draw a closer picture of early pottery societies
"INTRODUCTION" As well as a physical entity, any material production embodies a set of norms and values framed in a specific social context. Being human creations, they also manifest the identity of the agent who manipulated them and of the one they are intended to. In this view, we understand pottery-making as the material result of social practices buit up in the heart of a domestic group. "OBJETIVOS" This thesis aims at identifying a series of integrated variables in order to establish the range of possibilities defining the potter’s identity. Hence, available models for the study of pottery technology, together with examples of ethnographic and traditional pottery-making are considered. Supplementing this data, we study some social groups previously neglected in the bibliography. This information is later used to elaborate a model to define the potter’s identity regarding the ideal profile of the participating agents. Complementarily, the proposed concepts and models are used to explain the study case of the pottery production in the Middle-Late Neolithic in Andalusia. "RESULTS" Gender Archaeology and the perspective focused on maintenance activities and domestic spaces, as well as the definitions aforementioned, allow expanding the current model of the definition of other agents that, according to the suggested profile, may participate in potterymaking due to their physical, mental, cognitive and social characteristics. Hence, a series of variables are discussed, such as the manifestation of different skill levels, the effective use of tools and techniques, the age, physical constitution and mental capabilities of the potter, and the possible social restrictions and acceptance which may be materialised in terms of restricting taboos or access to certain materials." CONCLUSIONS" We consider in our discussion that hand-made pottery is a collective art, though some agents would evidently be more involved in the manufactue than others due to their peculiarities or skill. The identification of the presence of different individuals in this craft from the learning process to the modelling of the vessels was the axis guiding the discussion. The application of these definitions to the study of the ceramics produced by Middle-Late Neolithic potters in Andalusia considered general morphological, technological and design features of the pottery, organised to reproduce the possible chaîne operátoire followed. Furthermore, the question of the potter’s identity is discussed by using both the physical and inferred traces they left on their products in order to draw a closer picture of early pottery societies
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, Departamento de Prehistoria, leída el 11-07-2014