Emerging questions from the discovery of the long term presence of Acipenser oxyrinchus in France

Ships and boats form the foundations of the maritime connectivity that is a central part of our understanding of the ancient Mediterranean. While the general chronological sequence of sail and sailing-rig development is well established, the implications are less-well discussed. This article sets out how sails and sailing rigs developed in antiquity, with emphasis on the Greco-Roman world. Subsequently, instances of innovation are defined. Why specific pieces of maritime technology were, or were not, widely adopted is considered. Long-term technological continuity can be comprehended, and a shared maritime culture of sailing in the ancient Mediterranean is suggested.

Relevance. The relevance of this study is determined by its examination of the dramatic poem «Orgy» through a historical-receptive lens. This approach allows for the identification of the mechanisms behind the author’s interpretation of the historical period and the tracing of the specifics of the reception of Antiquity within the text. Aim. The aim of the article is to conduct a comprehensive analysis of the dramatic poem «Orgy» by the Ukrainian writer and poet Lesia Ukrainka, utilizing the methodological framework of classical reception studies. It also seeks to identify the mechanisms and reveal the role of these historical borrowings in the context of the author’s vision of Antiquity as a whole, and specifically the Greco-Roman relations from the military conquest of Hellas to the era of the Second Sophistic (2nd century BC – 2nd century AD). Methodology. The research methodology is based on the principles of historicism and objectivity, characterized by an interdisciplinary approach. The theoretical and methodological framework relies on the principles of receptive aesthetics and the concepts of classical reception studies. The study also employs analytical, hermeneutic, and comparative-historical methods. Results. The study establishes that the specificity of the author’s interpretation of historical events, against which the main plot unfolds, lies in chronological hybridization – combining two temporal spaces to provide a deeper elucidation of Greco-Roman relations. It was found that the historical narrative in the work functions as a «safe distance» for constructing analogies between the past and the present. The history and specifics of the perception of Greek culture in the ancient world (from the 2nd century BC to the Second Sophistic period in the 2nd century AD) are examined. It is revealed that the reception of Greek culture by ancient Rome, as described in the text, is based on the principles of selectivity and pragmatism, utilized for cultural appropriation to achieve the political self-determination of the Roman elite and the legitimization of power by the Antonine dynasty emperors. The evolution of the concept of «orgy» in a historical context is analyzed: from a sacred ritual associated with the cult of Dionysus to its interpretation by the recipient – ancient Rome. It is established that throughout the plotline, there is a shift in semantic accents regarding the primary definition of the concept of «orgy», which indicates the conflict of Greek and Roman identities depicted in the work. Conclusions. The obtained results indicate that applying the methodology of classical reception allowed for a holistic disclosure of the mechanisms of assimilation and interpretation of ancient history in Lesia Ukrainka’s dramatic poem «Orgy». The study emphasizes that the author appeals to universal problems, actualizing the issue of Greco-Roman relations during Antiquity (2nd century BC – 2nd century AD) as a model of interaction between dominant and subjugated nations. The semantic transformation of the concept of «orgy» serves as a key marker demonstrating the specifics of the Roman reception of Greek culture. The proposed approach opens prospects for further studies of Antiquity in the context of classical reception within the writer’s creative heritage.

Zeytinli Island, which is connected to Balıkesir province Erdek county, is one of the important archaeological excavation sites in our country. The anthropological evaluations of human skeletons obtained from Zeytinli island excavations gave important information about age and gender especially when the skull was taken into account and especially the use of radiological examinations increased the reliability of this information. In particular, theuse of radiological examination sincreas esther reliability of this information. Our study was carried out between 2007 and 2011 by taking the skulls of a total of 22 individuals, 6 females and 16 males between the 2nd century BC and the 12th century AD, uncovered as a result of the excavations performed in Zeytinli Island. The image staken by multislice computed tomography were transformedin to three-dimensional form with workstation software, and their interorbital, biorbital and bizygomatic measurements were performed. The skull measurement values were presented as median (range) with a whisker graphic. The median female and male values were comparedusing the Mann-Whitney test. The Pearson correlation test was used to examine the correlations between the measurement values. The fact that the p-value was below 0.05 was considered significant. Upon evaluating the data, the difference between the male and female interorbital and bizygomatic distances was not found significant (p>0,05). When the biorbital distances were taken into account, the biorbital distances of male skulls were found to be significantly higher compared to those of female skulls (p<0,05) . No significant relationship was found when the analyses of the correlation between interorbital and biorbitaland bizygomatic distances were examined. In our study, the bizigotic distances in the skulls belonging to male individuals are longer than the skulls of female individuals. This shows that the lateral protrusions of the male's skull are more prominent. This is an important criterion for gender discrimination.

Paleoecology of the ancient city of Tanais (3RD century BC–5TH century AD) on the north-eastern coast of the sea of Azov (Russia)

Dance is a human cultural activity aimed at non-verbal emotional communication, mentioned for the first time in the circle of European culture by Homer in the Iliad (8th/7th century BC). In Indian culture — the most extensive one of four contemporary civilizations of antiquity (next to Egyptian, Mesopotamian, and Chinese), whose cradle is the Indus Valley Civilization — the first material evidence of the presence of dance is dated between 2300–1750 BC. It is a bronze statuette of a dancing girl, making us aware of the fact that this type of activity has accompanied people since the dawn of time, regardless of their origin and cultural affiliation. India and its oldest religion, Hinduism, have made this art highly prized because of its original, pure spiritual character.&#x0D; The first treatise entirely devoted to dance, entitled Natyashastra (Treatise on Performing Arts), was written according to tradition between the 2nd century BC and the 2nd century AD, although many premises indicate that its beginnings date back to the 5th century BC, and the final version — to around 5th century AD. Its author was Bharata Muni, an ancient sage, theatrologist and musicologist who allegedly received knowledge of arts from the god Brahma himself to create a symbolic representation of the world which, by showing good and evil, would persuade both the viewers and the performers to act ethically. From Natyashastra it appears that dance was created by the gods for their worship. In its most original form, dance grew out of the sacrificial ritual, hence the knowledge of it was secret, highly codified and communicated in strict confidentiality. The patron of the dance and its divine performer par excellence is the god Shiva in the aspect of Nataraja (Lord of the Dance), who in one image combines god as the creator, protector and destroyer of the universe, while simultaneously containing the Indian concept of an endless time cycle. Accurate recreation of the mythical dance initiated by Shiva guarantees that the faithful achieve salvation by overcoming sin, ignorance, and laziness represented by the demon Apasmara, on whom the god treads in a dancing trance.&#x0D; For the Indian Hindu culture dance has a highly important ritualistic and mystical meaning, hence it is also present along with music and singing, which is a melodic recitation of sacred verses, in all literature, from the Vedas (sacred books of Hinduism), through encyclopedic Puranas, to epics such as Mahabharata and Ramayana. Dance is indispensable to the theater as well as visual and audiovisual arts, brings relief to those in mourning and sorrow, leads to liberation from samsara (the wheel of incarnations), and is a reflection of divinity in its purest, most dynamic manifestation: movement. Thanks to dance being a rejection of oneself, entering a mystical trance, one can connect with the Absolute here on Earth and experience divinity.

Charcoal analysis was carried out in two archaeological sites on the north slope of the Somma-Vesuvius volcano, not far from Naples. Both sites were inhabited between the 2nd century AD and AD 472, when a great Vesuvius eruption (so called Pollena eruption) buried them. In both sites, Castanea sativa wood was largely used for architectural structures as well as firewood. Ten 14C dates, spanning between the 1st and the 5th century AD, testify to a continuative use of this wood throughout the life of the sites. The comparison between archaeobotanical and pollen data from other sites in southern Italy suggests that chestnut woods were close to the sites studied and had a restricted spreading, possibly in a refugium area on Vesuvius' foothills. The match between archaeological charcoals and pollen data suggests that the Romans did not spread chestnut cultivation in the entire Campania region and that chestnut probably became a common timber in Campania starting from the 5th–6th century AD.

In 1942, following readjustment works of the road connecting the Saveni and Avrameni communes, a barrow was destroyed, resulting the find of a bronze cauldron. A. Nițu deemed the vessel of Avrameni as part of the series of cauldrons coinciding with the civilisation and expansion of the Sarmatians by the Don and Lower and Mid Danube in the 1st – 4th century AD and dated it to this chronological span. Gh. Bichir argued that the Avrameni cauldron is somewhat later than that of Piatra Șoimului (Calu), which the scholar dated to the 1st century BC. The vessel’s shape resembles that of a “bell” cast together with its handles, while the biconical foot was made separately, the two parts being attached by a bronze cast-made plug. On the body, the vessel displays several repair traces. According to its features and specificities, the Avrameni cauldron belongs to type Demidenko II.1.B, being the single of the type in the area between the Don and the Carpathians. The remaining resembling specimens come from 2nd – 1st century BC complexes from territories left of the Lower Don and the Kuban region. The author believes that according to its shape, the curved vertical handles decorated each with a knob as well as its making manner and foot attachment, the Avrameni vessel is an artefact joining elements specific to the Sauromatian cauldrons used in the Volga and Lower Don area, but also in the Kuban region also in the 2nd – 1st century BC. Within the context of its analysis are also discussed the cauldrons of Bubueci and Velikoploskoe, both from “ritual hoards/deposits” part of a larger group of such features of the 3rd – 1st century BC from territories comprised between the Volga – the pre-mountain area from North Caucasus in the east and the Lower Danube - Prut to the west. The cauldron of Bubueci belongs to type Demidenko I.3.A. It has a body cast together with the handles, while the iconical foot, surviving fragmentarily, was cast separately. Similarly to the Avrameni vessel, that of Bubueci is the most western find of a cauldron of the type. The body shape, curved vertical handles decorated each with three knobs, the lip shape and its making manner, how the handles start from the cauldron rim as well as how they were made, indicate that the vessel combines elements specific to the Sauromatian and early Sarmatian cauldrons. In the case of the Avrameni and Bubueci cauldrons, as well as those similar, the author concludes they are either a continuation of ancient casting traditions or were produced sometime earlier, yet continued to be used for a good period of time after their production cease. The exhibited repair traces and presence far from their territories of origin, where they were made and used, as well as their find together with 2nd – 1st century BC artefacts confirm, according to the author, their use for a longer time span. In the case of the Avrameni vessel, its deposition might have occurred sometime during the 2nd century BC as well as between the end of the 2nd – first decades of the 1st century BC. With respect to the dating of the “ritual hoard/deposit” of Bubueci, the author believes it dates no earlier than the 2nd century BC, and that its framing sometime between mid 2nd century BC and early 1st century BC is very likely. In the case of the Velikoploskoe cauldron, its body shape and sizes resemble those of the Demidenko VI type cauldrons emerging in the 2nd century BC, yet the remaining elements specific to this vessel type are missing. The rudimentary attachment procedure of the foot to the body, rim shape, its making manner, as well as how the handles start from the vessel rim, are according to the author, specific to the Sauromatae and early Sarmatian cauldrons (types Demidenko I-III, V) used in the first centuries BC, which hinders its ascribing to a certain type. Therefore, it was concluded that the Velikoploskoe vessel seems to be intermediary between the 5th - 3rd century BC cauldrons, mainly Sauromatae, and those of the early and mid armatian periods between the 2nd century BC and mid 2nd century AD. Its elements and making manner allow, according to the author, for its dating to the 2nd – 1st century BC, likely only sometime during the 2nd century BC, which is not contradicted by the remaining artefacts in the find.

Anthropological materials date from the Greco-Roman period of Olbia (1st—3rd centuries AD). Most of the finds can be dated to the 1st—2nd centuries AD, there are the assemblages with a narrower dating — the 2nd century. The main part of the series consists of bone remains from the western part of the Olbia necropolis where, according to the researchers, wealthy people were buried. Several skeletons from the northern part of the Olvian necropolis were involved in analysis. The material comes from the burial structures of different types: earthen crypts, regular graves, niche graves. The material from earthen crypts which, most likely, were the family tombs is dominated in the series. The total series of male skulls is characterized by a long, narrow, mid-height cranium, which is dolichocranial in shape. The forehead is medium wide, the angle of inclination of the frontal bone is medium. The face is of medium height, narrow in absolute dimensions. According to the upper face index, it falls into the mesen category, but with a lepton tendency. The horizontal profiling of the face is sharp. The face is orthognathic. The orbits are medium in size and mesoconch in the orbital index. The nose is medium high, narrow. The bones of the nose protrude strongly, the bridge of the nose is high. The female series in the average appearance is characterized by a long, medium-wide skull. Its height is on the border of medium and significant values. The skull is mesocranial in shape. The frontal bone is medium wide, the angle of inclination belongs to the medium category. The face is medium high, medium wide, according to the index finger is mesen. Its horizontal profiling is sharp. The face is orthognathic. The orbits are medium-high, serose-wide, they are mesoconch-shaped according to the index. The nose is medium high, narrow. The bones of the nose protrude strongly. The bridge of the nose is high. Men’s and women’s series have been considered in the circle of chronologically close series of Europe. According to the results of intergroup analysis of the population, the male series of the first centuries AD from Olbia shows the closest statistical similarity to the Chersonesus series of the 1st—4th centuries AD. The male population of Olbia and Chersonesus show the maximum distance of the inhabitants of Northern Pontic antique cities from the Scythian and Sarmatian series. During the Roman Age Olbia and Chersonesus were in the zone of Roman influence, and Roman legions were periodically stationed there. Perhaps at that time there was an influx of immigrants from the Western Pontic region, which was reflected to a greater extent in the composition of the male part of the inhabitants of both Olbia and Chersonesus. Infiltration of Iranian-speaking people into the population of these cities, if it took place indeed, was not significant. Iranian influences on the formation of the population in the anthropological material are well recorded in the materials from the Bosporan cities. The total female series from Roman Olbia demonstrates the morphological and statistical similarity, first of all, with groups from the Late Scythian hill-forts of the Lower Dnieper: Zolota Balka, Mykolaivka-Kozatska (materials of the 2nd century BC — 2nd century AD), series from several Late Scythian burial grounds of the Crimea — Belyaus and Scythian Neapolis (Eastern burial ground). Among the Northern Pontic antique cities this series is statistically and morphologically closest to the sample from Chersonesus. Most likely, the female population of Roman Olbia and the Lower Dnieper Late Scythian hill-forts had a large extent common genetic basis. It is possible that during hard times for Olbia and the region there was a periodic outflow of population from Olbia to the hillforts or opposite. The population of the individual Late Scythian groups of the Crimea, as well as Late Scythian sites of the Lower Dnieper, was formed primarily from two components, Scythian and Hellenic. In our series from the necropolis of Olbia, deformed skulls are not recorded, and the Olbian groups are statistically very distant from the Early, Middle, and Late Sarmatians.

Archaeological Research on Islamic Pottery from Qal´eh Sang, Old Sirjan (Kerman Province, Iran)

The article discusses the mirror discovered in 1967 following the archaeological excavations conducted in the Sebeș - “Podul Pripocului” settlement (Alba county/RO), dated to the 3rd – 4th century AD. The piece, singular in the intra-Carpathian area, belongs to the type of disc mirrors with rectangular side handle and decorated reverse. These are specific mainly to the Sarmatae world, yet are also found in the environment of other cultural identities. Although they emerge in the 1st century AD, they were broadly used in the 2nd century – first half of the 3rd century AD, being rare in the second half of the 3rd century AD.On the Romanian eastern and south-eastern territory, such toiletries appear sometime by mid 2nd century AD, originating especially from graves and features of the second half of the 2nd century – first half of the 3rd century AD, while in only a few cases the dating may also include the first part of the second half of the 3rd century AD. In the case of the specimens from the Romanian territory, these are small, thin in cross-section, exhibiting a slightly marked border on the rim, while the central disc convexity is lacking with most, these being features characteristic to the decorated mirrors of the second half of the 2nd century – first half of the 3rd century AD.The study of the ”Podul Pripocului” exemplar showed that on its reverse there are two identical tamgas set in the mirror, rendered erroneously in their previous publications, which explains the lack of any reported parallels.The author concludes that most close or very close parallels are specific to the region to the right of the Dnieper. As for the dating, these are specific to the period comprised between the second half of the 1st century AD – mid 3rd century AD. It is also noted that in the north-Pontic area, there are many tamgas with components similar to those on the Sebeș - “Podul Pripocului” mirror (in particular the volutes with the inward wavy loops), however these may not be deemed, according to the author, parallels.Owing to its significance, yet especially their function and their borrowing mechanism by the neighbouring populaces, the author concludes that the Sebeș - “Podul Pripocului” mirror did not reach the intra-Carpathian area by trade or exchange.On the basis of the existing finds, it is concluded that currently, it is impossible to say with certainty when the Sebeș - “Podul Pripocului” settlement started or ceased, but also that there was a most certain Barbarian presence, of which further details would be known only subsequent to future archaeological research.Given the role and function of the tamgas on the objects, their distribution manner in other cultural areas and borrowing mechanism by the neighbouring populations, the author concludes it is very likely that among the Barbarians who settled in the “Podul Pripocului” settlement also counted Sarmatians, to whom the presence of this mirror on in the intra-Carpathian area is due.

Before the recent discoveries of the Karakalpak-Australian Expedition to Ancient Chorasmia (KAE) evidence for Zoroastrianism in Chorasmia was scant, coming only from the official use of the Zoroastrian calendar, the onomastics, and the archaeologically documented funerary practices of the region, while the interpretation of remains of temples or fire chapels is subject to discussion. During the last seasons of work on the material of the KAE excavations at Akchakhan-kala, the royal seat of Chorasmia in the 2nd century BC – 2nd century AD, substantial fragments of wall paintings from the rear wall of the main columned hall of the “Ceremonial Complex” were cleaned and reassembled. It appeared at once that they belong to oversized standing figures, most probably deities. The best preserved image has been identified as Srōsh, god of prayer and protector of the soul after death. The second figure is probably to be identified as a personification of the group of the Fravashis, pre-created souls of the ancestors and protectors of “Aryan people” in battles, also worshipped as deities. A third figure, very partly preserved, perhaps represents Zam-Spandarmad, goddess of the Earth. If these identifications are valid, these deities appear to have been chosen because of their association with the turn of the year. This would be consistent with the possibility that the already known “portrait gallery” of Akchakhan-kala was related to the commemoration of royal and clanic ancestors at the end of the year. Notwithstanding much still needs to be elucidated, it appears already certain that these paintings, dating about the beginning of the 1st century AD, are the earliest documented attempt to create a Zoroastrian art directly inspired by the Avesta. The identification of some figures in the Toprak-kala “High Palace” (2nd-3rd centuries AD) can perhaps be reconsidered in the light of this new evidence.

To describe hydrocephalus, the techniques applied for its treatment by Byzantine physicians, and their later influence. A study and analysis of the original texts of the Byzantine medical writers, written in Greek, was undertaken. A comparison with current concepts also was made. Three eminent Byzantine physicians: Oribasius (4th century AD), Aetius (6th century AD), and Paul of Aegina (7th century AD) gave the first detailed information regarding hydrocephalus and its conservative and surgical treatment. These physicians, who were trained in Alexandria, quote the concepts of the now-lost works of the celebrated surgeons of the Pneumatic School of Alexandria Leonides and Heliodorus (1st century AD) and its follower Antyllus (2nd century AD). In the types of hydrocephalus they described, we identify the conditions currently known as cephalhematoma and subgaleal hematoma, for which conservative and surgical treatments were provided, and epidural hematoma, which was thought to be incurable. The term hydrocephalus was coined during the Hellenistic period. The clinical picture of the disease, however, as described by later Byzantine physicians, does not correspond to current concepts. The ideas of the Byzantine physicians were based on the ancient Hippocratic, Hellenistic, and Roman traditions, which influenced Arab medicine and then Western European medicine, thus constituting significant roots of modern neurosurgery.

The hieratic complex Taraktash is located on the slopes of a mountain ridge with the same name, 3 km north to Sudak on the South-Eastern shore of the Crimea. The dig conducted in 1995 and in 2002—2008 on the slopes of Taraktash Mountain uncovered three shrines. Several complexes of adobe buildings were revealed and studied in the vicinity, resting on stone foundations (Taraktash-1 settlement) on the western and southern slopes of the Taraktash. The hieratic structure Taraktash-I is dated within 50s — turn of 4th—5th centuries AD; the hieratic structure Taraktash-II is dated within 150s — 250s AD, with some individual finds from the 4th century AD; the hieratic structure Taraktash-III is dated within a short interval in the 2nd century AD. In 2020, the author analyzed the ceramic finds from the digs of 2002—2008 and, based on chronologies of some types of amphorae and red-lacquered vessels, provided more precise dates for emergence and disappearance of the hieratic structures in Sudak valley during the Roman Time and the Great Migrations.

В статье публикуется коллекция железных наконечников стрел из некрополя булан-кобинской культуры Чобурак-I (Чемальский район Республики Алтай), исследования которого проводились экспедицией Алтайского государственного университета в 2017–2019 гг. В результате классификации 48 изделий, представленных полными и частично разрушенными образцами, выделены 14 типов наконечников, дополненных 24 вариантами. Типологическое исследование позволило определить относительную хронологию разных модификаций проникателей и их возможный генезис. Среди ярусных наконечников присутствуют образцы хуннуской (сюннуской) традиции II–V вв. н.э. (типы 1а, 2а, 4а–б) и южно-сибирской традиции III–V вв. н.э. (типы 1б, 2б, 3а, 4в). Трехлопастные наконечники стрел датируются разным временем: шестиугольные без упора (тип 8а) – II в. до н.э. – V в. н.э.; асимметрично-ромбические и ромбические без упора (типы 6а, 7а) – II–V вв. н.э.; асимметрично-ромбические, ромбические, шестиугольные с кольцевым упором (типы 6б, 7б, 8б) – III–V вв. н.э. Трехгранно-трехлопастные наконечники типа 10а являются результатом сочетания местной и среднеазиатской (кенкольской) традиций военного дела. Бронебойные наконечники (типы 11а–б, 12а–б, 13а, 14а) демонстрируют знакомство населения Северного Алтая с передовыми средствами поражения защитного доспеха, получившего широкое применение в Центральной Азии со 2-й половины IV в. н.э. под влиянием оружейного комплекса поздних сяньби. Публикуемые материалы расширяют источниковую базу для сравнительного изучения оружия дальнего боя народов восточной Евразии середины I тыс. н.э.

The principal element of the fashion in clothing introduced in Egypt with the arrival of the Romans was a tunic made of two rectangular pieces of fabric sewn together. Such a tunic either would leave the arms naked, or cover the arms to the elbow (fig. 1). This fashion changed with the turn of the 2nd and 3rd century AD. At this time, in addition to the tunics without sleeves, the inhabitants of Egypt started to wear tunics with ‘true’ sleeves – long or short, wide or tight – inspired by the Eastern fashion: the manner of making the tunics changed and the decorative motifs became richer. The tunics were woven to shape, either in one piece (fig. 3) or, probably starting from the 5th century AD, were made up of three pieces stitched together (fig. 4). As for the sleeveless tunics, they were also woven in only one piece (fig. 2). In the 6th-7th century AD Egypt, one could see a certain influence of the style probably coming from Sassanid Persia. Amongst other things, this tendency was expressed in tunics with long sleeves, sewn in several pieces (fig. 5). These changes in fashion are reflected in the vocabulary concerning the tunics, as attested in the papyrological documents and in the literary texts. Several Greek terms are employed to indicate tunics in the texts written in Egypt at this time: δελματική, καμίσιον, κολόβιον, λεβίτων, στιχάριον, χιτών. Studies focussing on Egyptian tunics and their vocabulary are dispersed in isolated comments and lexicographical articles, as well as in the publications of objects coming from excavations or collections, and they do not exhaust the subject. It is the aim of this paper to present the evolution of the significance of these terms and their employment in the texts coming from Egypt.