An evaluation of the miles method of ageing using the Tepe Hissar dental sample.

The Miles system of ageing, based upon analysis of the rate of molar wear, was evaluated using the available dental sample from Tepe Hissar, Iran. The independently estimated ages for the mandibles and maxillae of the same individuals were found to be highly correlated (r = 0.87, p less than 0.001). Ages of a subsample of the dentitions were compared with skeletal ages for the same individuals estimated from pubic symphyseal faces and found to be significantly correlated (r = 0.82, p less than 0.005) with no significant differences in the mean ages. Although a complete evaluation of the Miles method would require its testing on a controlled population, the available dental sample from Tepe Hissar provided evidence of the reliability and validity of the Miles method of ageing archeological populations on the basis of dental wear. Due to selective retention of burial remains, the available skeletal sample from Tepe Hissar I-III is not representative of the human populations of the site and can not be used to generate meaningful demographic statistics.     

First record of <Emphasis Type="Italic">Pojetaia runnegari</Emphasis> Jell, 1980 and <Emphasis Type="Italic">Fordilla</Emphasis> Barrande, 1881 from the Middle East (Taurus Mountains,Turkey) and critical review of Cambrian bivalves

Cambrian bivalves from the Middle East are reported here for the first time. They come from early “Middle Cambrian” and latest “Early Cambrian” limestones of the lower Çal Tepe Formation at the type locality (near Seydi?ehir, western Taurides). The majority of the new findings consists of Pojetaia runnegari Jell, 1980, but a few specimens of Fordilla sp. represent the first report of this genus from “Middle Cambrian” strata. Based on a compilation of the hitherto reported, but mostly revised Cambrian bivalves, the today widely accepted taxa are discussed. The genera Pojetaia Jell, 1980 and Fordilla Barrande, 1881 are critically evaluated, and three valid species are included in Pojetaia: P. runnegari Jell, 1980, P. sarhroensis Geyer and Streng, 1998, and—with limitations—P. ostseensis Hinz-Schallreuter, 1995. Fordilla also includes three species: F. troyensis Barrande, 1881, F. sibirica Krasilova, 1977, and F. germanica Elicki, 1994. The Cambrian genera Tuarangia MacKinnon, 1982, Camya Hinz-Schallreuter, 1995, and Arhouriella Geyer and Streng, 1998 most probably belong to the class Bivalvia. Palaeoecologically, the Cambrian bivalves of the Western Perigondwanan shelf seem to occur in a relatively small window of low-energy, subtidal, open-marine, warm-water conditions on a muddy carbonate ramp or platform with reduced sedimentation rate. The frequently interpreted infaunal mode of life of Pojetaia and Fordilla is questioned by observations of similarly organized modern bivalves. The palaeogeographical distribution of Pojetaia and Fordilla is discussed with respect to their early ontogeny and to differences in the recent state of knowledge on shelly fossils from Cambrian carbonate successions of Perigondwana.     

Réalisme et rupture avec le réel dans la représentation des animaux à Göbekli Tepe

Most of the animal figures on the T-shaped pillars at Göbekli Tepe seem to be depicted as the result of a realistic perspective. It may be related to the realist view that the animals subject of artificial being found in this area or even some of them play an important role in terms of food supply. The pillar itself, which hosts various animal figures, serves this purpose by taking on the function of being an animal's natural environment. On the other hand, the break from realism, which accompanies the point of view of the realist in animal depictions, is quite remarkable. This situation can be understood especially from rapprochements of the animals on the pillars whose relation is impossible in daily life. Furthermore, Göbekli Tepe's artist moves away from the realistic aspect by the size of animals depicted. If depicted animals were related to a mythical narrative, it can be assumed that the artist prefers a style that moves away from realism or realism according to the content of the narrative.