The production and distribution of ceramic building materials (CBM) in the Roman period have long attracted the attention of archaeologists, as they provide clues to aspects of trade, identity, and technological and architectural traditions. However, there has been a notable scarcity of studies focusing on plain CBM in the southern Levant, particularly in the Mediterranean coastal region. This study concentrates on CBM (bricks, tubuli, drainage pipes, and roof tiles) from a Roman-period wealthy farmstead (Khirbat Khaur el-Bak) near the city of Ashqelon/Ascalon, apparently owned by a serving member of the military or a veteran. The petrographic analyses indicate that apart from the locally produced drainage pipes, the CBM were imported from overseas, namely Cilicia and Beirut. The results shed light on CBM trade in the Eastern Mediterranean, and on the complex nature of the population and material life in and around Roman Ashqelon, which included local and foreign elements.

Many anthropologists have now adopted a relational view of the culture concept. Much research has shown that, far from being bounded or self-replicating, cultures emerge through interactions between social Others. These findings are particularly important to research on borderlands and peripheries, where communities routinely encounter wide-ranging social and political diversity. We present ceramic frequencies alongside petrographic analysis from the Late Woodland component at Esseneca (38OC20) to illustrate two main points: (1) pottery types previously understood as culture historical isolates co-occur in parts of Upstate South Carolina, and (2) potters collected clays from two main geologic formations near the site. This research shows that communities in the region traveled freely, crossing cultural boundaries while acquiring potting clays. We suggest that this level of interaction between disparate social groups laid the foundation for some aspects of Mississippianization in the region.

The social complexities underlying imperial control are manifest in the material culture of everyday life encountered at archaeological sites. The Yavi-Chicha pottery style of the south-central Andes illustrates how local identities continued to be expressed in practices of pottery manufacture during the process of Inka expansion. The Yavi-Chicha style itself masks a number of distinct production processes that can be traced through petrographic analysis and that relate to the different communities by whom it was produced and consumed. The dispersion of pottery fabric types in this region may partly be attributable to the Inka practice of mitmaqkuna, the displacement and relocation of entire subject populations.