Rivers have often been the gateway to natural wilderness and the first element of a natural landscape that humans made their own. Some rivers have become the symbol of whole civilisations, such as the Nile or the Tiber to Egyptians and Romans respectively. More recently, pioneers exploring the continent of America have explored the new land from within rivers, whose names have become by extension the name of the land: 15 of the 50 states composing the United States of America are borrowed from rivers. No other natural feature has become embedded into human narratives as the river. Rivers are frequently featured prominently in natural landscapes by writers and artists, but they also turn up in unexpected places, such as the mythical Greek underworld or Dante's Inferno. Rivers made of stars (the Milky Way) have been recognised in the sky by the Inca, Chinese, Koreans, Japanese (the "Peaceful River of Heaven"), Hindu, Maori, Aboriginal Australians as well as other cultures. The flow of a river has prompted many reflexions of its similarity to time as well as human life and consciousness, becoming a recurring theme in culture and philosophical thought. In recent archaeological literature, rivers are often ignored from narratives, or seen as part of the natural landscape. Yet, rivers and streams have shaped most cities in the world and they should be inserted more frequently, if not systematically, in archaeological interpretations and narratives. The sea is very much in the minds of scholars, especially in Europe, but rivers are denied the same interest. It is hoped that this volume will generate some fresh interest.

This concise dictionary is intended to be helpful in the reading of archaeological books and publications, and in the writing of papers and articles in both English and Italian. The aim of this work is to help, in particular, students and on-site archaeologists to find quickly a word relating to a specific period, a specific area or a research field, in a book easy to carry everywhere; but this dictionary is also intended for those with a general interest in archaeology wishing to broaden their vocabulary

Aegean-type pottery has been found in the West Mediterranean for more than a century and several publications have tried to explain the phenomenon from an Aegeancentric point of view. The search for metals, the arrival of Mycenaean people after the LH III B destructions in Mainland Greece and the hypothesis that Mycenaeans had to sail westwards because of the dominance of the Minoan thalassocracy on the eastern routes are only some of the proposals. Yet, what do we know about the Italics, the people who consumed, and eventually produced, Aegean-type pottery? This question is at the centre of this study. The state of research on this topic, in spite of almost a century and a half of studies is disappointing. The phenomenon is still seen in terms of economic exchange, where the Aegeans are the primary players. There has been no attempt to research methodically the reasons why the Italics accepted and used Aegean-type pottery. In the last few decades, many anthropologists have concentrated their efforts on ethnographic studies of patterns of consumption and several theoretical models have been published as a result. In particular, globalisation has provided the stimulus for research focussed on cross-cultural consumption of standardised products. Using these studies, this research has tried to provide the Italic perspective, one of consumption as well as production. The results of this research demonstrate the independence of the Italics in their choices as consumers and provide insights on the social and cultural processes of these Bronze Age populations. As a result, while the role of the Aegeans in the phenomenon appears less important, the complexity of the regional Italic processes associated with the presence of Aegean-type pottery in the West Mediterranean becomes more apparent.