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Burial Mounds in Europe and Japan Comparative and Contextual Perspectives
Comparative and Global Perspectives on Japanese Archaeology Burial Mounds in Europe and Japan Comparative and Contextual Perspectives edited by Access Thomas Knopf, Werner Steinhaus and Shin’ya FUKUNAGAOpen Archaeopress Archaeopress Archaeology © Archaeopress and the authors, 2018. Archaeopress Publishing Ltd Summertown Pavilion 18-24 Middle Way Summertown Oxford OX2 7LG www.archaeopress.com ISBN 978 1 78969 007 1 ISBN 978 1 78969 008 8 (e-Pdf) © Archaeopress and the authors 2018 © All image rights are secured by the authors (Figures edited by Werner Steinhaus) Access Cover illustrations: Mori-shōgunzuka mounded tomb located in Chikuma-shi in Nagano prefecture, Japan, by Werner Steinhaus (above) Magdalenenberg burial mound at Villingen-Schwenningen, Germany,Open by Thomas Knopf (below) The printing of this book wasArchaeopress financed by the Sainsbury Institute for the Study of Japanese Arts and Cultures All rights reserved. No part of this book may be reproduced, or transmitted, in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior written permission of the copyright owners. Printed in England by Oxuniprint, Oxford This book is available direct from Archaeopress or from our website www.archaeopress.com © Archaeopress and the authors, 2018. Contents List of Figures .................................................................................................................................................................................... iii List of authors ................................................................................................................................................................................. -
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern -
Archaeology Activity Book
Archaeology Activity Book Illustrations: Heather Brindza Text: Danielle Ellis Layout: Rebecca Conway Appalachian Forest Heritage Area (AFHA) is a non-profit, grassroots organization that promotes economic and community development by linking central Appalachian forest history, culture, natural history, products and forest management into a multi-state heritage tourism initiative. Monongahela National Forest hosts AFHA-sponsored AmeriCorps service at forest sites that enhance natural resources and tourism and connect local communities. The Eastern National Forests Interpretive Association (ENFIA) is a non-profit association that aids and promotes the historical, scientific, and educational activities of the USDA Forest Service. This activity book was made possible through grants and partnership agreements with AFHA AmeriCorps, ENFIA, and USDA Forest Service. Archaeology is the study of material culture left behind by people from the past. Material culture are things created or used by people, like stone tools, a glass bottle, or even an entire building. Archaeologists look for archaeological sites to try to answer questions about the past. A site is where artifacts, features, or ecofacts are grouped together in an area. This means people were in that area in the past, and it’s up to the archaeologist to figure out what they were doing there. Sometimes archaeologists find things that can’t be easily collected or are part of the environment past peoples used. These things are called features. Features are often large, like the foundation of a house, or difficult to collect from the site, like an ashy campfire ring. Feature example: campfire ring Artifacts are things created or used by past peoples. -
An Analysis of 1He Lithic Artifact Assemblage From
AN ANALYSIS OF 1HE LITHIC ARTIFACT ASSEMBLAGE FROM THE FORBUSH CREEK SITE (31YD1), YADKIN COUNTY, NORTH CAROLINA by Jane Madeline McManus A thesis sul::mitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Bachelor of Arts with Honors in the Department of Anthropology. Chapel Hill 1985 Approved by: ACKNOWLEDGEMENTS I would like to thank the members of my committee, Dr. Dickens, Dr. Crumley, and Dr. Davis, whose support, help, and advice is greatly appreciated. I would especially like to thank Steve who helped me from the first day of this project to the last. You know I couldn't have done it without your help. I would also like to thank Dr. Dickens and Trawick for teaching me the ropes of photography. You all have made this a very rewarding learning experience. Finally, I would like to say thanks to Carol Anne and Lee for putting up with me and I'm sorry for the neglect. DEDICATION To Monnna and Daddy, with all my love and appreciation for the opportunity. TABLE OF CONTENTS Page INTRODUCTION • 1 RAW MATERIAL. 7 DEBITAGE. 8 CHIPPED STONE IMPLEMENTS • 15 CHIPPED STONE PROJECTILE POINTS. 22 GROUND STONE IMPLEMENTS. 28 DISCUSSION • 35 Characteristics of the Forbush Creek Assemblage • • 35 The Introduction of European Metal Tools. 36 The Subsistence Pattern. 37 Small Triangular Projectile Points. 38 SUMMARY. • 48 REFERENCES CITED. 50 APPENDICES • 51 Appendix A. Lithic Artifact Analysis Format. 52 Appendix B. Distribution of Lithic Artifacts by Feature. 58 LIST OF FIGURES Figure 1. -
Music in the Northern Woods: an Archaeological Exploration of Musical Instrument Remains
Michigan Technological University Digital Commons @ Michigan Tech Dissertations, Master's Theses and Master's Reports 2018 Music in the Northern Woods: An Archaeological Exploration of Musical Instrument Remains Matthew Durocher Michigan Technological University, [email protected] Copyright 2018 Matthew Durocher Recommended Citation Durocher, Matthew, "Music in the Northern Woods: An Archaeological Exploration of Musical Instrument Remains", Open Access Master's Thesis, Michigan Technological University, 2018. https://doi.org/10.37099/mtu.dc.etdr/575 Follow this and additional works at: https://digitalcommons.mtu.edu/etdr Part of the Archaeological Anthropology Commons, Ethnomusicology Commons, and the Musicology Commons MUSIC IN THE NORTHERN WOODS: AN ARCHAEOLOGICAL EXPLORATION OF MUSICAL INSTRUMENT REMAINS By Matthew J Durocher A THESIS Submitted in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE In Industrial Archaeology MICHIGAN TECHNOLOGICAL UNIVERSITY 2018 © 2018 Matthew J Durocher This thesis has been approved in partial fulfillment of the requirements for the Degree of MASTER OF SCIENCE in Industrial Archaeology. Department of Social Sciences Thesis Advisor: Dr. LouAnn Wurst Committee Member: Dr. Steven A. Walton Committee Member: M. Bartley Seigel Department Chair: Dr. Hugh Gorman Table of Contents List of Figures………………………………………………………………………….v List of Tables…………………………………………………………………………vii Acknowledgments........................................................................viii Abstract………………………………………………………………………………….x 1. There was music…………………………………………………………………..1 1.1. Enter Coalwood…………………………………………………………………………….3 1.2. A prelude……………………………………………………………………………………..7 2. Fresh Water, Ore, and Lumber……………………………………………10 2.1. Early logging and music in the Upper Peninsula………………………….…14 2.2. Cleveland Cliffs Iron Mining Company………………………………………….16 2.3. Coalwood: 1901-1912…………………………………………………………………..18 2.4. Conclusion…………………………………………………………………………………26 3. The Sounds of a Place.………………………………………………………..28 3.1. -
Thesis Cooking with Rock: an Investigation of Prehistoric
THESIS COOKING WITH ROCK: AN INVESTIGATION OF PREHISTORIC HEARTH MORPHOLOGY IN NORTHERN COLORADO Submitted by Michael D. Troyer Department of Anthropology In partial fulfillment of the requirements For the Degree of Master of Arts Colorado State University Fort Collins, Colorado Spring 2014 Master’s Committee: Advisor: Jason M. LaBelle Mary Van Buren Scott M. Denning Curtis H. Flather Copyright by Michael D. Troyer 2014 All Rights Reserved ABSTRACT COOKING WITH ROCK: AN INVESTIGATION OF PREHISTORIC HEARTH MORPHOLOGY IN NORTHERN COLORADO Hearths are a focal point for the organization of prehistoric hunter-gatherer activities, and can reveal a wealth of information regarding subsistence, settlement, chronology, and technology. However, despite the direct association with human behavior and the breadth of information these features offer the archaeologist, hearth morphology and the distribution of different feature types through time and space has largely been ignored. With this in mind, this research will address three main questions: are there temporal and spatial patterns to hearth morphology; are there spatial and temporal patterns in the material recovered from hearth features; and do changes in hearth morphology through time coincide with documented changes in paleoclimate, and other systemic changes in prehistoric culture? This study is focused on Boulder, Grand, Jackson, Larimer, and Weld counties of northern Colorado, and utilizes 190 radiocarbon dated hearth features, representing 72 individual archaeological sites. The features used in this study range in age from Paleoindian to Protohistoric, and are distributed across plains, foothills, montane, and subalpine/alpine environments. Collectively, this research seeks to better understand specific adaptive changes in past human culture, their causes and correlations, and how these changes in prehistoric culture are manifest in the distribution and morphology of hearth features in northern Colorado. -
Archaeology for Kids!
Archaeology For Kids! In this Issue: • Ask An Archaeologist • Archaeology Word Search • • Talk Like an Archaeologist • The Making of An Artifact • • Archaeology Scramble • Guess the Artifact • Ask An Archaeologist Do archaeologists dig up dinosaurs? Archaeologists study the material remains left behind by people in the past. They actually do not study dinosaurs and fossils, even though they may come across them by accident while they are digging. That’s when they call a palaeontologist, who study earth’s earliest inhabitants, like dinosaurs and early plants that are now extinct and preserved in layers of the earth as fossils. In the field, archaeologists and palaeontologists may look a lot alike because they use similar methods and sometimes similar tools to uncover the past. Palaeontology, however, teaches us about the history of the earth and its earliest inhabitants, while archaeology teaches us about ancient (and sometimes not-so-ancient) people. Do you have questions for one of our archaeologists? E-mail them to Archaeologist” along with your name and age [email protected] answer all your questions. Your question might even be featured in our next issue of with the subject line “Ask an Archaeology and we’ll be sure : For Kids! to Archaeology Word Search ANCIENT FORTS PYRAMIDS ARCHAEOLOGY HISTORIC RADIOCARBON ARTIFACT LONGHOUSE SITE CHERT MOUND SOIL DATING MUMMY STOCKADE EXCAVATE POTTERY TROWEL EXHIBIT PREHISTORIC Talk Like an Archaeologist Artifact: An object made or modified by humans. Some artifacts are stone tools, pottery, jewelry, and clothing. Archaeologists often find artifacts of pottery, glass, or stone, which last longer in the ground than fabric or leather. -
Tiara Pair of Earrings in Chinoiserie Style
1 1. Italy or France Tiara Gold and coral, about 1817 Purchased with funds given by Rita Barbour Kern, 1996.27 French Neoclassicism revived the fashion for wearing a tiara, a head ornament based on an ancient Greek diadem. Tiaras of varying degrees of intrinsic value were worn by every woman from the middle classes to royalty. Coral, which was believed to posses protective powers, was often used in jewelry for children and young adults. A portrait painted by Luigi Bernero in 1817 of Maria Teresa of Savoy (1803– 1879) shows the 14-year-old Italian princess wearing a hair ornament almost exactly like this tiara. Most coral in Europe came from the sea around Naples and nearby Torre del Greco. In the 19th century coral jewelry became a fashionable souvenir. This was partly because people could travel more once the Napoleonic wars had ended in 1815, but also due to the growing popularity of Luigi Bernero (Italy, 1775–1848), Maria Teresa di Savoia. Oil on canvas, naturalistic jewelry in the 1850s. about 1817. Palazzo Reale, Turin, Italy 2. and pagoda-shaped elements of these earrings reflect the England period’s romantic taste for the Far East, known as chinoiserie Pair of Earrings in (sheen-WAH-zer-ee). Chinoiserie Style Pierced earrings were a sign of maturity. The first pair of earrings was usually given to a young girl in England at Silver, gold, diamonds, pearls and rubies, age 16, when simple ‘top-and-drop’ pearl earrings were considered to be more appropriate for a young, unmarried about 1820 girl. -
Topographic Representations in Classical Aboriginal Traditions
9 • Icons of Country: Topographic Representations in Classical Aboriginal Traditions PETER SUTTON INTRODUCTION tent of their classical tradition, however, even where little of it may be known to them through firsthand experi After more than two hundred years of colonial and post ence. 1 Indigenous Australian traditions are no more fixed colonial influence from a predominantly Anglo-Celtic or static than others, but they have been subject to greatly culture, Australian Aboriginal people have retained their accelerated changes in the colonial and postcolonial pe cultural identity as a group, comprising a large set of sub riod of the past two centuries. For this reason it is useful groups, across the Australian continent (fig. 9.1). At this to distinguish classical traditions from postclassical tradi time they are a small minority of between 2 and 3 percent tions within contemporary Aboriginal culture. in a nation of eighteen million people. In most regions Classical traditions are those that were practiced at the their ancient cultural traditions have been partly or heav time the first permanently dwelling non-Aborigines ar ily modified by a combination of forces, including an rived in Australia,2 and many of them have persisted early phase of scattered violent conflicts with colonizers, among certain groups. Postclassical traditions depart sig depopulation owing mainly to disease, compulsory nificantly from those of the ancient past. The most widely school education and institutionalization, and alcohol known and internationally acclaimed of the classical tra abuse. ditions is usually subsumed, in English, under the phrase In the more fertile areas of eastern and southwestern "Aboriginal art." For this category of representations Australia, many aspects of these classical cultural tradi tions have been seriously expunged. -
Indigenous People and Artefacts at an Australian Agricultural Show
Colonialism on display: Indigenous people and artefacts at an Australian agricultural show Joanne Scott and Ross Laurie There was a continual swarm of interested visitors to the aboriginal court, which certainly formed one of the most interesting features of the exhibits within the pavil- ion. Many and genuine were the expressions of surprise and appreciation of the quality and range of the work. Week, 22 August 1913 Recent scholarship, both within Australia and internationally, has explored the repre- sentation of Indigenous peoples through the international expositions and travelling circuses of the 19th and early 20th centuries. Those events highlighted the artefacts of subordinated cultures and showcased the ‘exotic’, revealing a transnational fascination with displaying Indigenous people and their material culture.1 Curiously and by con- trast, a more localised site for such representations in Australia, the annual agricultural show, has rarely attracted the attention of historians of race relations.2 Yet as a key site for white settler society, with its celebration of economic and cultural advances and its commitment to the ideology of progress, the annual show repays closer investigation. In contrast to the international events at which nations and colonies sought to show off their wares to their global competitors and markets, the agricultural shows in Australia primarily targeted local audiences. They offer insights into the values of white settler communities, and provide opportunities to reflect on local knowledge of and aware- ness of Aborigines. They also prompt, although do not necessarily answer, questions about the Indigenous people who created items for and appeared as exhibits at annual agricultural shows. -
Flower World - Music Archaeology of the Americas
Flower World - Music Archaeology of the Americas 9 Oh flowers we take, oh songs we chant, we enter the Reign of Mystery! A least for one day we are together, my friends! We ought to leave our flowers, We must leave our songs and go while the earth lasts forever! My friends, enjoy; let’s celebrate, friends! Aztec song, attributed to the Anonymous of Chalco Cantares Mexicanos fol. 35v., lin. 16-20* Flower World Introduction to the Series The bilingual series Flower World – Music Archaeology of the Americas, of which the present edition is the first volume, will raise the study of ancient music and music-related activities of the pre-Columbian Americas to the next level. For the first time, a book series featuring scientific investigations in this fascinating inter- and crossdisciplinary field, will be available. The series will encompass peer-reviewed studies by renowned scholars on both past and living music traditions from South, Central and North America, and thus constitute a platform for the most up-to-date information on the music archaeology of the continent. It will feature case studies and the results of research projects in the field, in which a great variety of music- archaeological approaches are commonly applied. The title of the series, Flower World, refers to a mythological, even sacred place filled with the sweet scent of flowers, bird calls, pleasant sounds, and dance. It is a place full of happiness and joy, even if it belongs to the realm of the Dead, which sus- tains the enduring renewal of life on earth. -
An Archaic Ivory Figurine from a Tumulus Near Elmali
AN ARCHAIC IVORY FIGURINE FROM A TUMULUS NEAR ELMALI: Cultural Hybridization and a New Anatolian Style Author(s): Tuna Şare Source: Hesperia: The Journal of the American School of Classical Studies at Athens, Vol. 79, No. 1 (January-March 2010), pp. 53-78 Published by: The American School of Classical Studies at Athens Stable URL: http://www.jstor.org/stable/40835454 . Accessed: 18/03/2014 10:12 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The American School of Classical Studies at Athens is collaborating with JSTOR to digitize, preserve and extend access to Hesperia: The Journal of the American School of Classical Studies at Athens. http://www.jstor.org This content downloaded from 71.168.218.10 on Tue, 18 Mar 2014 10:12:25 AM All use subject to JSTOR Terms and Conditions «ESPE..*7,uoio) AN ARCHAIC IVORY P"s"s"s FIGURINE FROM A TUMULUS NEAR ELMALI Cultural Hybridization and a New Anatolian Style To myfather, Arif Care ABSTRACT The extentof culturaland artistichybridization in ArchaicAnatolia is ex- ploredthrough close examinationof an ivoryfigurine of a motherwith two childrenfrom Tumulus D at Bayindir,near Elmali in southwesternTurkey.