Investigating Strains on the Oseberg Ship Using Photogrammetry and Finite Element Modeling
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The Oseberg Ship
V 46 B78o A 1 1 6 8 5 4 1 1^6 OSEBERG SHIP by ANTON WILHELM BROGGER Professor of Archeeology in the University of Christiania Price Fifty Cents Reprinted from The American-Scandinavian Revi. July 1921 The Oseberg Ship By Anton Wilhelm Broggek 4^ The ships of the Viking Age discovered in Norway count among the few national productions of antiquity that have attained world wide celebrity. And justly so, for they not only give remarkable evidence of a unique heathen burial custom, but they also bear witness to a very high culture which cannot fail to be of interest to the world outside. The Oseberg discoveries, the most remarkable and abundant anti- quarian find in Norway, contain a profusion of art, a wealth of objects and phenomena, coming from a people who just at that time, ,"^ of Europe. ^ the ninth century, began to come into contact with one-half ^ It was a great period and it has given us great monuments. We have long been acquainted with its literature. Such a superb production as Egil Skallagrimson's Sonartorrek, which is one hundred years later than the Oseberg material, is a worthy companion to it. / The Oseberg ship was dug out of the earth and caused the great- est astonishment even among Norwegians. Who could know that on that spot, an out of the way barrow on the farm of Oseberg in the parish of Slagen, a little to the north of Tcinsberg, there would be excavated the finest and most abundant antiquarian discoveries of Norway? Xtj^^s in the summer of the year 1903 that a farmer at Oseberg began to dig the })arrow. -
Traveling Portals Suspicious Item They Could Find Was His Diary
by a search the secret police had conducted in his house. The only TRAVelING PORTals suspicious item they could find was his diary. Apparently it did not contain enough evidence to take him to prison, and he even got it Mari Lending back. In an artistic rage, and trying to make sure that his personal notes could not be read again by anyone, he burned his diary. The Master and Margarita remained secret even after his death in 1940, and could not be published until 1966, when the phrase became In the early 1890s, the Times of London reported on a lawsuit on the 1 Times ( London ), more frequently used by dissidents to show their resistance to the pirating of plaster casts. With reference to a perpetual injunction June 2, 1892. state regime. In the early nineties, when the KGB archives were partly granted by the High Court of Justice, Chancery Division, it was 2 Times ( London ), opened, his diary was found. Apparently, during the confiscation, announced that “ various persons in the United Kingdom of Great February 14, 1894. the KGB had photocopied the diary before they returned it to the Britain and Ireland have pirated, and are pirating, casts and models ” author. made by “ D. BRUCCIANI and Co., of the Galleria delle Belle Arti, The best guardians are oftentimes ultimately the ones you would 40. Russell Street, Covent Garden ” and consequently severely vio least expect. lated the company’s copyright “ which is protected by statute. ” The defendant, including his workmen, servants, and agents, was warned against “ making, selling, or disposing of, or causing, or permitting to be made, sold, or disposed of, any casts or models taken, or copied, or only colourably different, from the casts or models, the sole right and property of and in which belongs to the said D. -
12-Death-And-Changing-Rituals.Pdf
This pdf of your paper in Death and Changing Rituals belongs to the publishers Oxbow Books and it is their copyright. As author you are licenced to make up to 50 offprints from it, but beyond that you may not publish it on the World Wide Web until three years from publication (December 2017), unless the site is a limited access intranet (password protected). If you have queries about this please contact the editorial department at Oxbow Books (editorial@ oxbowbooks.com). Studies in Funerary Archaeology: Vol. 7 An offprint from DEATH AND CHANGING RITUALS Function and Meaning in Ancient Funerary Practices Edited by J. Rasmus Brandt, Marina Prusac and Håkon Roland Paperback Edition: ISBN 978-1-78297-639-4 Digital Edition: ISBN 978-1-78297-640-0 © Oxbow Books 2015 Oxford & Philadelphia www.oxbowbooks.com Published in the United Kingdom in 2015 by OXBOW BOOKS 10 Hythe Bridge Street, Oxford OX1 2EW and in the United States by OXBOW BOOKS 908 Darby Road, Havertown, PA 19083 © Oxbow Books and the individual contributors 2015 Paperback Edition: ISBN 978-1-78297-639-4 Digital Edition: ISBN 978-1-78297-640-0 A CIP record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Brandt, J. Rasmus. Death and changing rituals : function and meaning in ancient funerary practices / edited by J. Rasmus Brandt, Häkon Roland and Marina Prusac. pages cm Includes bibliographical references and index. ISBN 978-1-78297-639-4 1. Funeral rites and ceremonies, Ancient. I. Roland, Häkon. II. Prusac, Marina. III. Title. GT3170.B73 2014 393’.93093--dc23 2014032027 All rights reserved. -
Of the Viking Age the Ornate Burials of Two Women Within the Oseberg Ship Reveals the Prominent Status That Women Could Achieve in the Viking Age
T The Oseberg ship on display in The Viking Ship Museum. Museum of Cultural History, University of Oslo Queen(s) of the Viking Age The ornate burials of two women within the Oseberg ship reveals the prominent status that women could achieve in the Viking Age. Katrina Burge University of Melbourne Imagine a Viking ship burial and you probably think homesteads and burials that tell the stories of the real of a fearsome warrior killed in battle and sent on his women of the Viking Age. The Oseberg burial, which journey to Valhöll. However, the grandest ship burial richly documents the lives of two unnamed but storied ever discovered—the Oseberg burial near Oslo—is not a women, lets us glimpse the real world of these women, monument to a man but rather to two women who were not the imaginings of medieval chroniclers or modern buried with more wealth and honour than any known film-makers. warrior burial. Since the burial was uncovered more than a century ago, historians and archaeologists have The Ship Burial tried to answer key questions: who were these women, Dotted around Scandinavia are hundreds of earth mounds, how did they achieve such prominence, and what do they mostly unexcavated and mainly presumed to be burials. tell us about women’s lives in this time? This article will The Oseberg mound was excavated in 1904, revealing that explore current understandings of the lives and deaths the site’s unusual blue clay had perfectly preserved wood, of the Oseberg women, and the privileged position they textiles, metal and bone. -
Oseberg Tent Reproduction We Begin by Describing the Original Find from Oseberg, and Some of the Confusion That Exists About the Tents
A Reproduction of the Smaller Tent from the Viking Age Ship Burial at Oseberg Matthew Marino Rev 1.1 6-June-2008 hurstwic.org The most recent version of this document may be found at: http://www.hurstwic.com/library/how_to/viking_tent.pdf ©2008 Matthew Marino Additional photographs ©2006-2008 William R. Short Contact us at Hurstwic: http://www.hurstwic.com/text/contact_us.htm he Oseberg ship is a rich 9th century Viking age ship burial found at Oseberg in TVestfold, Norway, at the beginning of the 20th century. The burial probably took place around the year 850, and the contents of the grave date from the first half of the 9th century. The ship and her contents were well pre- served by the clay subsoil which provided near hermetic conditions. Thus, an ex- traordinary range of artifacts illustrating Viking age material culture was pre- served. Included in the ship’s contents were the wooden framework for two tents, one larger, one slightly smaller. The Oseberg ship We recently made a reproduction of the smaller tent. This document de- tails our reproduction Viking tent in enough depth to allow others to du- plicate the project. Oseberg tent reproduction We begin by describing the original find from Oseberg, and some of the confusion that exists about the tents. Next, we discuss some of the choices and compromises made in designing our reproduction. Finally, we list the materials and assembly processes used. Dimensions of the components are tabulated and shown in figures. Unless otherwise stated, all dimensions are in centimeters. The Original Find. -
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242 Salvage Stories, Preserving Narratives, and Museum Ships Andrew Sawyer* Abstract Preserved ships and other vessels are associated with a historiography, in Europe at least, which is still marked by parochialism, antiquarianism, and celebratory narrative. Many evidence difficult histories, and they are also extremely expensive to preserve. Yet, they are clearly valued, as nations in Europe invest heavily in them. This survey examines a range of European examples as sites of cultural, political and national identity. An analytical framework foregrounding the role of narrative and story reveals three aspects to these exhibits: explicit stories connected with specific nations, often reinforcing broader, sometimes implicit, national narratives; and a teleological sequence of loss, recovery and preservation, influenced by nationality, but very similar in form across Europe. Key words: European; maritime; ships; narrative; nationalism; identity; museums. Introduction European nations value their maritime and fluvial heritage, especially as manifested in ships and boats. What may be the world’s oldest watercraft, from around 8,000 BC, is preserved at the Drents Museum in Assen, the Netherlands (Verhart 2008: 165), whilst Greece has a replica of a classical Athenian trireme, and Oslo has ships similar to those used by the Norse to reach America. Yet, such vessels are implicated in a problematic historiography (Smith 2011) tending to parochialism and antiquarianism (Harlaftis 2010: 214; Leffler 2008: 57-8; Hicks 2001), and which often (for whatever reason) avoids new historiographical approaches in favour of conventional celebratory narratives (Witcomb 2003: 74). They are also linked to well-known problematic histories of imperialism and colonialism. They are sites of gender bias: ‘Vasa has from its construction to its excavation been the prerogative and the playground of men’ (Maarleveld 2007: 426), and they are still popularly seen as providing access to ‘toys for boys’ (Gardiner 2009: 70). -
The Archaeology of the Smith House (Orya3), Dayton, Oregon
AN ABSTRACT OF THE THESIS OF Helen Delight Stone for the degree of Masters of Arts in AppliedAnthropology presented on June 11, 1997. Title: The Archaeology of the Smith House(ORYA3), Dayton, Oregon. Redacted for privacy David Brauner Site ORYA3, the Smith House, is located in Dayton, Oregon. Thearchaeological project originated because owners of this structure, listed on the National Registerof Historic Places, applied for a demolition permit. The 1859 home, firstoccupied by two early Oregon pioneers, Andrew and Sarah Smith, was considered architecturally significant, an unique example of a territorial period home. In the years since 1859,the original building construction has not been significantly modified, nor have thegrounds been looted or substantially altered. Dr. David Brauner and the Oregon StateUniversity Anthropology Department began an archaeological project at this location inanticipation of the destruction, the first time in Oregon that archaeologists have excavatedthe interior of a standing house. The longevity of occupation, site taphonomy, and episodes of floor repair overthe years created a mixed context. The research directionfor this thesis matches a statistical and descriptive analysis of a sample of the material culture with informationgathered from published and unpublished archival data from the Smith house. The thesisexamines cultural material found on this site and provides a basis for comparison withother similar archaeological sites. Dayton history is discussed, to provide a broad contextwithin which to interpret the archaeological data. Occupancy background onthe various residents is provided. This thesis provides a general analysis of the 10,609 artifacts andtheir associated provenience. This thesis is a cautionary tale for historic archaeologistsworking on domestic sites. -
From Olaus Magnus to Carl Reinhold Berch: on the Background of Swedish Marine Archaeology and Ship Archaeology in the History of Ideas Cederlund, Carl Olof
www.ssoar.info From Olaus Magnus to Carl Reinhold Berch: on the background of Swedish marine archaeology and ship archaeology in the history of ideas Cederlund, Carl Olof Veröffentlichungsversion / Published Version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Cederlund, C. O. (2002). From Olaus Magnus to Carl Reinhold Berch: on the background of Swedish marine archaeology and ship archaeology in the history of ideas. Deutsches Schiffahrtsarchiv, 25, 63-85. https://nbn- resolving.org/urn:nbn:de:0168-ssoar-59728-6 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under Deposit Licence (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, non- Gewährt wird ein nicht exklusives, nicht übertragbares, transferable, individual and limited right to using this document. persönliches und beschränktes Recht auf Nutzung dieses This document is solely intended for your personal, non- Dokuments. Dieses Dokument ist ausschließlich für commercial use. All of the copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the above-stated vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder conditions of use. -
Signs and Symbols Represented in Germanic, Particularly Early Scandinavian, Iconography Between the Migration Period and the End of the Viking Age
Signs and symbols represented in Germanic, particularly early Scandinavian, iconography between the Migration Period and the end of the Viking Age Peter R. Hupfauf Thesis submitted for the degree of Doctor of Philosophy, University of Sydney, 2003 Preface After the Middle Ages, artists in European cultures concentrated predominantly on real- istic interpretations of events and issues and on documentation of the world. From the Renaissance onwards, artists developed techniques of illusion (e.g. perspective) and high levels of sophistication to embed messages within decorative elaborations. This develop- ment reached its peak in nineteenth century Classicism and Realism. A Fine Art interest in ‘Nordic Antiquity’, which emerged during the Romantic movement, was usually expressed in a Renaissance manner, representing heroic attitudes by copying Classical Antiquity. A group of nineteenth-century artists, including Dante Gabriel Rossetti, Holman Hunt and Everett Millais founded the Pre-Raphaelite Brotherhood. John Ruskin, who taught aesthetic theory at Oxford, became an associate and public defender of the group. The members of this group appreciated the symbolism and iconography of the Gothic period. Rossetti worked together with Edward Burne-Jones and William Morris. Morris was a great admirer of early Scandinavian cultures, and his ideas were extremely influential for the development of the English Craft Movement, which originated from Pre-Raphaelite ideology. Abstraction, which developed during the early twentieth century, attempted to communicate more directly with emotion rather then with the intellect. Many of the early abstract artists (Picasso is probably the best known) found inspiration in tribal artefacts. However, according to Rubin (1984), some nineteenth-century primitivist painters appreciated pre-Renaissance European styles for their simplicity and sincerity – they saw value in the absence of complex devices of illusio-nist lighting and perspective. -
A Typological Assessment of Anchors Used in Northern Europe During the Early and High Middle Ages, CE 750 - 1300
A Typological Assessment of Anchors used in Northern Europe During the Early and High Middle Ages, CE 750 - 1300 Daniel Claggett A thesis submitted in partial fulfillment of the requirements for the degree of Masters of Maritime Archaeology. College of Humanities, Arts and Social Sciences Flinders University of South Australia 2017 Contents List of Figures .......................................................................................................................................... 3 List of Tables ........................................................................................................................................... 7 Abstract ................................................................................................................................................... 8 Acknowledgements ................................................................................................................................. 9 Declaration of Candidate ...................................................................................................................... 10 1. Introduction .................................................................................................................................. 11 1.1 Aims............................................................................................................................................. 12 1.2 Project Rationale and Significance .............................................................................................. 13 1.3 Study -
Constructing Identities Structure and Practice in the Early Bronze Age – Southwest Norway
AmS-Varia 60 Arkeologisk museum, Universitetet i Stavanger Museum of Archaeology, University of Stavanger Constructing identities Structure and practice in the Early Bronze Age – Southwest Norway Knut Ivar Austvoll Stavanger 2019 AmS-Varia 60 Arkeologisk museum, Universitetet i Stavanger Museum of Archaeology, University of Stavanger Redaksjon/Editorial office: Arkeologisk museum, Universitetet i Stavanger Museum of Archaeology, University of Stavanger Redaktør av serien/Editor of the series: Kristin Armstrong Oma Redaktør av dette volumet/Editors of this volume: Kristin Armstrong Oma og/and Lisbeth Prøsch-Danielsen Formgiving/Layout: Ingund Svendsen Redaksjonsutvalg/Editorial board: Kristin Armstrong Oma (leder/chief editor) Wenche Brun Lisbeth Prøsch-Danielsen Ingund Svendsen Linn Lillian Eikje Ramberg Utgiver/Publisher: Arkeologisk museum, Universitetet i Stavanger Museum of Archaeology, University of Stavanger N-4036 Stavanger, Norway Tel.: (+47) 51 83 26 00 E-mail: [email protected] arkeologisk.museum.no ISSN 0332-6306 ISBN 978-82-7760-184-7 Opplag/Printed editions: 200 Stavanger 2019 © Arkeologisk museum, Universitetet i Stavanger. Alt innhold er opphavsrettslig beskyttet. Gjengivelse eller formidling av hele eller deler av denne boken, elektronisk, mekanisk eller annen metode kjent eller senere utviklet, er ikke tillatt uten skriftlig tillatelse fra forlaget. Dette inkluderer fotokopi, opptak, lydopptak, eller i lagrings- og gjenfinningssystemer. © Museum of Archaeology, University of Stavanger. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publisher. Forsidefoto/Front cover photo: Terje Tveit. -
The Edkits and Inquiry-Based Learning: What, Why and How? What: Effective Inquiry Involves More Than Just Asking Questions
The EdKits and Inquiry-based Learning: What, Why and How? What: Effective inquiry involves more than just asking questions. When students work to convert information and data into useful knowledge, it involves a complex process. The successful application of inquiry learning involves several factors: - a context for questions - a framework for questions - a focus for questions - different levels of questions Well-designed inquiry learning results in the formation of knowledge that can be widely applied and appreciated by the student. Why: Memorizing facts and information is no longer as important a skill as it once was in our world. Facts change, and information is readily available through a wide variety of media; what today’s student must do is learn how to retrieve, organize and identify patterns in the mass of data. Students must extend themselves beyond mass data and information accumulation and move toward creating useful and applicable knowledge. This process is aided and supported by inquiry learning. Through the process of inquiry, students construct much of their understanding of the world, both natural and human-designed, past and present. Inquiry implies a "need or want to know" premise. The content of particular disciplines is very important, but as a means to an end, rather than as an end in itself. The knowledge base for disciplines is constantly expanding and changing. History as a discipline is no exception. Inquiry is not so much seeking the correct answer, because often there is none. Instead, inquiry seeks appropriate resolutions to questions and issues. How: Although questioning and searching for answers are extremely important parts of inquiry, there must be a conceptual context for learning.