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Signs of Place. a Visual Interpretation of Landscapes 69 Signs of Place Rebecca Döhl Julian Jansen van Rensburg (eds.) Döhl / Jansen van Rensburg (eds.) Signs of Place of Signs (eds.) Rensburg van Jansen / Döhl BERLIN STUDIES OF THE ANCIENT WORLD people have created place from within space by using an array of di erent types of signs in a multitude of di erent environments. Signs that can give insights into the very di erent ways in which ancient people have interacted with their natural surroundings and how they included it into their social and ideological realms. Within this volume we focus on di erent implementations of the concept of signs and place and the broad fi eld of meanings, associations, and defi nitions these interrelated terms cover. In so doing, the papers in this volume explore how di erent kinds of visual signs were positioned within the physical and morphological features of the landscape; how the land- scape was chosen or modifi ed to accommodate them; what value or information these signs provided for the place in which they were created; and how they have been socially, culturally, and spiritually appropriated over time. berlin studies of 69 the ancient world berlin studies of the ancient world · 69 edited by topoi excellence cluster Signs of Place a visual interpretation of landscape edited by Rebecca Döhl Julian Jansen van Rensburg Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliographie; detailed bibliographic data are available on the Internet at http://dnb.d-nb.de. © 2019 Edition Topoi / Exzellenzcluster Topoi der Freien Universität Berlin und der Humboldt-Universität zu Berlin Cover image: The island of Soqotra, Yemen: a superterrenean and subterranean karstic landscape of signs (Photo: J. Jansen van Rensburg). Design concept: Stephan Fiedler Printed and distributed by PRO BUSINESS digital printing Deutschland GmbH, Berlin ISBN 978-3-9820670-2-5 ISSN (Print) 2366-6641 ISSN (Online) 2366-665X DOI 10.17171/3-69 First published 2019 Published under Creative Commons Licence CC BY-NC 3.0 DE. For the terms of use of third party content, please see the reference list. www.edition-topoi.org CONTENTS rebecca döhl, julian jansen van rensburg Signs of Place – A Visual Interpretation of Landscape — 7 SIGNS AND NATURAL SPATIALITY rebecca döhl Rock Art in the Eastern Desert of Egypt – What a Spatial Approach Can Tell Us — 17 julian jansen van rensburg Sacred Cavescapes of Socotra — 43 SIGNS IN BUILT SPACES tim karberg Pictographic Mason Marks from Musawwarat es Sufra and Their Internal Spatial Distribution Patterns — 65 SIGNS, PLACE, AND ELITES lana radloff ‘Placing’ a Maritime Territory at Hellenistic Miletos — 99 kristian lorenzo Post-Actium Place Making: Octavian and the Ambracian Gulf — 121 aynur-michèle-sara karatas Rock-Cut Sanctuaries of Demeter and the Cultic Significance of Rocky Outcrops for the Cult of Demeter — 145 nelson henrique da silva ferreira The Traditional Linguistic Thought Manifested in Transversal Cultural Signs: Some Sumerian and Latin References for the Symbolic Meanings of the Riverine Landscape and the Metaphors of the Flood — 167 SIGNS, PLACE, AND TIME sanja savkic The Appropriation of Space and Time through the Built Environment: The Case of the Las Pinturas Group at San Bartolo, Guatemala — 185 eugen s. teodor, dan ștefan Trajan’s Road: A Timeless Sign of the Romanian Plain — 201 Rebecca Döhl, Julian Jansen van Rensburg Signs of Place – A Visual Interpretation of Landscape Summary The use of signs to create place is widely known and has been in use for millennia. Within this volume we focus on the concept of signs and the place they form as interrelated terms that cover a broad field of meanings, associations, and definitions. In doing so, through the papers in this volume we explore how different kinds of visual signs were positioned within the physical and morphological features of the landscape; how the landscape was chosen or modified to accommodate them; what value or information these signs provided for the place in which they were created; and how they have been socially, culturally, and spiritually appropriated over time. Keywords: Landscape archaeology; visual signs; place; space; appropriation Die Verwendung von Zeichen, um aus dem einfachen Raum einen Ort zu erschaffen, ist eine Praxis, die bereits lange bekannt ist und seit Jahrtausenden ausgeübt wurde. In diesem Band konzentrieren wir uns auf das Konzept der Zeichen und der von ihnen geformten Orte als wechselseitigem Begriff, der ein weites Feld an Bedeutungen, Assoziationen und Definitionen abdeckt. In diesem Sinne erforschen wir, durch die Artikel in diesem Band, wie verschiedene Arten von visuellen Zeichen in die physischen und morphologischen Ge- gebenheiten der Landschaft gesetzt wurden; wie die Landschaft ausgewählt oder verändert wurde, um sich den diversen Anforderungen anzupassen; welchen Wert diese Zeichen für den Ort, den sie mitschufen, darstellten oder welche Informationen sie lieferten, und wie ihre soziale, kulturelle und geistige Verwendung durch die verschiedenen Zeitstufen aussah. Keywords: Landschaftsarchäologie; visuelle Zeichen; Ort; Raum; Aneignung Rebecca Döhl and Julian Jansen van Rensburg (eds.) | Signs of Place: A Visual Interpretation of Landscape | Berlin Studies of the Ancient World 65 (ISBN 978-3-9820670-2-5; DOI 10.17171/3-69) | www.edition-topoi.org 7 rebecca döhl, julian jansen van rensburg 1 Introduction The ‘signing’ of landscape and with it the act of ‘place making’ is a practice that is widely known and has been in use for millennia. Nonetheless, it functions as a means, which can provide insights into the different behaviors ancient people had towards their natu- ral surroundings and how they included these surroundings into their social and ideo- logical realms. In the workshop “Signs of Place – A Visual Interpretation of a Landscape” held at TOPOI in 2016, we aimed to address these challenges. We thereby focused on two aspects: the spatial aspect and the usage of visual signs, whereby both designations cover a broad field of meanings, associations, and defini- tions. We intended to use these different concepts as a background against which to explore how different kinds of visual signs were positioned within the physical and morphological features of the landscape; how the landscape was chosen or modified to accommodate them; what value or information these signs provided for the place in which they were created; and how they have been socially, culturally, and spiritually appropriated over time. Apart from that, some theoretical thoughts had to be posed in the beginning. Since at least the 1990s, space has not been recognized as a given, but rather as a differently realized social construction.1 Space is thus a meaningful, humanly interpreted space, which in many cases is not changed solely on the basis of human use but is also sub- ject to socially significant changes as a social-symbolic space. This constructed space encompasses all areas of conscious human involvement, whether physical, emotional, or ideological. Furthermore, the action-centered perspective of space concludes that the constitutions of the spaces are different depending on the underlying principles ofac- tion and practices. Therefore, by going beyond the limits of seeing place as small, culturally significant locales within a specific temporal setting, we explore how place has been subject to temporal, social, and ideological changes brought upon by the appropriation of visual signs by specific cultures that prevailed in various regions at different times. In many cases, this construction can be grasped physically, and the form of this physicality itself can again be taken as a hint about underlying social or ideological structures. This part of the visible interaction is what landscape archaeology has aimed to comprehend since the twentieth century. It has become clear that to achieve this, the basic concepts of place and space need to be continually challenged at different scales of analysis and in varying contexts if we are to fully grasp their meaning. This is especially true for studies into prehistoric and non-literate societies, where being able to decipher the interaction between people and landscape still poses methodological challenges. 1 Werlen 1993, 152. 8 signs of place – a visual interpretation of landscape What can be seen, for example, is that there is a strong difference between the kind of interaction between groups and their surrounding landscape based on their grade of mobility. While mobile groups tend to alter their surrounding landscape only slightly through physical acts, sedentary societies rely heavily on this physical intervention. As Bradley has already shown, it was often monuments that were used to establish or high- light an important space, therefore, transforming it into a place.2 For mobile people, these kinds of buildings usually take a more natural, less artificial form and are more integrated within the natural elements of the surrounding environment. Place making, whether by adding distinct features, such as the construction of a monument or the assignment of meaning by the application of signs of a less impressive nature such as an expression of the relationship between man and the landscape within which he operates, is also addressed in this volume. It is primarily a question of turning towards those signs whose information transmission is visual. The rather broad term ‘visual signs’ was consciously chosen to include every means of visual marking or transformation of the environment that includes, but is not limited to, rock art, architecture, and modified and anomalous natural features. In this case, we apply the rather broad term of signs that aligns with Charles S. Peirce, including all kinds of meaning making that contributes to building the process of signifying.3 Based on Peirce, all objects can thus be interpreted as signs that transmit information within a communication act. This definition opens up a broad horizon and various possibilities for concrete implementation, as the present volume hopes to show.
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