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Ritual Landscapes and Borders Within Rock Art Research Stebergløkken, Berge, Lindgaard and Vangen Stuedal (Eds)
Stebergløkken, Berge, Lindgaard and Vangen Stuedal (eds) and Vangen Lindgaard Berge, Stebergløkken, Art Research within Rock and Borders Ritual Landscapes Ritual Landscapes and Ritual landscapes and borders are recurring themes running through Professor Kalle Sognnes' Borders within long research career. This anthology contains 13 articles written by colleagues from his broad network in appreciation of his many contributions to the field of rock art research. The contributions discuss many different kinds of borders: those between landscapes, cultures, Rock Art Research traditions, settlements, power relations, symbolism, research traditions, theory and methods. We are grateful to the Department of Historical studies, NTNU; the Faculty of Humanities; NTNU, Papers in Honour of The Royal Norwegian Society of Sciences and Letters and The Norwegian Archaeological Society (Norsk arkeologisk selskap) for funding this volume that will add new knowledge to the field and Professor Kalle Sognnes will be of importance to researchers and students of rock art in Scandinavia and abroad. edited by Heidrun Stebergløkken, Ragnhild Berge, Eva Lindgaard and Helle Vangen Stuedal Archaeopress Archaeology www.archaeopress.com Steberglokken cover.indd 1 03/09/2015 17:30:19 Ritual Landscapes and Borders within Rock Art Research Papers in Honour of Professor Kalle Sognnes edited by Heidrun Stebergløkken, Ragnhild Berge, Eva Lindgaard and Helle Vangen Stuedal Archaeopress Archaeology Archaeopress Publishing Ltd Gordon House 276 Banbury Road Oxford OX2 7ED www.archaeopress.com ISBN 9781784911584 ISBN 978 1 78491 159 1 (e-Pdf) © Archaeopress and the individual authors 2015 Cover image: Crossing borders. Leirfall in Stjørdal, central Norway. Photo: Helle Vangen Stuedal 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. -
Forgotten Crocodile from the Kirtland Formation, San Juan Basin, New
posed that the narial cavities of Para- Wima1l- saurolophuswere vocal resonating chambers' Goniopholiskirtlandicus Apparently included with this material shippedto Wiman was a partial skull that lromthe Wiman describedas a new speciesof croc- forgottencrocodile odile, Goniopholis kirtlandicus. Wiman publisheda descriptionof G. kirtlandicusin Basin, 1932in the Bulletin of the GeologicalInstitute KirtlandFormation, San Juan of IJppsala. Notice of this specieshas not appearedin any Americanpublication. Klilin NewMexico (1955)presented a descriptionand illustration of the speciesin French, but essentially repeatedWiman (1932). byDonald L. Wolberg, Vertebrate Paleontologist, NewMexico Bureau of lVlinesand Mineral Resources, Socorro, NIM Localityinformation for Crocodilian bone, armor, and teeth are Goni o p holi s kir t landicus common in Late Cretaceous and Early Ter- The skeletalmaterial referred to Gonio- tiary deposits of the San Juan Basin and pholis kirtlandicus includesmost of the right elsewhere.In the Fruitland and Kirtland For- side of a skull, a squamosalfragment, and a mations of the San Juan Basin, Late Creta- portion of dorsal plate. The referral of the ceous crocodiles were important carnivores of dorsalplate probably represents an interpreta- the reconstructed stream and stream-bank tion of the proximity of the material when community (Wolberg, 1980). In the Kirtland found. Figs. I and 2, taken from Wiman Formation, a mesosuchian crocodile, Gonio- (1932),illustrate this material. pholis kirtlandicus, discovered by Charles H. Wiman(1932, p. 181)recorded the follow- Sternbergin the early 1920'sand not described ing locality data, provided by Sternberg: until 1932 by Carl Wiman, has been all but of Crocodile.Kirtland shalesa 100feet ignored since its description and referral. "Skull below the Ojo Alamo Sandstonein the blue Specimensreferred to other crocodilian genera cley. -
The Reception of Palaeolithic Art at the Turn of the Twentieth Century: Between Archaeology and Art History
The reception of Palaeolithic art at the turn of the twentieth century: between archaeology and art history Oscar Moro Abadía If I am asked to define any further what I mean by ‘the primitive’ I must refer the reader to the pages of this book, which will show that the term was associated in its time with early Greek vases, with quattrocento painting and with tribal art.1 These words by Ernst Gombrich summarize some of the main meanings associated with the term ‘primitive’ in the field of art history. In its original sense, the word refers to a movement of taste that, in the story of art, runs parallel to the progress towards naturalism. According to Gombrich, while art history may be described as the story of how ‘the artist got better and better in the imitation of nature’,2 there have been a number of artistic movements that have called for a deliberate abandonment of classical standards.3 This ‘preference for the primitive’ has been expressed in ‘the revulsion from that very perfection that art had been said to aim at’.4 During the last years of the nineteenth century, the theory of evolution ‘gave a new meaning to the term ‘primitive’ which […] came to denote the beginnings of human civilization’.5 As a result of this development, the term ‘primitive art’ was incorporated into art historians’ vocabulary to refer to a set of non-Western arts coming from Africa, America and Oceania.6 At the beginning of the twentieth century, ‘primitive art’ was used interchangeably with terms such as ‘savage art’, ‘tribal art’ and ‘art nègre’.7 Since then, the label has been intensively criticized for Acknowledgements. -
Brains and Intelligence
BRAINS AND INTELLIGENCE The EQ or Encephalization Quotient is a simple way of measuring an animal's intelligence. EQ is the ratio of the brain weight of the animal to the brain weight of a "typical" animal of the same body weight. Assuming that smarter animals have larger brains to body ratios than less intelligent ones, this helps determine the relative intelligence of extinct animals. In general, warm-blooded animals (like mammals) have a higher EQ than cold-blooded ones (like reptiles and fish). Birds and mammals have brains that are about 10 times bigger than those of bony fish, amphibians, and reptiles of the same body size. The Least Intelligent Dinosaurs: The primitive dinosaurs belonging to the group sauropodomorpha (which included Massospondylus, Riojasaurus, and others) were among the least intelligent of the dinosaurs, with an EQ of about 0.05 (Hopson, 1980). Smartest Dinosaurs: The Troodontids (like Troödon) were probably the smartest dinosaurs, followed by the dromaeosaurid dinosaurs (the "raptors," which included Dromeosaurus, Velociraptor, Deinonychus, and others) had the highest EQ among the dinosaurs, about 5.8 (Hopson, 1980). The Encephalization Quotient was developed by the psychologist Harry J. Jerison in the 1970's. J. A. Hopson (a paleontologist from the University of Chicago) did further development of the EQ concept using brain casts of many dinosaurs. Hopson found that theropods (especially Troodontids) had higher EQ's than plant-eating dinosaurs. The lowest EQ's belonged to sauropods, ankylosaurs, and stegosaurids. A SECOND BRAIN? It used to be thought that the large sauropods (like Brachiosaurus and Apatosaurus) and the ornithischian Stegosaurus had a second brain. -
The Dates of the Discovery of the First Peking Man Fossil Teeth
The Dates of the Discovery of the First Peking Man Fossil Teeth Qian WANG,LiSUN, and Jan Ove R. EBBESTAD ABSTRACT Four teeth of Peking Man from Zhoukoudian, excavated by Otto Zdansky in 1921 and 1923 and currently housed in the Museum of Evolution at Uppsala University, are among the most treasured finds in palaeoanthropology, not only because of their scientific value but also for their important historical and cultural significance. It is generally acknowledged that the first fossil evidence of Peking Man was two teeth unearthed by Zdansky during his excavations at Zhoukoudian in 1921 and 1923. However, the exact dates and details of their collection and identification have been documented inconsistently in the literature. We reexamine this matter and find that, due to incompleteness and ambiguity of early documentation of the discovery of the first Peking Man teeth, the facts surrounding their collection and identification remain uncertain. Had Zdansky documented and revealed his findings on the earliest occasion, the early history of Zhoukoudian and discoveries of first Peking Man fossils would have been more precisely known and the development of the field of palaeoanthropology in early twentieth century China would have been different. KEYWORDS: Peking Man, Zhoukoudian, tooth, Uppsala University. INTRODUCTION FOUR FOSSIL TEETH IDENTIFIED AS COMING FROM PEKING MAN were excavated by palaeontologist Otto Zdansky in 1921 and 1923 from Zhoukoudian deposits. They have been housed in the Museum of Evolution at Uppsala University in Sweden ever since. These four teeth are among the most treasured finds in palaeoanthropology, not only because of their scientific value but also for their historical and cultural significance. -
Palaeolithic Continental Europe
World Archaeology at the Pitt Rivers Museum: A Characterization edited by Dan Hicks and Alice Stevenson, Archaeopress 2013, page 216-239 10 Palaeolithic Continental Europe Alison Roberts 10.1 Introduction The collection of Palaeolithic material from Continental Europe in the Pitt Rivers Museum (PRM) is almost of equivalent size to the collection from the British Isles (see Chapter 9), but is not nearly as well known or as well published. It consists mainly of material from France that seems to have been an under-acknowledged highlight of the PRM archaeological collections for most of the 20th century. Despite the obvious care with which French Palaeolithic material was acquired by the museum, especially during the curatorship of Henry Balfour, the collection has mainly been used for teaching and display, rather than as a research resource. Due to the historic lack of work on the collection so far, this chapter presents a preliminary overview, to orient and inform future research, rather than a full account of the collections. The exact numbers of Palaeolithic objects from Europe are difficult to state with certainty due to factors such as unquantified batch registration of groups of objects in the past, and missing or incorrect cultural attributions in the documentation. However, it is estimated that there are c. 3,760 Palaeolithic objects from continental Europe in the PRM, c. 534 of which are from the founding collection of the PRM (PRMFC)(1). The majority of the material comprises c. 3,585 objects from France (Figure 10.1), with smaller collections from Belgium (c. 63 objects), Italy (c. -
Bataille Looking 125
NOLAND / bataille looking 125 Bataille Looking Carrie Noland “Dans ce livre, j’ai voulu montrer . .” MODERNISM / modernity Georges Bataille’s Lascaux, ou la naissance de l’art (Lascaux, VOLUME ELEVEN, NUMBER or the Birth of Art) is a commissioned work.1 And, like all com- ONE, PP 125–160. missioned works, Lascaux bears the scars of compromise. To a © 2004 THE JOHNS reader well-versed in Bataille’s major works of the 1930s, how- HOPKINS UNIVERSITY PRESS ever, the large-format, lushly illustrated volume of 1955 appears almost lacerated, a patchwork of textual summaries (of Johan Huizinga’s Homo Ludens and Roger Caillois’s L’Homme et le sacré, for instance) roughly stitched together at the seams. Bataille seems to have set himself the ambitious task of fitting all the pieces together, reconciling a generation of speculations on Paleolithic image-making with his own already well-devel- oped theories on the implication of art in religious action. Many of Bataille’s most faithful readers have found his study of “pre- historic art” disappointing, signaling a “retrenchment” rather than an advance.2 In Jay Caplan’s words, Bataille’s arguments in Lascaux are all too “familiar,”3 while for Michel Surya the work as a whole is “of less interest” than the contemporaneous La Carrie J. Noland is 4 souveraineté (1954) or Ma mère (1955). Associate Professor of In contrast, I will argue here that Lascaux is indeed a signifi- French at the University cant book, not only in its own right but also as a precursor to of California, Irvine. -
Historiographical Approaches to Past Archaeological Research
Historiographical Approaches to Past Archaeological Research Gisela Eberhardt Fabian Link (eds.) BERLIN STUDIES OF THE ANCIENT WORLD has become increasingly diverse in recent years due to developments in the historiography of the sciences and the human- ities. A move away from hagiography and presentations of scientifi c processes as an inevitable progression has been requested in this context. Historians of archae- olo gy have begun to utilize approved and new histo- rio graphical concepts to trace how archaeological knowledge has been acquired as well as to refl ect on the historical conditions and contexts in which knowledge has been generated. This volume seeks to contribute to this trend. By linking theories and models with case studies from the nineteenth and twentieth century, the authors illuminate implications of communication on archaeological knowledge and scrutinize routines of early archaeological practices. The usefulness of di erent approaches such as narratological concepts or the concepts of habitus is thus considered. berlin studies of 32 the ancient world berlin studies of the ancient world · 32 edited by topoi excellence cluster Historiographical Approaches to Past Archaeological Research edited by Gisela Eberhardt Fabian Link Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliographie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de. © 2015 Edition Topoi / Exzellenzcluster Topoi der Freien Universität Berlin und der Humboldt-Universität zu Berlin Typographic concept and cover design: Stephan Fiedler Printed and distributed by PRO BUSINESS digital printing Deutschland GmbH, Berlin ISBN 978-3-9816384-1-7 URN urn:nbn:de:kobv:11-100233492 First published 2015 The text of this publication is licensed under Creative Commons BY-NC 3.0 DE. -
The Case of La Marche (Lussac-Les-Châteaux, Vienne)1
Open Archaeology 2018; 4: 239–261 Original Study Simone Chisena*, Christophe Delage On the Attribution of Palaeolithic Artworks: The Case of La Marche (Lussac-les-Châteaux, Vienne)1 https://doi.org/10.1515/opar-2018-0015 Received April 29, 2017; accepted December 12, 2017 Abstract: In this paper, we have explored the possibility of assigning the humanthemed engravings from La Marche to their authors, according to the method outlined by J.M. Apellaniz in the 1980s. The method employed here follows the first of the three stages postulated by Apellaniz: macroscopic observation, microscopic analysis and experimental protocol. From our study emerged a pattern of five groups and sixteen hands at work in this site. We believe, therefore, that it is possible to speak of La Marche as an “art workshop”, where portable art was produced and taught. Keywords: Magdalenian art; portable art; La Marche; authorship; attribution 1 Introduction The cave of La Marche, located in the town of Lussac-les-Châteaux in the French Département of Vienne (France), is by far one of the most intriguing portable prehistoric art discoveries of the 20th century. What makes this site outstanding in the European panorama is not just the amount of mobile art items (more than 3,000 engraved stones) but the fact that, out of these, numerous human representations may be encountered; so far, the largest concentration of human individual depictions in the whole Upper Palaeolithic in Europe. In this paper, we focused on the human-themed engravings from La Marche, followed the lines traced on the plaquettes and boulders to read the portraits’ outlines and, by applying a variation of the method devised by J.M. -
Ibex Images from the Magdalenian Culture
Ibex Images from the Magdalenian Culture ANDREA CASTELLI University of Perugia (Italy) graduate in Natural Sciences; based in Rome, ITALY; [email protected] ABSTRACT This work deals with a set of images created during the Magdalenian period of Western Europe, part of what is known as Upper Paleolithic or prehistoric “art.” The set includes 95 images depicting four species: chamois, Py- renean ibex, Alpine ibex, and saiga antelope. A selection of previously published image descriptions are collected here, and revised and extended with reference to current naturalistic knowledge. In 48 of the images studied, the image-makers selectively depicted seasonal characters and behaviors, as first remarked by Alexander Marshack for images of all subjects, but 41 ibex and saiga antelope images reveal a focus on selected horn features—winter rings and growth rings—which are unique to these two subjects and first remarked here. These are not seasonal characters but are still closely related to the passage of time and may have been used as a visual device to keep track of solar years, elapsed or to come. Revealing similar concerns by the image-makers, and the same creative way of using images from the natural world surrounding them, this new theory can be seen as complementary to the seasonal meaning theory, of which a brief historical account is included here. The careful study of selected images and image associations also led to the finding, in line with recent paleobiogeographical data, that the Py- renean ibex was the most frequently—if not the only—ibex species depicted by the image-makers, as a rule in its winter coat. -
Science and Belief in the Construction of the Concept of Paleolithic Religion
Science and Belief in the construction of the concept of Paleolithic Religion Ciencia y creencia en la construcción del concepto de religión paleolítica Eduardo PALACIO-PÉREZ Instituto Internacional de Investigaciones Prehistóricas de Cantabria Edificio Interfacultativo de la Universidad de Cantabria, 39005 Santander [email protected] Recibido: 04-12-2013 Aceptado: 01-09-2013 ABSTRACT The study of prehistory established itself as a scientific discipline during the second half of the nineteenth century. The main issues discussed by this new science centered on the origins of humankind, society, technology, art and religion; this intellectual process of the creation of ideas, concepts and categories was projected on the archaeological finds. When archaeological evidence was found that could be interpreted as proof of the existence of religious beliefs in Pa- leolithic times, there were various reactions and interpretations among prehistorians. The clash between evolutionism and the Judeo-Christian religious tradition was a key element in the development of these different discourses; these two viewpoints implied opposite ways of thinking about human nature. This paper discusses this diversity of narratives, specifically in the context of France, through the contributions of four authors, each with different ideologies and socio- political circumstances: Gabriel de Mortillet, Émile Cartailhac, Salomon Reinach and Henri Breuil. KEY WORDS: Prehistory. Science. Religion. Mortillet. Cartailhac. Reinach. Breuil. RESUMEN La prehistoria nació y se estableció como una disciplina científica durante la segunda mitad del siglo XIX. Esta nueva ciencia desencadenó intensos debates sobre los orígenes de la humanidad, la sociedad, la tecnología, el arte y la religión. Numerosas ideas, conceptos y categorías fueron proyectadas sobre los restos arqueológicos. -
Non-Figurative Cave Art in Northern Spain
THE CAVES OF CANTABRIA: NON-FIGURATIVE CAVE ART IN NORTHERN SPAIN by Dustin Riley A thesis submitted To the School of Graduate Studies in partial fulfllment of the requirments for the degree of Master of Arts, Department of Archaeology Memorial University of Newfoundland January, 2017 St. John’s Newfoundland and Labrador Abstract This project focuses on non-figurative cave art in Cantabrian (Spain) from the Upper Palaeolithic (ca. 40,000-10,000). With more than 30 decorated caves in the region, it is one of the world’s richest areas in Palaeolithic artwork. My project explores the social and cultural dimensions associated with non-figurative cave images. Non-figurative artwork accounts for any image that does not represent real world objects. My primary objectives are: (1) To produce the first detailed account of non-figurative cave art in Cantabria; (2) To examine the relationships between figurative and non-figurative images; and (3) To analyse the many cultural and symbolic meanings associated to non- figurative images. To do so, I construct a database documenting the various features of non-figurative imagery in Cantabria. The third objective will be accomplished by examining the cultural and social values of non-figurative art through the lens of cognitive archaeology. ii Acknowledgements I would like to thank and express my gratitude to the members of the Department of Archaeology at Memorial University of Newfoundland and Labrador for giving me the opportunity to conduct research and achieve an advanced degree. In particular I would like to express my upmost appreciation to Dr. Oscar Moro Abadía, whose guidance, critiques, and continued support and confidence in me aided my development as a student and as a person.