DOCSLIB.ORG

FROM ARTIFACT to ICON: an Analysis of the Venus Figurines in Archaeological Literature and Contemporary Culture

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
FROM ARTIFACT to ICON: an Analysis of the Venus Figurines in Archaeological Literature and Contemporary Culture Durham E-Theses From artifact to icon: an analysis of the Venus gurines in archaeological literature and contemporary culture Lander, Louise Muriel How to cite: Lander, Louise Muriel (2005) From artifact to icon: an analysis of the Venus gurines in archaeological literature and contemporary culture, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/3027/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 FROM ARTIFACT TO ICON: An Analysis of the Venus Figurines in Archaeological Literature and Contemporary Culture Volume 5 of5 Louise Muriel Lander A Thesis Submitted for the Degree of Doctor of Philosophy University of Durham Department of Archaeology 2004 A copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. ~ 3 JUN 2005 CONTENTS VOLUMES APPENDIX C: TABLES 465 BIBLIOGRAPHY 521 DIRECTORY OF WEBSITES/PATHS 546 Table 1 FIGURINES REFERRED TO IN DISCUSSIONS OF VENUS FIGURINES IN THE ARCHAEOLOGICAL LITERATURE FIGURE I VENUS FEMME AU TROU LE BUSTE BRNO LA POIRE L'EBAUCHE LE MANCHE LA IMPVDIQUE RENNE MAGRITE DU FEMME DE POIGNARD FILLETTE ILLUSTRATION I ~; • ~ ~~t :~ rf.,'1 w··. ~ ~ ~1(~ '47.1\ ~ I ~ ~ ( DATE OF Unknown, 1860's 1867 1888 1891 1892 1892 1894 1894 DISCOVERY around 1864 FIRST Breuil 1907 Piette 1895 Dupont 1872 Piette 1888 Makowsky 1892 Piette 1893 Piette 1893 Piette 1895 Piette 1895 PUBLICATION FINDSPOT Laugerie-Basse; Laugerie-Basse; Trou Magrite; Le Mas d' Azil; Francouzska Grotte du Grotte du Grotte du Pape, Grotte du discovered by the found by !'Abbe third ossified Piette only states Street, Brno; in Pape, Pape, Brassempouy; Pape, Marquis de Vibraye. Landesque layer that it was found male grave Brassempouy; Brassempouy; left part of the Brassempouy; Nothing further is during the right side of right part of avenue left side of known of the course of cave, near the cave avenue circumstances of excavations wall discovery CONTEXT I Nothing known of Unknown Layer attributed Unspecified Burial; male Layer£, Layer£, Layer£, Layer£, the stratigraphic to Upper skeleton, grave accompanied accompanied accompanied by accompanied position of the Palaeolithic, goods, by Upper by Upper Upper by Upper figure containing decorative Perigordian/ Perigordian/ Perigordian/ Perigordian/ Aurignacian and objects and a Gravettian Gravettian Gravettian Gravettian Gravettian types marnmoth industry industry industry industry shoulder blade AGE/ Site considered Site considered Possibly Site considered Pavlovian or Considered Considered Considered Considered ATTRIBUTION Magdalenian Magdalenian Gravettian Magdalenian IV Gravettian Gravettian Gravettian Gravettian Gravettian PRESENT First known Considered Gravettian Considered Now considered Considered Considered Considered Considered STANDING Palaeolithic Magdalenian; attribution not Magdalenian; Gravettian; Gravettian; Gravettian; Gravettian; Gravettian; statuette. not included in certain; not not included in possibly male; Brassempouy Brassempouy Brassempouy Brassempouy Considered later discussions included in later later discussions figure excluded figures figures figures included figures Magdalen ian; not of Venus discussions of of Venus from Gamble included in all included in all in all included in all included in later figuri nes Venus figurines figurines (1982) and discussions of discussions of discussions of discussions of discussions of McDermott Venus Venus Venus figurines Venus Venu s figurines ( !996) analyses figurines figurines figurines 465 Table 1 FIGURINES REFERRED TO IN DISCUSSIONS OF VENUS FIGURINES IN THE ARCHAEOLOGICAL LITERATURE FIGURE I FIGURINE A FIGURINE A TETE A LA EBAUCHE DE LE TORSE PREDMOSTI PREDMOSTI PREDMOSTI PREDMOSTI LA CEINTURE LA PELERINE CAPUCHE POUPEE STATUETTE STATUETTE STATUETTE STATUETTE ILLUSTRATION I & ~ ~ ~ ~ ~ Th DATE OF 1894 1894 Unknown 1896 c. l894 c. l894 c. l894 c. 1894 DISCOVERY FIRST Piette 1895 Piette 1895 Piette 1895 Piette 1907 Piette and de I Breuil 1924 I Breuil 1924 I Breuil 1924 I Breuil 1924 PUBLICATION Laporterie 1897 FINDSPOT Grotte du Pape, Grotte du Pape, Grotte du Pape, Grotte du Pape, Grotte du Pape, I Predmosti; I Predmosti; I Predmosti; I Predmosti; Brassempouy; Brassempouy; Brassempouy; Brassempouy. Brassempouy; unspecified Unspecified Unspecified unspecified right side, near next to the left side of 20 metres from entrance figurine a la avenue entrance I ceinture CONTEXT I Layer£, Layer£, Layer£, Unspecified by Layer£, I Unspecified I Unspecified I Unspecified I Unspecified accompanied by accompanied by accompanied by Piette accompanied by Upper Upper Upper Upper Perigordian/ Perigordian/ Perigordianl Perigordian/ Gravettian Gravettian Gravettian Gravettian industry industry industry industry AGE/ Considered Considered Considered Considered Considered Gravettian; Gravettian; Gravettian; Gravettian; ATTRIBUTION Gravettian Gravettian Gravettian Gravettian Gravettian 26-27000 BP 26-27000 BP 26-27000 BP 26-27000 BP PRESENT Considered Considered Considered Considered Considered Considered Considered Considered Considered STANDING Gravettian; Gravettian; Gravettian; Gravettian; Gravettian; Gravettian; not Gravettian; not Gravettian; Gravettian; Brassempouy Brassempouy Brassempouy Brassempouy Brassempouy included in included in later not included not included figures included figures included figures included figures included figures included later discussions of in later in later in all in all in all in all in all discussions of Venus figurines discussions of discussions of discussions of discussions of discussions of discussions of discussions of Venus Venus Venus Venus figurines Venus figurines Venus figurines Venus figurines Venus figurines figurines figurines figurines 466 Table 1 FIGURINES REFERRED TO IN DISCUSSIONS OF VENUS FIGURINES IN THE ARCHAEOLOGICAL LITERATURE FIGURE STATUETTE FEMME AU THE JANUS THE BUST TETE L'HERMAP- LA LE STATUETTE EN STEATITE GOITRE NEGROIDE HRODITE POL!CHINELLE LOSANGE NON DECRITE JAUNE ,., ILLUSTRATION ~~ i... ~ t I I I i ! DATE OF '1883 '1883 1883-4; Uncertain; Uncertain; Uncertain; Uncertain; Uncertainf ; Uncertain; DISCOVERY retained by Jul1ien 1883-95 1883-95 1883-95 1883-95 1883-95 possibly 1892-4 FIRST Reinach 1898 Piette 1902 Breuil 1928 Breuil 1928 Piette 1902 Piette 1902 Piette 1902 Piette 1902 Piette' 1907 PUBLICATION FINDSPOT Grimaldi; Grimaldi; Grimaldi; Grimaldi; Grimaldi: Grimaldi: Grimaldi: Possibly Grimaldi: Grimaldi; Possibly Barma Possibly Barma Possibly Barma Grotte du Prince Possibly Grotte Possibly Grotte Grotte du Prince Possibly Possibly Grotte Grande cave, Grande cave, Grande, depth or Barma du Prince du Prince Grotte du du Prince depth 4.2-4.7m depth 3.0-4.2m 6m Grande Prince CONTEXT Accompanied Layer Layer specified Sediment may Unknown Unknown Unknown Unknown Unknown by Gravette containing small only as indicate Sarma points; absence backed points "Archaeological" Grande, but ofNoailles and scrapers by Jullien context burins unknown AGE/ Epi-Gravettian Epi-Gravettian Gravettian Traditionally Traditionally Traditionally Traditionally Traditionally Traditionally ATTRIBUTION c.l7,200 years 16- 14,000 considered considered considered considered considered considered old years old Gravett ian Gravett ian Gravett ian Gravettian Gravettian Gravettian PRESENT Original Original Considered Grimaldi figures Grimaldi figures Grimaldi figures Grimaldi figures Grimaldi Grimaldi figures STANDING Gravettian Gravettian Gravettian; are usually are usually are usually are usually figures are are usually attribution attribution Grimaldi figures considered considered considered considered usually considered recently revised; recently revised; are included in all Gravettian and Gravettian and Gravettian and Gravettian and are considered Gravettian: Grimaldi figures Grimaldi figures discussions of are included in are included in are included in included in all Gravettian; included in all are included in are included in Venus figurines recent analyses all discussions all discussions discussions of included in all discussions of all discussions all discussions as such of Venus of Venus Venus figurines discussions of Venus figurines of Venus of Venus figurines figurines Venus ____ figurines figurines fi~urines - . ... - ---------- - 467 Table 1 FIGURINES REFERRED TO IN DISCUSSIONS OF VENUS FIGURINES IN THE ARCHAEOLOGICAL LITERATURE FIGURE BROWN IVORY FLATIENED RED OCHRE TWO-HEADED DOUBLE THE MASK PREDMOSTI SIREUIL WILLENDORF FIGURINE FIGURINE FIGURINE FIGURINE FIGURINE STYLISED I 1 fLLUSTRATION , e , 3 '~0~ .·~· ,~ t DATE OF 1883-95: Lost 1883-95: Lost 1883-95:1 Lost 1883-95: Lost 1883-95: Lost 1883-95: Lost until 1895 1900 1908 DISCOVERY until 1994 until 1994 until 1994 until 1994 until 1994 1994 FIRST Bisson & Bolduc Bisson & Bolduc Bisson & Bisson
Load more

Recommended publications
  • Texts of Old Blog Posts
    !1 of !77 Ruined Books Blog A Book of Bibliolages—initial post, Feb. 27, 2013 A Book of Bibliolage makes a good place to begin this blog. The website goes back a few weeks now. The practice of bibliolaging goes back seven to ten years, depending on your definition. The word bibliolage goes back about three years, my invention, I think. And the blog starts now. A bibliolage is always an “altered book”—that’s the family—but, strange child in the corner, it abides by its own rules, sucks its very own thumb. (When I came up with the motto “Puerility Taken to a Whole New Level!” it made me smile, but it’s not terribly self-respectful.) A bibliolage is also always a collage, but it so severely does not hang on a wall, I had to build a website to hang it anywhere. A bibliolage sits on a shelf, here a creaky one, because the art takes a heavy book and makes it heavier. It takes a page and squares it, so the binding typically bulges. A library shelf keeps books aloft, vertical, slim, and Ssshhh-ed! My shelves sag, and the engorged volumes seem angry with being books. They protest at gravity, clamoring mirth. They revel in ruin and rue preservation. They do not resign to a system, least of all Dewey decimal. They do not speak for authority but squeal for special attention from the court. On the site you can find a list of titles, some eighty-six in the columns as of now, but the ranks are uneven, as some have struck off in wayward directions, but so far no new tendency has turned me from the !2 of !77 extraillustrative ‘lage.
    [Show full text]
  • Homo Aestheticus’
    Conceptual Paper Glob J Arch & Anthropol Volume 11 Issue 3 - June 2020 Copyright © All rights are reserved by Shuchi Srivastava DOI: 10.19080/GJAA.2020.11.555815 Man and Artistic Expression: Emergence of ‘Homo Aestheticus’ Shuchi Srivastava* Department of Anthropology, National Post Graduate College, University of Lucknow, India Submission: May 30, 2020; Published: June 16, 2020 *Corresponding author: Shuchi Srivastava, Assistant Professor, Department of Anthropology, National Post Graduate College, An Autonomous College of University of Lucknow, Lucknow, India Abstract Man is a member of animal kingdom like all other animals but his unique feature is culture. Cultural activities involve art and artistic expressions which are the earliest methods of emotional manifestation through sign. The present paper deals with the origin of the artistic expression of the man, i.e. the emergence of ‘Homo aestheticus’ and discussed various related aspects. It is basically a conceptual paper; history of art begins with humanity. In his artistic instincts and attainments, man expressed his vigour, his ability to establish a gainful and optimistictherefore, mainlyrelationship the secondary with his environmentsources of data to humanizehave been nature. used for Their the behaviorsstudy. Overall as artists findings was reveal one of that the man selection is artistic characteristics by nature suitableand the for the progress of the human species. Evidence from extensive analysis of cave art and home art suggests that humans have also been ‘Homo aestheticus’ since their origins. Keywords: Man; Art; Artistic expression; Homo aestheticus; Prehistoric art; Palaeolithic art; Cave art; Home art Introduction ‘Sahityasangeetkalavihinah, Sakshatpashuh Maybe it was the time when some African apelike creatures to 7 million years ago, the first human ancestors were appeared.
    [Show full text]
  • Fragile Gods: Ceramic Figurines in Roman Britain Volume 1
    Fragile Gods: Ceramic Figurines in Roman Britain Volume 1 Thesis submitted for the degree of Doctor of Philosophy Department of Archaeology, University of Reading Matthew G. Fittock December 2017 Declaration I certify that this is my own work and that use of material from other sources has been properly and fully acknowledged in the text. I have read the University’s definition of plagiarism and the department’s advice on good academic practice. I understand that the consequence of committing plagiarism, if proven and in the absence of mitigating circumstances, may include failure in the Year or Part or removal from the membership of the University. I also certify that neither this piece of work, nor any part of it, has been submitted in connection with another assessment. Signature: Date: i Abstract As small portable forms of statuary, pipeclay objects provide a valuable insight into the religious beliefs and practices of the culturally mixed populations of the Roman provinces. This thesis provides a complete catalogue of the nearly 1000 published and unpublished pipeclay objects found in Britain, including figurines, busts, shrines, animal vessels and masks. This research is the first study of this material conducted since the late 1970s. Pipeclay objects were made in Gaul and the Rhine-Moselle region but not in Britain. Attention thus focuses on where and how the British finds were made by analysing their styles, types, fabrics and any makers’ marks. This reveals how the pipeclay market in Britain was supplied and how these objects were traded, and suggests that cultural rather than production and trade factors were more influential on pipeclay consumption in Britain.
    [Show full text]
  • Paleolithic 3 Million + 10,000 BCE
    The Rupture “This is where we should look for the earliest origins, long before the age of metals, because it was about 300,000 years ago that the “fire pit” was starting to be utilized with some stone, wood and bone.. Silo - 2004 Paleolithic 3 Million + 10,000 BCE The term Paleolithic refers to the « Old Stone Age » The Paleolithic period begins with the first evidence of human technology (stone tools) more than three million years ago, and ends with major changes in human societies instigated by the invention of agriculture and animal domestication. Paleolithic, Lower, Middle and Upper Lower Paleolithic 3 Million + - 300,000 BCE the Lower Paleolithic, from the earliest human presence (Homo antecessor and Homo heidelbergensis) to the Holstein interglacial, c. 1.4 to 0.3 million years ago. Middle Paleolithic 300,000 – 40,000 BCE the Middle Paleolithic, marked by the presence of Neanderthals, 300,000 to 40,000 years ago Upper Paleolithic 45,000 – 12,000 BCE the Upper Paleolithic, c. 45,000 to 12,000 years ago, marked by the arrival of anatomically modern humans and extending throughout the Last Glacial Maximum The Aurignacian Period – 40,000-28,000 BCE • The Aurignacian cultural tradition is generally accepted as the first modern humans in Europe. • During this period an explosion of sudden and innovative changes take place. People begin to use musical instruments which indicates possible ceremony, ritual and dance. Plus all forms of art appears at this time which signifies the full emergence of modern symbolic expression. • The most significant development in stone tool making is the refinement of the manufacture of blades struck off conical cores or nuculi.
    [Show full text]
  • A Female Figurine from the Basal Aurignacian of Hohle Fels Cave in Southwestern Germany
    Vol 459 | 14 May 2009 | doi:10.1038/nature07995 LETTERS A female figurine from the basal Aurignacian of Hohle Fels Cave in southwestern Germany Nicholas J. Conard1 Despite well over 100 years of research and debate, the origins of art dimensions. Four fragments were recovered in connection with water remain contentious1–3. In recent years, abstract depictions have screening and can be localized to a 10-l volume corresponding to a ,3- been documented at southern African sites dating to 75 kyr before cm-thick portion of a quarter metre.The pieces of the figurine lay about present (BP)4,5, and the earliest figurative art, which is often seen as 3 m below the current surface of the cave in an area about 20 m from the an important proxy for advanced symbolic communication, has cave’s entrance. All of the finds come from the southwest quadrant of a been documented in Europe as dating to between 30 and single square metre and were recovered from within 12 cm in the 40 kyr BP2. Here I report the discovery of a female mammoth-ivory vertical dimension (Fig. 2). Although, owing to their fragility and com- figurine in the basal Aurignacian deposit at Hohle Fels Cave in the plex depositional histories, many of the ivory artworks from the Swabian Jura of southwestern Germany during excavations in Swabian Jura are highly fragmentary, the Venus from Hohle Fels is 2008. This figurine was produced at least 35,000 calendar years nearly complete; only the left arm and shoulder are missing. The excel- ago, making it one of the oldest known examples of figurative art.
    [Show full text]
  • Re-Presentations of Palaeolithic Visual Imagery: Simulacra and Their Alternatives'
    Re-Presentations of Palaeolithic Visual Imagery: Simulacra and their Alternatives' Marcia-Anne Dobres Introduction A long-standing methodological and epistemological split within Palaeolithic archaeology has led to what is recognized today as an unrealistic and highly problematic reconstruction of prehistoric people. My discussion is intended to unravel some of the many threads that have been used to weave this simulacrum, this "identical copy for which no original has ever existed" (Jameson 1984:66; following Beaudrillard 1983). The reasons for taking critical stock of ourselves and our interpretations lies in the fact that we unknowingly bring a multitude of paradigmatic and personal biases to our research that often systematically color our methodologies, our epistemologies, and our interpretations. More importantly, however, these biases often go undetected precisely because they are so systematic and ubiquitous. Legitimation of the present by referencing simulacra standing as the past becomes an issue of concern once we recognize the subtle yet powerful ways the past is part of our present. This important point is developed in detail below. It thus remains that we endeavor to be clear about what we say, and to consider long and hard the lines of reasoning we employ in reconstructing prehistoric life. In the spirit of constructive criticism then, this paper proposes to explore some of the sociopolitical and hiellectual contexts in which the study of prehistoric visual imagery has taken place - and continues to take place even today. I seek to understand not-only how these interpretations have been developed, but to consider their implications vis-a-vis the larger sociopolitical framework in which archaeology is practiced.
    [Show full text]
  • May Artist and Binding
    Book Arts and design bindings window to the texture of Lux Mentis, Booksellers papers that evoke Lux Mentis specializes in fine press, fine bindings, and Jerusalem stone, from the olive green color meant to esoterica in all areas, books that have been treasured and evoke the Jerusalem will continue to be treasured. As a primary focus is the landscape to blind building and/or deaccessioning of private collections, our embossment of a Jewish selections is diverse and constantly evolving. If we do not star–I am always evoking have what you are seeking, please contact us and we will meaning in a multiplicity strive to find it. All items are subject to prior sale. Shipping of ways. Over the past ten years and handling is calculated on a per order basis. Please do making The Amichai not hesitate to contact us regarding terms and/or with any Windows, I wanted people questions or concerns. to experience this artist book not only by reading A Selection of Book Arts the poems but by lifting a and Design Bindings curtain, handling the papers, touching the blind embossment. Aside from playing with the visibility of 1. Amichai, Yehuda [poet]; Black, images in a window, I am also toying with the materiality Rick [artist]. The Amichai of the book itself. Windows. Arlington, VA: Turtle Light Press, 2017. Limited I spun my own metaphors out of Amichai's poems. I also Edition. Tight, bright, and mirrored Amichai's own process of combining images unmarred. from different places and time periods in my collages. Numbered limited edition, this These multi-layered spreads–which include letterpressed being 6 of 18 copies.
    [Show full text]
  • Vocabulaires Et Toponymie Des Pays De Montagne
    VOCABULAIRES et TOPONYMIE des pays de MONTAGNE Robert LUFT Club Alpin Français de Nice – Mercantour 2 Vocabulaires et toponymie des pays de montagne Avant-Propos Tels qu'ils se présentent à nos yeux, les paysages sont le résultat de l'action millénaire des forces de la nature sur le socle des terres émergées, conjuguée avec celle des interventions humaines. Les plaines et leurs abords collinaires sont caractérisés aujourd'hui par une agriculture mécanisée, par l'importance des réseaux de voies de communication, ainsi que par une urbanisation envahissante. Au cours de la seconde moitié du 20ème siècle, les paysages agricoles ouverts, traditionnellement formés de champs et de bocages microparcellaires, ont cédé la place à de vastes étendues dénudées, indispensables à la pratique des nouveaux modes de culture. Par ailleurs, beaucoup de villages et de bourgs dépérissent ou se transforment en cités-dortoirs de grandes agglomérations de plus en plus envahissantes. Pour décrire son paysage de plaine le citadin, désormais majoritaire, n'a plus recours aux termes nuancés de quelqu'un qui tire son existence des produits de la terre ; son mode d'expression est plus technique, mais aussi plus pauvre que celui du cultivateur d'antan. Dans les zones de la montagne, au contraire, l'aspect du paysage a peu évolué, malgré l'apparition de nouvelles techniques agricoles. Les formes variées du terrain imposent leur marque aux paysages dont les structures naturelles sont celles d'espaces clos, limités par des barrières rocheuses et des cours d'eau, infranchissables par endroits. Ces milieux âpres dont, il y a peu encore, il était difficile de s'échapper sans d'importants efforts physiques, limitent les échanges.
    [Show full text]
  • View the Fine Art Book Catalogue
    MARY HEEBNER & simplemente maria press fine art books 1995-2018 mary heebner cassandra a poem by stephen kessler mmxix Cassandra is a major work, one that unites a complex understanding of the way perspective and diverse materials fracture time and space, while the hand and memory of the artist unite them. Heebner’s visual dialogue with Kessler’s poem powerfully brings to life the legendary voice of Cassandra. To paraphrase the poet, a lovely myth rises in art to beggar disbelief. Bruce Robertson Director, Art, Design & Architecture Museum Professor, History of Art & Architecture University of California, Santa Barbara Images from the collage series, Veiled/Unveiled, paired with the poem Cassandra by Stephen Kessler, and printed letterpress across a 14 panel accordion fold book, 10 x 10 x 1,” The images printed on the spreads are then individually embellished with collage and pigment. The book rests in a handcrafted zinc box, the lid is etched with a drawing. In addition, a handsewn booklet of rag and handmade paper contains the poem, a description of the mythological character of Cassandra, the colophon and a quotation, all printed letterpress, and it also includes an image from the Veiled/Unveiled series, printed on cotton rag paper. CASSANDRA read more The edition is limited to 25 copies. $4000.00 INTIMACY: drawing with light; drawn from stone 2017 16 x 16.75 x 1.5” watch the video: https://vimeo.com/192957730 Twelve watermarked sheets of handmade paper, pigmented ivory or ultramarine blue, with graphic elements printed in letterpress and also embellished on the verso with graph- ite or watercolor, a plexiglass viewing easel, and two 6” x 4” books, Schizzi, containing a suite of fourteen prints from the Rome Sketches series, and Marmo, an accordion fold book with original text about the livingness of marble, also translated into Italian.
    [Show full text]
  • Quarterly News·Letter
    the Quarterly news·letter volume lxxix · number 2 · spring 2014 A Brief Editorial Manifesto by Peter Rutledge Koch What is Fine Printing Anyway? by Peter Rutledge Koch Forthcoming from the Publications Committee by Jennifer Sime Report from the Toronto Book Fair by Bruce Whiteman Review by Crispin Elsted Like a Moth to a Flame by Bo Wreden Southern California Sightings by Carolee Campbell News from the Library by Henry Snyder News & Notes Letter to the Editor New Members published for its members by the book club of california the book club of california is a non-profit membership corporation founded in 1912. A Brief Editorial Manifesto Based on One It supports the art of fine printing related to the history and literature of California and the Hundred Years of Tradition With a Few Minor western states of America through research, publishing, public programs, and exhibitions. Suggestions To Account for Changes in Our The Club is limited to 1,250 members, and membership in the Club is open to all. Annual renewals are due by January 1 of every year. Memberships are: Regular, $95; Sustaining, $150; Patron, Perception of Fine Printing in the Real West $250; Sponsor, $500; Benefactor, $1,000; Apprentice, $35; and Student, $25. All members by Peter Rutledge Koch receive the Quarterly News-Letter and, except for Apprentice and Student members, the current keepsake. All members have the privilege—but not the obligation—of buying Club publications, which are limited, as a rule, to one copy per member. All members may purchase extra copies of keepsakes or QN-Ls, when available.
    [Show full text]
  • Human Origin Sites and the World Heritage Convention in Eurasia
    World Heritage papers41 HEADWORLD HERITAGES 4 Human Origin Sites and the World Heritage Convention in Eurasia VOLUME I In support of UNESCO’s 70th Anniversary Celebrations United Nations [ Cultural Organization Human Origin Sites and the World Heritage Convention in Eurasia Nuria Sanz, Editor General Coordinator of HEADS Programme on Human Evolution HEADS 4 VOLUME I Published in 2015 by the United Nations Educational, Scientific and Cultural Organization, 7, place de Fontenoy, 75352 Paris 07 SP, France and the UNESCO Office in Mexico, Presidente Masaryk 526, Polanco, Miguel Hidalgo, 11550 Ciudad de Mexico, D.F., Mexico. © UNESCO 2015 ISBN 978-92-3-100107-9 This publication is available in Open Access under the Attribution-ShareAlike 3.0 IGO (CC-BY-SA 3.0 IGO) license (http://creativecommons.org/licenses/by-sa/3.0/igo/). By using the content of this publication, the users accept to be bound by the terms of use of the UNESCO Open Access Repository (http://www.unesco.org/open-access/terms-use-ccbysa-en). The designations employed and the presentation of material throughout this publication do not imply the expression of any opinion whatsoever on the part of UNESCO concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries. The ideas and opinions expressed in this publication are those of the authors; they are not necessarily those of UNESCO and do not commit the Organization. Cover Photos: Top: Hohle Fels excavation. © Harry Vetter bottom (from left to right): Petroglyphs from Sikachi-Alyan rock art site.
    [Show full text]
  • Survey of Paleoanthropological Discoveries in German-Speaking Nations
    Anderson 1 Dylan Anderson Carol Pannocione German 30 September 2019 Behold, der Mann: Survey of Paleoanthropological Discoveries in German-Speaking Nations 1. Introduction The German world, with its turbulent and important history from almost 600,000 years ago to this day, is immensely important to the study of humankind; from then and now. Fossils allow us a glimpse at the early inhabitants of Europe and Germany; tools allow us to see how our ancestors would have survived; and art allows us to see the symbolic capabilities of our ancestors. 2. Fossils and Tools Understanding and researching human prehistory is difficult due to the sheer volume of information. Moreover, there are few tools to examine said prehistory, with dental, isotopic, and mitochondrial analysis being some of the more recent tools. Early tools to examine prehistory would have been fossil analysis, stratigraphy, and comparative anatomy. 2.1. Neandertal 1 Neandertal 1 are a set of bones belonging to an extinct species of hominins now known as Homo sapiens neandertalensis. This was not the first Neandertal found, nor the first Neandertal discovered in the German world, but it was the first fossil to be named as Neandertal. After being discovered in 1856, the fossil was promptly given to local German teacher and naturalist Johann Carl Fuhlrott. Fuhlrott, along with German anatomist Hermann Schaaffhausen, published a joint Anderson 2 paper in 1857 in a German society for natural history posited that the skull belonged to a new species related to humans (Schaaffhausen, 1857). Their views were the subject of intense scholarly debate. At the time, the biological sciences were dominated by German cellular biologist Rudolf Virchow, who despised the theory of evolution and claimed Neandertal 1 was a human with a serious deformation (Glick, 1988).
    [Show full text]