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The Janus-Faced Dilemma of Rock Art Heritage
The Janus-faced dilemma of rock art heritage management in Europe: a double dialectic process between conservation and public outreach, transmission and exclusion Mélanie Duval, Christophe Gauchon To cite this version: Mélanie Duval, Christophe Gauchon. The Janus-faced dilemma of rock art heritage management in Europe: a double dialectic process between conservation and public outreach, transmission and exclusion. Conservation and Management of Archaeological Sites, Taylor & Francis, In press, 10.1080/13505033.2020.1860329. hal-03078965 HAL Id: hal-03078965 https://hal.archives-ouvertes.fr/hal-03078965 Submitted on 21 Feb 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Duval Mélanie, Gauchon Christophe, 2021. The Janus-faced dilemma of rock art heritage management in Europe: a double dialectic process between conservation and public outreach, transmission and exclusion, Conservation and Management of Archaeological Sites, doi.org/10.1080/13505033.2020.1860329 Authors: Mélanie Duval and Christophe Gauchon Mélanie Duval: *Université Grenoble Alpes (UGA), Université Savoie Mont Blanc (USMB), CNRS, Environnements, Dynamics and Territories of Mountains (EDYTEM), Chambéry, France; * Rock Art Research Institute GAES, University of Witwatersrand, Johannesburg, South Africa. Christophe Gauchon: *Université Grenoble Alpes (UGA), Université Savoie Mont Blanc (USMB), CNRS, Environnements, Dynamics and Territories of Mountains (EDYTEM), Chambéry, France. -
Bibliography
Bibliography Many books were read and researched in the compilation of Binford, L. R, 1983, Working at Archaeology. Academic Press, The Encyclopedic Dictionary of Archaeology: New York. Binford, L. R, and Binford, S. R (eds.), 1968, New Perspectives in American Museum of Natural History, 1993, The First Humans. Archaeology. Aldine, Chicago. HarperSanFrancisco, San Francisco. Braidwood, R 1.,1960, Archaeologists and What They Do. Franklin American Museum of Natural History, 1993, People of the Stone Watts, New York. Age. HarperSanFrancisco, San Francisco. Branigan, Keith (ed.), 1982, The Atlas ofArchaeology. St. Martin's, American Museum of Natural History, 1994, New World and Pacific New York. Civilizations. HarperSanFrancisco, San Francisco. Bray, w., and Tump, D., 1972, Penguin Dictionary ofArchaeology. American Museum of Natural History, 1994, Old World Civiliza Penguin, New York. tions. HarperSanFrancisco, San Francisco. Brennan, L., 1973, Beginner's Guide to Archaeology. Stackpole Ashmore, w., and Sharer, R. J., 1988, Discovering Our Past: A Brief Books, Harrisburg, PA. Introduction to Archaeology. Mayfield, Mountain View, CA. Broderick, M., and Morton, A. A., 1924, A Concise Dictionary of Atkinson, R J. C., 1985, Field Archaeology, 2d ed. Hyperion, New Egyptian Archaeology. Ares Publishers, Chicago. York. Brothwell, D., 1963, Digging Up Bones: The Excavation, Treatment Bacon, E. (ed.), 1976, The Great Archaeologists. Bobbs-Merrill, and Study ofHuman Skeletal Remains. British Museum, London. New York. Brothwell, D., and Higgs, E. (eds.), 1969, Science in Archaeology, Bahn, P., 1993, Collins Dictionary of Archaeology. ABC-CLIO, 2d ed. Thames and Hudson, London. Santa Barbara, CA. Budge, E. A. Wallis, 1929, The Rosetta Stone. Dover, New York. Bahn, P. -
Pleistocene Palaeoart of Africa
Arts 2013, 2, 6-34; doi:10.3390/arts2010006 OPEN ACCESS arts ISSN 2076-0752 www.mdpi.com/journal/arts Review Pleistocene Palaeoart of Africa Robert G. Bednarik International Federation of Rock Art Organizations (IFRAO), P.O. Box 216, Caulfield South, VIC 3162, Australia; E-Mail: [email protected]; Tel.: +61-3-95230549; Fax: +61-3-95230549 Received: 22 December 2012; in revised form: 22 January 2013 / Accepted: 23 January 2013 / Published: 8 February 2013 Abstract: This comprehensive review of all currently known Pleistocene rock art of Africa shows that the majority of sites are located in the continent’s south, but that the petroglyphs at some of them are of exceptionally great antiquity. Much the same applies to portable palaeoart of Africa. The current record is clearly one of paucity of evidence, in contrast to some other continents. Nevertheless, an initial synthesis is attempted, and some preliminary comparisons with the other continents are attempted. Certain parallels with the existing record of southern Asia are defined. Keywords: rock art; portable palaeoart; Pleistocene; figurine; bead; engraving; Africa 1. Introduction Although palaeoart of the Pleistocene occurs in at least five continents (Bednarik 1992a, 2003a) [38,49], most people tend to think of Europe first when the topic is mentioned. This is rather odd, considering that this form of evidence is significantly more common elsewhere, and very probably even older there. For instance there are far less than 10,000 motifs in the much-studied corpus of European rock art of the Ice Age, which are outnumbered by the number of publications about them. -
First Footprints
First Footprints © ATOM 2013 A STUDY GUIDE BY CHERYL JAKAB http://www.metromagazine.com.au ISBN: 978-1-74295-327-4 http://www.theeducationshop.com.au CONTENTS 2 Series overview 3 The series at a glance 3 Credits 3 Series curriculum and education suitability 5 Before viewing VIEWING QUESTIONS AND DISCUSSION STARTERS: 6 Ep 1: ‘Super Nomads’ This is a landmark series that every Australian must see. 7 Ep 2: ‘The Great Drought’ The evidence for the very ancient roots of people in 8 Ep 3: ‘The Great Flood’ Australia is presented in a compelling narrative by the , voice of Ernie Dingo. Over 50,000 years of Australia s 9 Ep 4: ‘The Biggest Estate’ ancient past is brought to life in this four-part series , through the world s oldest oral stories, new archaeological 10 Activities discoveries, stunning art, cinematic CGI and never-before- 13 Resources seen archival film. 15 Worksheets and information Suitability: This guide is designed Australia is home to the oldest living specifically for Year 7. This series cultures in the world. Over fifty thou- is destined to become the key sand years ago, well before modern regular monsoon across the north led resource for National Curriculum people reached America or domi- to cultural explosions and astound- Year 7 History Unit 1. nated Europe, people journeyed to the ing art. The flooding of coastal plains Also suitable for: Primary: Years 3, planet’s harshest habitable continent created conflict over land and even 4 & 6, History & Science; Junior and thrived. That’s a continuous culture pitched battles. -
Gilliane Monnier,* Gilbert Tostevin,⁑ Goran Pajović,** Nikola Borovinić,*** Mile Baković***
Gilliane Monnier,* Gilbert Tostevin,⁑ Goran Pajović,** Nikola Borovinić,*** Mile Baković*** Nova istraživanja paleolitskog nalazišta Crvena Stijena, istorijski kontekst Abstract: The rockshelter of Crvena Stijena (Nikšić municipality, Montenegro) is one of the most important Paleolithic sites in southeastern Europe. Its 20-meter deep sequence of archaeological deposits spans the Middle Paleolithic through the Bronze Age. The Middle Paleolithic deposits themselves, which cover an astonishing 12 meters in depth, contain one of the longest records of Neanderthal occupation in the region. Since its discovery in 1954, the site has been the subject of two major research projects; the data they have produced have helped make it a critical type-site for the Paleolithic in the Balkans. In this paper, our goal is to introduce the aims and methodologies of the new research collaboration at Crvena Stijena that we established in 2016. We first present the site within the context of the Middle Paleolithic of the western Balkans. We then describe the history of research at Crvena Stijena, and summarize the results of the last project, which were recently published1. Finally, we describe the research questions that are guiding our new investigations, and the methods we are applying in order to answer these questions while preserving as much of the site as possible for future generations of archaeologists. Keywords: Middle Paleolithic, Neanderthals, Balkans, fire, stone tools I. Uvod Nova istraživanja se sprovode u kontekstu saradnje Narodnog muzeja Crne Gore i Univerziteta Minesota, uspostavljene 2016. godine. Njihova svrha je ispitivanje sloja srednjeg paleolita na poznatom lokalitetu Crvena Stijena.U ovom radu predstavljamo istoriju istraživanja na Crvenoj stijeni, koja je iskopavana od 1954. -
Lascaux Cave, France Complex Hunter Gatherers at the End of the Paleolithic Dates: 47/45,000 – 20/18,000 B.P
Lascaux Cave, France Complex Hunter Gatherers at the End of the Paleolithic Dates: 47/45,000 – 20/18,000 b.p. (Epipaleolithic=20/18,000-10,000 bp) Industries include microliths and bone tools—not found in previous periods Raw materials were exchanged over long distances in this period Wide range of materials, other than flint, come into use: bone tools, stone vessels, ochre, shells Some probably for ritual purposes In contrast to early modern humans (and Neanderthals): Size of teeth reduced Size of jaw reduced Muscularity diminishes Less skeletal trauma Increased longevity Cro-Magnon cranium Upper Paleolithic Artwork Cave Art Includes spectacular images of animals and abstract forms and, rarely, humans Mobiliary Art These portable art objects include Venus figurines Body Ornamentation: Pierced shells, pierced animal teeth, and bone beads were most likely work as necklaces or attached to clothing Horse, Cosquer Cave, France Penquin or Auk, Cosquer Cave, France Bear Bison ‘Venus’ figurines Dolni Vestonice Lespugue Willendorf . Appear around 25,000 bp, Europe . Carved in ivory, wood, stone, modeled in clay . Breasts, hips, buttocks, thighs, usually large . Head, arms, hands, legs & feet are only schematic . Some are pregnant, others are not 4.48.jpg Dwellings Huts with bone frameworks Floors with inlaid stone Stone-lined pits for hearths Tailored clothing Long-distance trade Blade technique Long, parallel-sided flakes are struck off the edges of a specially prepared core Blades: long flake, twice as punch long as wide • Sharp parallel edges • Removed from core like peeling carrot (sort of) • Blades provide “blank” or form, which may then be shaped into different tools: . -
Are Hand Stencils in European Cave Art Older Than We Think? an Evaluation of the Existing Data and Their Potential Implications
Are hand stencils in European cave art older than we think? An evaluation of the existing data and their potential implications. P. Pettitt1, P. Arias2, M. García-Diez3, D. Hoffmann4, A. Maximiano Castillejo5, R. Ontañon-Peredo6, A. Pike7 and J. Zilhão8. 1Department of Archaeology, Durham University, South Road, Durham DH1 3LE, United Kingdom. 2The Cantabria Institute for Prehistoric Research, University of Cantabria, Edificio Interfacultativo, Avda. Los Castros s/n, 39005 Santander, Spain. 3Departamento de Geografía, Prehistoria y Arquelogía, Facultad de Letras, University of the Basque Country UPV/EHU, c/ Tomás y Valiente s/n, 01006 Vitoria-Gazteiz, Álava, Spain. 4Max Planck Institute for Evolutionary Anthropology Department of Human Evolution, Deutscher Platz 6, 04103 Leipzig, Germany. 5Facultad de Filosofía y Letras UNAM, Circuito Interior. Ciudad Universitaria, s/n. C.P. 04510. México, DF. México. 6The Cantabria Institute for Prehistoric Research - Cuevas Prehistóricas de Cantabria, Carretera de las Cuevas s/n, 39670 Puente Viesgo, Spain. 7Department of Archaeology, University of Southampton, Avenue Campus, Highfield Road, Southampton, SO17 1BF, UK. 8University of Barcelona/ICREA, Departament de Prehistòria, Història Antiga i Arqueologia, “Grup de Recerca” SERP SGR2014-00108, c/ Montalegre 6, 08001 Barcelona, Spain. Introduction Among his many meticulous publications on Spanish Upper Palaeolithic art, Rodrigo de Balbín Behrmann has documented many examples of the application of red pigments to cave walls directly by the fingers or hand, such as washes of red, paired or multiple lines, and finger dots (e.g. in La Lloseta [Balbín et al. 2005] and in Tito Bustillo [Balbín 1989; Balbín et al. 2002]). Perhaps the most iconic form of such interactions between the hand, pigments and cave walls are hand stencils, which are perhaps best contextualised as the most obvious extreme on a continuum of hand markings on walls. -
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. -
The Compositional Integrity of the Aurignacian
MUNIBE (Antropologia-Arkeologia) 57 Homenaje a Jesús Altuna 107-118 SAN SEBASTIAN 2005 ISSN 1132-2217 The Compositional Integrity of the Aurignacian La integridad composicional del Auriñaciense KEY WORDS: Aurignacian, lithic typology, lithic technology, organic technology, west Eurasia. PALABRAS CLAVE: Auriñaciense, tipología lítica, tecnología lítica, tecnología orgánica, Eurasia occidental. Geoffrey A. CLARK* Julien RIEL-SALVATORE* ABSTRACT For the Aurignacian to have heuristic validity, it must share a number of defining characteristics that co-occur systematically across space and time. To test its compositional integrity, we examine data from 52 levels identified as Aurignacian by their excavators. Classical indicators of the French Aurignacian are reviewed and used to contextualize data from other regions, allowing us to assess whether or not the Aurignacian can be considered a single, coherent archaeological entity. RESUMEN Para tener validez heurística, el Auriñaciense tiene que compartir características que co-ocurren sistemáticamente a través del espacio y tiempo. Para evaluar su integridad composicional, examinamos aquí los datos procedentes de 52 niveles identificados como ‘Auriñaciense’ por sus excavadores. Se repasan los indicadores ‘clásicos’ del Auriñaciense francés para contextualizar los datos procedentes de otras regio- nes con el objetivo de examinar si el Auriñaciense puede considerarse una sola coherente entidad arqueológica. LABURPENA Baliozkotasun heuristikoa izateko, Aurignac aldiak espazioan eta denboran zehar sistematikoki batera gertatzen diren ezaugarriak partekatu behar ditu. Haren osaketa osotasuna ebaluatzeko, beren hondeatzaileek ‘Aurignac aldikotzat” identifikaturiko 52 mailetatik ateratako datuak aztertzen ditugu hemen. Aurignac aldi frantziarraren adierazle “klasikoak” berrikusten dira beste hainbat eskualdetatik lorturiko datuak bere testuinguruan jartzeko Aurignac aldia entitate arkeologiko bakar eta koherentetzat jo daitekeen aztertzea helburu. -
Palaeolithic Cave Art (Spain) No 310
Additional information requested and received from the Palaeolithic Cave Art (Spain) State Party: ICOMOS sent a letter to the State Party on 11 December 2007 requesting that it should: No 310 bis 1) Consider the nomination of three additional decorated caves. 2) Confirm the inter-regional management structure for Official name as proposed Palaeolithic cave art. by the State Party: Palaeolithic Cave Art of Northern Spain ICOMOS received an answer from the State Party on 21 February 2008 with very substantial additional Location: Autonomous communities of documentation. Asturias, Cantabria, and the Basque Country Date of ICOMOS approval of this report: 11 March 2008 Brief description: 2. THE PROPERTY Palaeolithic cave art in Northern Spain offers a remarkably ancient and well-preserved testimony both to Description art and the history of humanity. The nominated group of decorated caves, situated along the Cantabrian Corniche, The Palaeolithic region of Northern Spain is representative of the development and apogee of Palaeolithic cave art, between 35,000 and 11,000 years Palaeolithic cave art covers a very vast period in Europe BP. from 35,000 to 11,000 BP. It stretches from the Urals to the Iberian Peninsula, but with little homogeneity. The Category of property: sites can be grouped according to regional cultures, each of which has its particularities. The most important of In terms of the categories of cultural properties set out in them, known as Franco-Cantabrian, covers most of the Article 1 of the 1972 World Heritage Convention, this is known Palaeolithic cave art. a serial nomination of 17 sites. In Northern Spain, the Cantabrian part of this culture represents a narrow coastal strip about 40 km wide and 1. -
Life and Death at the Pe Ş Tera Cu Oase
Life and Death at the Pe ş tera cu Oase 00_Trinkaus_Prelims.indd i 8/31/2012 10:06:29 PM HUMAN EVOLUTION SERIES Series Editors Russell L. Ciochon, The University of Iowa Bernard A. Wood, George Washington University Editorial Advisory Board Leslie C. Aiello, Wenner-Gren Foundation Susan Ant ó n, New York University Anna K. Behrensmeyer, Smithsonian Institution Alison Brooks, George Washington University Steven Churchill, Duke University Fred Grine, State University of New York, Stony Brook Katerina Harvati, Univertit ä t T ü bingen Jean-Jacques Hublin, Max Planck Institute Thomas Plummer, Queens College, City University of New York Yoel Rak, Tel-Aviv University Kaye Reed, Arizona State University Christopher Ruff, John Hopkins School of Medicine Erik Trinkaus, Washington University in St. Louis Carol Ward, University of Missouri African Biogeography, Climate Change, and Human Evolution Edited by Timothy G. Bromage and Friedemann Schrenk Meat-Eating and Human Evolution Edited by Craig B. Stanford and Henry T. Bunn The Skull of Australopithecus afarensis William H. Kimbel, Yoel Rak, and Donald C. Johanson Early Modern Human Evolution in Central Europe: The People of Doln í V ĕ stonice and Pavlov Edited by Erik Trinkaus and Ji ří Svoboda Evolution of the Hominin Diet: The Known, the Unknown, and the Unknowable Edited by Peter S. Ungar Genes, Language, & Culture History in the Southwest Pacifi c Edited by Jonathan S. Friedlaender The Lithic Assemblages of Qafzeh Cave Erella Hovers Life and Death at the Pe ş tera cu Oase: A Setting for Modern Human Emergence in Europe Edited by Erik Trinkaus, Silviu Constantin, and Jo ã o Zilh ã o 00_Trinkaus_Prelims.indd ii 8/31/2012 10:06:30 PM Life and Death at the Pe ş tera cu Oase A Setting for Modern Human Emergence in Europe Edited by Erik Trinkaus , Silviu Constantin, Jo ã o Zilh ã o 1 00_Trinkaus_Prelims.indd iii 8/31/2012 10:06:30 PM 3 Oxford University Press is a department of the University of Oxford. -
Artistes De La Prehistòria ART PRIMER Art Primer
MAC Museu d’Arqueologia de Catalunya Artistes de la prehistòria ART PRIMER Art Primer. Artistes de la Prehistòria MAC - Museu d’Arqueologia de Catalunya Del 6 de febrer al 28 de juny de 2020 Passeig de Santa Madrona 39-41 Parc de Montjuïc 08038 Barcelona | 93 423 21 49 www.mac.cat Edita Traducció Museu d’Arqueologia de Catalunya TRADUCCIONES Y TRATAMIENTO DE LA DOCUMENTACIÓN Departament de Cultura Generalitat de Catalunya Impressió Editors Inés Domingo (ICREA, UB) ISBN Antoni Palomo (Museu d’Arqueologia de Catalunya) 978-84-393-9997-1 Dipòsit legal Coordinació editorial B 3009-2020 Joan Muñoz (Museu d’Arqueologia de Catalunya) Agraïments Òscar Ros i Patrícia Bassa Enrique Cabello, Anna M. Garrido, Carme Rovira, Àngels Casanovas (Gabinet Tècnic del Departament de Cultura) Coordinació textos Antoni Palomo L’obra Art primer. Artistes de la prehistòria està subjecta a una Inés Domingo llicència de Reconeixement - No Comercial 4.0 Internacional de Creative Commons. Se’n permet la còpia, la distribució i la comunicació pública sense ús comercial, sempre que se’n citi la Textos font. Inés Domingo, Antoni Palomo, Susana Alonso, Jusèp Boya i Busquet, Àngels Casanovas i Romeu, Josep M. Fullola, Pilar García-Argüelles, Marcos García Diez, Maria Teresa Miró i Alaix, Jordi Nadal, Margarita Sánchez Romero, Ramon Viñas Vallverdú, BIBLIOTECA DE CATALUNYA - DADES CIP Mariàngela Vilallonga i Vives, Valentín Villaverde, Manuel Vaquero, João Zilhão. Art primer : artistes de la prehistòria Marta Carreté ISBN 9788439399971 I. Domingo, Inés, editor literari Quan no s’indica el contrari les imatges són de la institució que II. Palomo Pérez, Antoni, editor literari ha cedit l’objecte/ Cuando no se indica lo contrario las imágenes III.