DOCSLIB.ORG

2 Cultural Anthropology of Dance

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2 Cultural Anthropology of Dance Masarykova univerzita Filozofická fakulta Ústav archeologie a muzeologie Klasická archeologie Bc. Eva Buchtová Meaning of dance in the Aegean Bronze Age in the context of the Eastern Mediterranean and Europe Význam tance v egejské době bronzové v kontextu východního Středomoří a Evropy Magisterská diplomová práce Vedoucí práce: Mgr. Věra Klontza, Ph.D. 2018 Affidavit I declare that I have worked on this thesis independently, using only the sources listed in the bibliography. This thesis was not used to obtain an academic degree at any other university. …………… Acknowledgements My great thanks belong to Mgr. Věra Klontza, Ph.D. for professional supervision over my thesis and mainly for her patience. Also support of other university staff was important for me, no less than support from classmates. This thesis would not be written without the encouragement of my husband and daughter. 3 Contents 1 Introduction .......................................................................................................... 7 1.1 The goals of the thesis ................................................................................. 7 1.2 Sources and methodology ............................................................................ 8 1.2.1 Dance from the perspective of ancient authors ........................................ 9 1.2.2 History of the research ........................................................................... 12 1.3 Question of chronology and geographical borders .................................... 13 1.3.1 Aegean region ........................................................................................ 14 1.3.2 Europe .................................................................................................... 16 1.3.3 Egypt ...................................................................................................... 17 1.3.4 Near East ................................................................................................ 18 1.3.5 Geographical borders ............................................................................. 18 2 Cultural anthropology of dance ......................................................................... 19 2.1 Objectives .................................................................................................. 19 2.1.1 Definition of dance ................................................................................ 20 2.1.2 Biological anthropology: Influence of dance to the human body .......... 22 2.2 Brief history of dance ................................................................................ 23 2.3 Relationship between dance and society: general objectives .................... 27 2.4 Modern parallels ........................................................................................ 30 4 3 Meaning of dance in the Aegean ....................................................................... 34 3.1 Catalogue of images of dancing activities ................................................. 36 3.1.1 Protopalatial period in Crete and MH II ................................................ 36 3.1.2 Neopalatial period in Crete and MH III – LH IIA ................................. 40 3.1.3 Postpalatial period in Crete and LH II – LH IIIB .................................. 57 3.2 Interpretation .............................................................................................. 75 3.2.1 Objectives .............................................................................................. 75 3.3 Statistics ..................................................................................................... 78 3.3.1 Media of the dancing scenes depictions ................................................ 84 3.3.2 Contextual analyses ............................................................................... 88 3.3.3 Objects included in dancing scenes ....................................................... 90 3.3.4 Social categories and their expression on images .................................. 93 3.3.5 Bull dance ............................................................................................ 100 3.4 Evaluation ................................................................................................ 108 4 Egypt ................................................................................................................ 122 4.1 Introduction .............................................................................................. 122 4.1.1 Historical background .......................................................................... 122 4.1.2 Rules for painting and interpretation of dance ..................................... 123 4.2 Dance types .............................................................................................. 124 4.3 Dance and society .................................................................................... 132 5 Near East .......................................................................................................... 135 5.1 Introduction .............................................................................................. 135 5 5.1.1 History background .............................................................................. 135 5.2 Dance ....................................................................................................... 136 5.2.1 Archaeological remains ....................................................................... 136 5.2.2 Iconographic material .......................................................................... 137 5.3 The sun cult .............................................................................................. 143 5.4 Dance and society .................................................................................... 145 6 Europe .............................................................................................................. 148 6.1 Introduction .............................................................................................. 148 6.1.1 Historical background .......................................................................... 148 6.2 Egtved dancer .......................................................................................... 149 6.3 Solar disc and cult of sun ......................................................................... 155 6.4 Reconstruction of the Bronze Age dance ................................................ 156 6.5 Archaeological remains ........................................................................... 161 6.6 Dance and society in Bronze Age Europe ............................................... 162 7 Conclusion ....................................................................................................... 164 8 Resumé ............................................................................................................. 170 9 References ........................................................................................................ 174 9.1 Bibliography ............................................................................................ 174 9.2 Online sources .......................................................................................... 194 9.3 Abbreviations and conventions ................................................................ 194 9.4 List of Figures .......................................................................................... 195 6 1 Introduction To study dance presents my personal need because I am an active dancer in my spare time for many years. The idea to deal with this topic at historical level was firstly realized in my bachelor thesis that deals with Dance in ancient Greece.1 I focused mainly on the types of dances and their illustrations, less on their significance. I decided to modify that approach because I became more interested in the deeper meaning of depictions of dance in connection with society. Dance has a tradition dating back to prehistory, and I have decided to study the Bronze Age because in this period there are various sources of illustrations of dance and it is historically interesting, while complicated era. I primarily focus on the Aegean region in comparison with the Eastern Mediterranean and Europe. 1.1 The goals of the thesis Studying the dance leads to the better understanding of the human behaviour. The reason, why people danced and why they illustrated it, can be relevant to the historical circumstances. Information gained from the study of dance could be helpful to prove or disprove some of the theoretical models of the organization of the society. The main aim of my thesis is to study the meaning of dance for the Aegean culture in the Bronze Age. Firstly, it is necessary to discuss the ways, how dance could reflect the state of the society, by using cultural anthropology of dance. Next step is to gain and systematize the archaeological and iconographic material related to dance. Those images are interpreted and evaluated statistically. The evaluation of the archaeological context or the type of used material will be included. I propose that there must be a reason why the specific number of artefacts was found in the particular context. On the basis of those analyses, I try to answer the question: 1 Benešová, Eva. Dance in ancient Greece [online]. Brno, 2012 [quoted 2018-02-16]. Available from: <https://is.muni.cz/th/361993/ff_b/>. Bachelor thesis. Masaryk University, Faculty of arts. Supervisor
Load more

Recommended publications
  • Dionysiac and Pyrrhic Roots and Survivals in the Zeybek Dance, Music, Costume and Rituals of Aegean Turkey
    GEPHYRA 14, 2017, 213-239 Dionysiac and Pyrrhic Roots and Survivals in the Zeybek Dance, Music, Costume and Rituals of Aegean Turkey Recep MERİÇ In Memory of my Teacher in Epigraphy and the History of Asia Minor Reinhold Merkelbach Zeybek is a particular name in Aegean Turkey for both a type of dance music and a group of com- panions performing it wearing a particular decorative costume and with a typical headdress (Fig. 1). The term Zeybek also designates a man who is brave, a tough and courageous man. Zeybeks are gen- erally considered to be irregular military gangs or bands with a hierarchic order. A Zeybek band has a leader called efe; the inexperienced young men were called kızans. The term efe is presumably the survivor of the Greek word ephebos. Usually Zeybek is preceded by a word which points to a special type of this dance or the place, where it is performed, e.g. Aydın Zeybeği, Abdal Zeybeği. Both the appellation and the dance itself are also known in Greece, where they were called Zeibekiko and Abdaliko. They were brought to Athens after 1922 by Anatolian Greek refugees1. Below I would like to explain and attempt to show, whether the Zeybek dances in the Aegean provinces of western Turkey have any possible links with Dionysiac and Pyrrhic dances, which were very popular in ancient Anatolia2. Social status and origin of Zeybek Recently E. Uyanık3 and A. Özçelik defined Zeybeks in a quite appropriate way: “The banditry activ- ities of Zeybeks did not have any certain political aim, any systematic ideology or any organized re- ligious sect beliefs.
    [Show full text]
  • Uhm Phd 9205877 R.Pdf
    · INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewri~er face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikeiy event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact liMI directly to order. U-M-I University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, M148106-1346 USA 313/761-4700 800/521-0600 Order Number 9205811 Political economy of passion: Tango, exoticism, and decolonization Savigliano, Marta Elena, Ph.D. University of Hawaii, 1991 Copyright @1991 by Savigliano, Marta Elena.
    [Show full text]
  • Teaching English Through Body Movement a Pa
    AMERICAN UNIVERSITY OF ARMENIA College of Humanities and Social Sciences Dancing – Teaching English through Body Movement A paper is submitted in partial fulfillment of the requirements for the degree Master of Arts in Teaching English as a Foreign Language By Ninel Gasparyan Adviser: Raichle Farrelly Reader: Rubina Gasparyan Yerevan, Armenia May 7, 2014 We hereby approve that this design project By Ninel Gasparyan Entitled Dancing – Teaching English through Body Movement Be accepted in partial fulfillment for the requirements of the degree Master of Arts in Teaching English as a Foreign Language Committee on the MA Design Project ………..………………………… Raichle Farrelly ………..………………………… Rubina Gasparyan ………..………………………… Dr. Irshat Madyarov MA TEFL Program Chair Yerevan, Armenia May 7, 2014 ii TABLE OF CONTENTS Abstract ….....….………………………………………..………………………… v Chapter One: Introduction …………...….………………………………………… 1 Chapter Two: Literature Review ……..…………………………………………… 3 2.1. Content-Based Instruction Models ……..……………..……………………… 5 2.1.1. The use of Dance in an EFL Classroom ………...…..……………………… 11 Chapter Three: Proposed Plan and Deliverables…………………..……………… 15 3.1. Course Description ..………………………………………………………….. 15 3.1.1. Needs and Environment Analysis ……………………..…………………… 15 3.1.2. Goals and Objectives ……………………………………………….………. 16 3.1.3. Assessment Plan …………………………………………………….…….... 17 3.1.4. Learning Plan ……..…………………………………………….…..……… 19 3.1.5. Deliverables …………………………………………………………....…… 24 Chapter Four: Reflection and Recommendations ……………………..……...…… 27 4.1. Reflection
    [Show full text]
  • Sachs, Curt: World History of the Dance
    EUROPE SINCE ANTIQUITY Sachs, Curt: World history of the dance. New York, Norton, p. 237-245 7. Europe Since Antiquity THE CLASSICAL PERIOD Greece The scattered elements which must be gathered from all places and periods and laboriously formed into a coherent picture are found united in European antiquity in one magnificent organism. The dance customs of remote ancestors, commonly relegated by mature cultures to a dark hinterland, are here preserved in pristine strength with the same love and protective zeal as among primitive peoples, and all those which later millenniums have begotten and brought forth flourish freely side by side with them. The progression of dance forms has crystallized into a coexistence. We find the same people circling round the sacred objects in meditation as did their earliest ancestors, imitating the ways and actions of animals, losing themselves and be coming possessed in the mask, and obtaining the power of spirits and the attributes of gods through the frenzied ecstasy of the dance. The same people re-experience in dream transports the fate of their ancestors and expand it into popular drama, into world drama—with the recogni tion of its relation to society in the round dance and with the stamp of individualism in the solo dance, with meek submission and with genial wisdom, solemn and grotesque, in earnest and in jest, in a boundless survey of everything human and superhuman. The choral dance takes first place. Homer’s accounts of the heroic age describe the merry choral dance of the young men, alone or together with the maidens, at marriages, at vintage, or simply to give vent to their youthful exuberance—choreia, the Greeks ​ ​ think, must come from chara, “joy.” ​ ​ “Also did the glorious lame god devise a dancing-place like unto that which once in wide Knossos Daidalos wrought for Ariadne of the lovely tresses.
    [Show full text]
  • Costa 1951 R.Pdf
    UNIVERSITY OF HAWAII LIBRARY DANCE IN THE SOCIETY AND HAWAIIAN ISLANDS AS PRSSH5KED BY THE EARLY Y.RITUR3, 1767-1842 A THESIS SUBMITTED TO THS GRADUATE DIVISION C7 THE UNIVERSITY 07 HAVJAII IN PARTIAL FÜIFIILKENT 07 THS KEQPIHEIIENTS FOR THE DEGREE OF MASTER OF ARTS JUNE 1951 Mazeppa( Kinet'i Costa RULES ADOPTED BY THE BOARD OF REGENTS OF THE UNIVERSITY OF HAVA 11 RAY s i. 1948. VITH REGARD TO THE REPRODUCTION OF MASTERS THESES ■. - ^ 1* ■ • la) No person or corporation nay publish or reproduce in any manner, without the consent of the Board of Regents, a thesis which has been submitted to the University in partial fulfillment of the requirements for an advanced degree, (b 1 No individual or corporation or-other-organization may publish quotations or excerpts fron a graduate thesis without the consent of the author and ol the University. ~~—¿w :.*' Ä/<cvW (L b s fu ■ lil . A TABLE OF CONTENTS PREFACE...................................................................................................................................... i i LIST CF TABLES.................................................................................................................. iv LIST OF ILLUSTRATIONS................................................................................................... iv CHAPTER I . THE DANCE IN THE SOCIETY ISLANDS............................................. 1 1. General Observations end RemarKs ..................................... 1 2. Place of Dance ......................................... 5 3. Music and Instruments
    [Show full text]
  • Comisión Permanente Sobre Liturgia Y Música
    COMISIÓN PERMANENTE SOBRE LITURGIA Y MÚSICA Integrantes Rev. Dra. Ruth Meyers, Presidenta, 2015 Rvmo. Steven Miller, Vicepresidente, 2015 Dr. Derek Olsen, Secretario, 2018 Rev. Dr. Paul Carmona, 2018 Rvmo. Rev. Thomas Ely, 2015 Sra. Ana Hernández, 2018 Sr. Drew Nathaniel Keane, 2018 Rvmo. Rev. John McKee Sloan, 2015 Sr. Beau Surratt, 2015 Rev. Dr. Louis Weil, 2015 Rev. Canon Sandye Wilson, 2018 Reverendísimo Dr. Brian Baker, Enlace del Consejo Ejecutivo, 2015 Rev. Canon Amy Chambers Cortright, Representante de la Cámara de Diputados, 2015 Rev. Canon Gregory Howe, Custodio del Libro de Oración Común, Ex Officio, 2015 Reverendísimo Dr. William H. Petersen, Consultor; Representante de Consultas sobre Textos Comunes Sr. Davis Perkins, Intermediario ante Church Publishing Incorporated Rev. Angela Ifill, personal del Centro Episcopal, 2015 Cambios en la membrecía El Sr. Dent Davidson renunció en abril de 2013 y no fue sustituido. El Sr. John Repulski, Vicepresidente, renunció en febrero de 2014 y fue sustituido por el Sr. Beau Surratt; El Rvmo. Steven Miller fue elegido Vicepresidente. Hno. Christopher Hamlett, OP, renunció en agosto de 2014 y no fue sustituido. El Rev. Chris Cunningham renunció al Consejo Ejecutivo y fue sustituido por el Reverendísimo Dr. Brian Baker en diciembre de 2013. El Sr. Davis Perkins sustituyó a la Sra. Nancy Bryan en la coordinación con Church Publishing Incorporated en octubre de 2013. Representación en la Convención General El Obispo Steven Miller y el Diputado Sandye Wilson tienen autorización para recibir enmiendas menores para este informe en la Convención General. Resumen de las actividades Mandato: El Canon I.1.2(n)(6) instruye a la Comisión Permanente sobre Liturgia y Música que haga lo siguiente: (i) Cumplir con las obligaciones que le sean asignadas por la Convención General en cuanto a políticas y estrategias relacionadas con el culto común de esta Iglesia.
    [Show full text]
  • Days & Hours for Social Distance Walking Visitor Guidelines Lynden
    53 22 D 4 21 8 48 9 38 NORTH 41 3 C 33 34 E 32 46 47 24 45 26 28 14 52 37 12 25 11 19 7 36 20 10 35 2 PARKING 40 39 50 6 5 51 15 17 27 1 44 13 30 18 G 29 16 43 23 PARKING F GARDEN 31 EXIT ENTRANCE BROWN DEER ROAD Lynden Sculpture Garden Visitor Guidelines NO CLIMBING ON SCULPTURE 2145 W. Brown Deer Rd. Do not climb on the sculptures. They are works of art, just as you would find in an indoor art Milwaukee, WI 53217 museum, and are subject to the same issues of deterioration – and they endure the vagaries of our harsh climate. Many of the works have already spent nearly half a century outdoors 414-446-8794 and are quite fragile. Please be gentle with our art. LAKES & POND There is no wading, swimming or fishing allowed in the lakes or pond. Please do not throw For virtual tours of the anything into these bodies of water. VEGETATION & WILDLIFE sculpture collection and Please do not pick our flowers, fruits, or grasses, or climb the trees. We want every visitor to be able to enjoy the same views you have experienced. Protect our wildlife: do not feed, temporary installations, chase or touch fish, ducks, geese, frogs, turtles or other wildlife. visit: lynden.tours WEATHER All visitors must come inside immediately if there is any sign of lightning. PETS Pets are not allowed in the Lynden Sculpture Garden except on designated dog days.
    [Show full text]
  • Transcultural Psychiatry
    transcultural psychiatry December 2000 ARTICLE Stambali: Dissociative Possession and Trance in a Tunisian Healing Dance ELI SOMER University of Haifa and Israel Institute for Treatment and Study on Stress MEIR SAADON Israel Institute for Treatment and Study on Stress Abstract This study investigated Stambali, a Tunisian trance-dance prac- ticed in Israel as a healing and a demon exorcism ritual by Jewish-Tunisian immigrants. The authors observed the ritual and conducted semi-structured ethnographic interviews with key informants. Content analysis revealed that Stambali is practiced for prophylactic reasons (e.g. repelling the ‘evil eye’), for the promotion of personal well-being, and as a form of crisis inter- vention. Crisis was often construed by our informants as the punitive action of demons, and the ritual aimed at appeasing them. Communication with the possessing demons was facilitated through a kinetic trance induction, produced by an ascending tempo of rhythmic music and a corresponding increased speed of the participant’s movements of head and extremities. The experience was characterized by the emergence of dissociated eroticism and aggression, and terminated in a convulsive loss of consciousness. Stambali is discussed in terms of externalization and disowning of intrapsychic conflicts by oppressed women with few options for protest. Key words dance • demon possession • dissociative trance • Israel • Stambali • Tunisia Vol 37(4): 581–602[1363–4615(200012)37:4;581–602;014855] Copyright © 2000 McGill University Transcultural Psychiatry 37(4) A Judeo-African legend has it that Jews came to the Tunisian island of Djerba in King Solomon’s time. Archaeological findings and numerous texts prove the existence of Jewish communities in Tunisia during the first century CE.
    [Show full text]
  • Connecticut College Alumni Magazine, Fall 1977
    Connecticut College Digital Commons @ Connecticut College Linda Lear Center for Special Collections & Alumni News Archives Fall 1977 Connecticut College Alumni Magazine, Fall 1977 Connecticut College Follow this and additional works at: https://digitalcommons.conncoll.edu/alumnews Recommended Citation Connecticut College, "Connecticut College Alumni Magazine, Fall 1977" (1977). Alumni News. 200. https://digitalcommons.conncoll.edu/alumnews/200 This Magazine is brought to you for free and open access by the Linda Lear Center for Special Collections & Archives at Digital Commons @ Connecticut College. It has been accepted for inclusion in Alumni News by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. The ggrnecticut Alu~ Mag::xzine ,.. Don • ., 1'1"" "f II,.. CJ'lI"Y" "I' NfEW!L.ONT>ON .. ." . " ~" • ,,' \ ., i\. I .\ \ •I " ',"<,- ~_ • Alb ; iiiiihh1WJihi •• ""h"'!h, .... EDITORIAL BOARD: AJlen T. Carroll'73 EdilOr(R.F.D. 3, Colches- President / Sally Lane Braman '54 Secretary / Platt Townend Arnold ter, Ct. 06415), Marion vilbert Clark '24 Class NOles Editor, Elizabeth '64 Treasurer . '56 Damerel Gongaware '26 Assistant Editor, Cassandra Goss Sitnonds '55, Directors-at-Large. Michael J. Farrar '73, Anne Godsey Sun nett , Louise Stevenson Andersen '41 ex officio Terry Munger '50, Gwendolyn Rendall Cross '62 / Alumni Trusl~e~ Official publication of the Connecticut College Alumni Association. All Virginia Golden Kent '35 Jane Smith Moody '49, Joan Jacobson Krome. publication rights reserved. Contents reprinted only by permission of the '46 / Chairman of A iumni Giving: Susan Lee '70 / Chairman of NOInI- editor. Published by the Connecticut College Alumni Association at Sykes noting ~ommittee: Joann Walton Leavenworth '56/ Chairman of Fm.a;~: Alumni Center, Connecticut College, New London, Conn.
    [Show full text]
  • Moses Brown School Preferred Name *
    ;.. ‘‘ tates Department of the Interior :* _..ag’e Conservation and Recreation Service Q,HCRS -National Register of Historic Places dat. enterS Inventory-Nomination Form - See instructions In How to Complete National Register Forms Type all entries-complete applicable sections 1. Name historic Friends’ Yearly Me eting School and/orcommon Moses Brown School preferred name * . 2. Location . street & number 250 Lloyd Avenue - not for publication city, town Providence - vicinity of congressional district112 Hon. Edward P. Beard state Rhode Islandeode 44 county Providence code 007 3. Classification Category Ownership Status Present Use - district - public & occupied agriculture - museum ....._X buildings private unoccupied commercial - park structure both Iwork in progress .x. educational private residence - site Public Acquisition Accessible - entertainment - religious - object - In process ç yes: restricted - government - scientific being considered yes: unrest!icted - industrial - - transportation - no . military .. other: 4. Owner of Property name New England Yearly Meeting of Friends street&number The Maine Idyll U.S. Rte. 1 city, town R. D. 1, Freeport - vicinity of state Ma i tie 04032 5. Location of Legal Description . courthouse, registry ot deeds, etc. Providence City hail street & number 25 Dorrance Street Providence city, town state Rhode Island 02903 : 6. Representation in Existing Surveys Friends’ School, now Moses Brown School ;lfistorical American title Survey HABS #RI-255 has this property been determined eiegible? __yes date 1 963 .x_fede ral state county - local depository for survey records Rhode Island Historical Society Library ‘ city, town Providence state Rhode Tslarmd 02906 r’r’ 1: 7. Description Condition Check one Check one excellent _deteriorated .. unaltered JL original site _.2 good -.
    [Show full text]
  • 9783110705805.Pdf
    Anthony Harding Bronze Age Lives Münchner Vorlesungen zu Antiken Welten Herausgegeben vom Münchner Zentrum für Antike Welten (MZAW) Band 6 Anthony Harding Bronze Age Lives ISBN 978-3-11-070570-6 e-ISBN (PDF) 978-3-11-070580-5 e-ISBN (EPUB) 978-3-11-070586-7 ISSN 2198-9664 This work is licensed under the Creative Commons Attribution-NonCommercial NoDerivatives 4.0 License. For details go to http://creativecommons.org/licens-es/by-nc-nd/4.0/. Library of Congress Control Number: 2020947207 Bibliographic Information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2021 Anthony Harding, published by Walter de Gruyter GmbH, Berlin/Boston Printing and binding: CPI books GmbH, Leck www.degruyter.com Prefaceand acknowledgements This book is the written version of aseries of lecturesdelivered in Munich in the academic year 2015–16 to members of the MünchnerZentrumfür Antike Welten (MZAW) when Iwas Gastprofessor für Kulturgeschichte des AltertumsinLudwig- Maximilians-Universität München. The lectureshavebeen turned into awritten text rather thanaspoken lecture, with bibliography, and have been significantly updated – something that was essential giventhe huge amount of publishedma- terial thathas emergedinthe last few years and continues to emerge,inpartic- ular the highlynovel and important developments in archaeogenetics. In No- vember 2015,when the first lecture was given, there wereonlyacouple of relevant papers available dealing with the genetic origin of Bronze Agepeople; since then, three or four papers ayear have appeared, shedding light on the whole area in ways that were scarcelyimaginable adecade ago.
    [Show full text]
  • The Discoveries in Crete
    Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/discoveriesincreOOburruoft THE DISCOVERIES IN CRETE PLATE I Vases from Hagia Triada Scale—A 1:3, B i : 2. FHE DISCOVERIES IN CRETE AND THEIR BEARING ON THE HISTORY OF ANCIENT CIVILISATION By RONALD M. BURROWS PROFESSOR OF GREEK IN THE UNIVERSITY COLLEGE, CARDIFF WITH ILLUSTRATIONS LONDON JOHN MURRAY, ALBEMARLE STREET, W. 1907 ) \ PRINTED BY HAZELL, WATSON AND VINEY, LD., LONDON AND AYLESBURY. if: PREFACE The present book is an attempt to meet a need that has been widely felt during the last few years, not only by classical scholars, but by the general cultured public. Mr. Arthur Evans's discoveries at Knossos made an impression on the popular imagination when they were first presented to the world six years ago, and the impression was deepened by the wonderful ex- hibition of Cretan art at Burlington House two years later. Even at that time, however, the accounts of the excavations that were accessible to the public were as fragmentary as they were fascinating. Since then the mass of new material has been so great that it has taken Mr. Evans all his time to publish the details as they came out in the various learned Journals which had a right to expect them. The promptness with which the result of each year's work has appeared is remarkable, and it has been out of the question to expect from Mr. Evans a general survey of the ground until the completion of the excava- tions.
    [Show full text]