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Art in the Stone Age Terminology
Art in the Stone Age Terminology ● Paleolithic- (Greek) ○ Paleo-Old ○ Lithos-Stone. ○ 40,000-9,000BCE ○ Characteristics, Hunter Gatherer, Caves. Migration ● Mesolithic, ○ Meso-Middle ○ Lithos- Stone Age ○ 10,000-5,000 bce ○ Characteristics, Beginnings of Cities, Dog Domestication, Transition to agricultural and animal domestication ● Neolithic, ○ Neo-New ○ Lithos-Stone ○ 8,000-2300 BCE ○ Development of Cities, Animal Husbandry Herding, Agriculture, People Began to stay in one place Mistakes in Art History The saying Goes.. “History is Written by the victors.” Niccolo Machiavelli Mercator Map Projection. https://youtu.be/KUF_Ckv8HbE http://www.npr.org/sections/thetwo- way/2016/01/21/463835225/discovery-of- ancient-massacre-suggests-war-predated- settlements Radio Carbon Dating https://youtu.be/54e5Bz7m3do A process Archaeologists use among others to estimate how long ago an artifact was made. Makapansgat Face Pebble resembling a face, Makapansgat, ca. 3,000,000 bce. This pebble of one of the earliest examples of representation of the human form. Apollo 11 Cave Animal facing left, from the Apollo 11 Cave, Namibia, ca. 23,000bce. Charcoal on stone, 5”x4.25”. State Museum of Namibia, Windhoek. Scientists between 1969-1972 scientists working in the Apollo 11 Cave in Namibia found seven fragments of painted stone plaques, transportable. The approximate date of the charcoal from the archeological layer containing the Namibian plaques is 23,000bce. Hohlenstein-Stadel Human with feline (Lion?) head, from Hohlenstein-Stadel Germany, ca 40,000- 35,000BCE Appox 12” in length this artifact was carved from ivory from a mammoth tusk This object was originally thought to be of 30,000bce, was pushed back in time due to additional artifacts found later on the same excavation layer. -
Flat a (Page 1)
ForMembers of AAAS & Sigma Xi Wild &Prehistoric AAAS Travels Sigma Xi Expeditions BETCHART EXPEDITIONS Inc. 17050 Montebello Road, Cupertino, CA 95014-5435 FRANCE Including Lascaux II & Rouffignac FIRST CLASS May22–June 4, 2009 Dear Friends: Join Mark Walters for an extraordinary journey in France! Discover wild areas and prehistoric sites in Haute Provence, the Massif Central, and the Dordogne, including spec- tacular gorge country populated by raptors, Explore... remote villages, and images of the greatest Wild & Prehistoric cave paintings in Europe at Lascaux II. numerous prehistoric dolmen and stone circles. FRANCE! In Quinson in Haute Provence, explore the May 22–June 4, 2009 recently opened Musée de Préhistoire and the In the town of Roquefort, see the spectacular Gorges du Verdon. Then depart standing stone and look for blackcaps, for the Massif Central and its relatively woodpeckers, firecrests and other unexplored plateauland, Les Causses, woodland bird species. Then explore interspersed with breathtaking gorges and the Causses and the geologic wonder of Cirque de Navacelles. Learn about the griffon vulture reintroduction program at Gorges de la Jonte, and entrance fees; baggage handling; Cancellations & Refunds: The the prehistory of ancient Millau, an Costs & Conditions leadership, administration. initial deposit is refundable up to 60 (CONTINUED) important crossroads in antiquity. Expedition Fee Does Not days before departure, less a handling Include: International air fare fee of $100 per person. There is no What to Expect: This expedition is refund for any cancellation after the Explore the Vezère Valley, a hot- planned for the travel enthusiast who (quoted separately); some meals; independent airport transfers; 60 day period unless your space can spot for prehistoric finds of both would enjoy exploring and learning be resold; then a $100 per person about the fascinating heritage of gratuity to expedition leader; personal Neanderthal and Cro-magnon man. -
Un Origen En La Fenomenología Del Habitar a Partir De La Representación Simbólica Del Espacio
58 Un origen en la fenomenología del habitar a partir de la representación simbólica del espacio doi: 10.33264/rpa.201802-06 Rodrigo Gandolfi Orrego Escuela de Arquitectura Facultad de Arquitectura, Diseño y Artes Visuales Resumen El texto a continuación, busca profundizar sobre aquellos elementos originales que habrían motivado al individuo, a la adaptación de su entorno como estrategia de representación simbólica, la que alcanzará con el desarrollo de una concepción fenomenológica del espacio y el tiempo, y cuyo origen aparecerá junto a su anhelo de protección y su voluntad para organizar sus hábitos, modos de convivencia y comunicación. A partir de su experiencia del mundo, será capaz de trasladar aquellas vivencias al interior de su morada, concibiendo por vez primera, aquella unión entre exterior e interior como posibilidad de representación de su mundo interior reconociendo los fenómenos que lo rodean. De este modo, aparecerá la posibilidad de reparar aquella brecha existencial impuesta por la distancia espacial y temporal que lo separa de la realidad, o aquello que le resulta inalcanzable y doloroso. La caverna, específicamente sus paredes, constituyen los límites de aquella primera morada donde se configura la escena a través de la cual será capaz de representar su propio mundo interior-exterior como unidad indivisible y posibilidad de trascendencia simbólica que le permitirá concebir su presencia armónica en el cosmos. Palabras clave: arte rupestre, arquitectura, simbolismo, fenomenología, habitar, representación simbólica, Platón, Sigfried Giedion, mito de la caverna. Abstract The following text, seeks to deepen on those original elements that could have motivated the individual, to adapt their environment as a strategy of symbolic representation, which will be achieved with the development of a phenomenological conception of space and time, and whose origin appears together with its desire for protection and willingness to organize their habits, their ways of living together and communication, from their own worldview. -
Explanatory Index of Proper Names Other Than Authors Cited
Quest: An African Journal of Philosophy / Revue Africaine de Philosophie , 24 (2010), 1-2D 1-398 E:planatory inde: of proper names other than authors cited 0xhaustive listing of all proper names other than those of authors cited. 6or names mar2ed with UU also see Inde7 of Authors Cited . Some entries have underlying con- cepts explained under V.v. ( Vuod videre , Esee there=)8 for many other entries this index sei:es the opportunity of explaining details that could not be accommodated in the main text. 1hen a boo2 title is listed, it appears in italic , followed by the author=s name (if any) between parentheses. Inly capitalised text has been processed 9 thus e.g. ECatalyst= is listed but not the many occurrences of Ecatalyst=, Ecatalytic=, etc. Due to last-minute text additions a few page references may be off by 1. identity, 53 227n, 291n8 ,ssyrian ,baris, ,ncient Gree2 Achsenzeit , see ,xial ,ge traces in 9 , 1298 ,rab shaman, 112, 114, 114n ,cragas, 1098 cf. ,grigen- influence on sub- ,b2ha:oids, linguistico- tum Saharan 9, 758 9 and ethnic cluster in the ,dam, Biblical figure, 135 ,ncient Near 0ast, 73, ,ncient 3editerranean, ,donai, .ord, 1608 cf. 1298 9 and North ,mer- 233 ,idoneus ica, 9, 118, 265, 2748 9 ,boriginal ,ustralian, 91, ,egean, Sea and region, and 0urope, 808 and 0ast 1928 cf. Dur2heimUU 115, 141, 151, 175, 294, ,sia, 9 and ,sia, 35, 90, ,braham, Biblical figure, 273n8 9 -,natolian, 226 275, 280, 186n8 1est 162 ,ether, 103-104, 117-118, ,frica, 74, 268, 2818 ,bri du 6acteur, 5pper 130, 137-139, 152, 180- Central ,frica, espe- Palaeolithic site, 189 181, 154n, 165n, 184n8 cially South 9 , 5, 8, 17- ,byss, ,bysmal, 122, ,ether and Day, chil- 18, 31, 43, 62, 64, 70, 164, 236, 101n8 cf. -
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. -
2. La Evolución Del Arte Parietal En Las Cuevas Y Abrigos Ornamentados De
La evolución del arte parietal en las cuevas y abrigos ornamentados de Francia 1 Por el Abate H. Breuil N 1905 traté, por primera vez, de hilvanar en conjunto y pers E pectiva las primeras indicaciones de cronología relativas a la evolución del arte rupestre paleolítico, con los datos conocidos entonces de la Mouthe, Combarelles, Font-de-Gaume, Pair-non-Pair y Marsoulas, en Francia, y solamente de la cueva de Altamira, en España. Desarrollé el mismo tema en Mónaco el año siguiente. No me forjé ilusiones sobre el carácter tan provisional de este ensayo que fui retocando sucesivamente en las diversas publicaciones que, gracias al príncipe Alberto de Mónaco, pude editar con lujo sobre las cuevas de Altamira (1908), Santander, Font-de-Gaume (1910). las de los Pirineos cantábricos (1912), de la Pasiega (1913), de la Pileta, Málaga (1915) y de Combarelles (1924). El estudio todavía inédito, en parte, de muchas otras del sudoeste y sur de Francia y del noroeste de España, me han llevado a una concepción mucho más compleja de la evolución de este arte sobre el que hoy escribo (en 1934): examinaremos, pues, sucesivamente, solamente para Francia, los diversos grupos de cuevas y abrigos decorados: 1) Piri neos: 2) norte del Garona; 3) Provenza occidental. En cada grupo estudiaremos primero los hechos relativos a la evolución de la pintura; los casos de superposiciones directas de técnicas diferentes nos permitirán clasificar los documentos de una misma época por comparación de estilos. Después, en cada región, examinaremos también el desarrollo paralelo de la evolución del grabado y de la escultura parietal. -
Tsodilo Hill, Botswana
Alec Campbell and Lawrence Robbins Tsodilo Hill, Botswana The Tsodilo Hills in northwestern Botswana were listed as World Heritage in 2001 on account of their prolific rock art, some 4 000 images, 100 000-year occupation by humans, prehistoric specularite mining, early occupation by pastoral Khwe and Black farmers, spiritual importance to their modern residents and unique attributes in a land of endless sand dunes. Tsodilo Hills are situated in a remote region of nium AD farmer villages. Local residents of the the Kalahari Desert in northwest Botswana. Hills, Ju/’hoansi (Bushmen) and Hambukushu The Hills form a 15km-long chain of four (Bantu-speaking farmers) still recognise the quartzite-schist outcrops rising, the highest Hills as sacred. to 400m, above Aeolian sand dunes. The Hills contain evidence of some 100 000 years of Background intermittent human occupations, over 4 000 Tsodilo’s rock paintings, first noted by the rock paintings, groups of cupules, at least 20 outside world in 1898, received legal protec- prehistoric mines, and remains of First Millen- tion only in the late 1930s. The law protecting Fig. 1. Western cliffs that glow a copper colour in evening light giving the Hills their N/ae name, ‘Copper Bracelet of the Evening’. 34 the paintings also prohibited illegal excava- Archaeology tions and damage to, or theft of ‘Bushman Excavations have told us something about (archaeological) relics’, but failed to protect past human occupations of the Hills. White the Hills and their plants or wildlife. Paintings Shelter, excavated to a depth of Research, mainly undertaken by Botswana’s seven metres, has disclosed human-made ar- National Museum, commenced in 1978 with tefacts dating back almost to 100 000 years. -
KMBT C554e-20150630165533
Recent Research on Paleolithic Arts in Europe and the Multimedia Database Cesar Gonzalez Sai 民 Roberto Cacho Toca Department Department of Historical Sciences. University of Cantabria. Avda. Los Castros s/n. 39005. SANTANDER (Spain) e-mail: e-mail: [email protected] I [email protected] Summary. In In this article the authors present the Multimedia Photo YR Database, made by Texnai, Inc. (Tokyo) and the the Department of Historical Sciences of the University of Cantabria (Spain) about the paleolithic art in northern northern Spain. For this purpose, it ’s made a short introduction to the modem knowledge about the European European paleolithic art (35000 ・1 1500 BP), giving special attention to the last research trends and, in which way, the new techniques (computers, digital imaging, database, physics ... ) are now improving the knowledge about this artistic works. Finally, is made a short explanation about the Multimedia Photo YR Database Database and in which way, these databases can improve, not only research and teaching, but also it can promote in the authorities and people the convenience of an adequate conservation and research of these artistic artistic works. Key Words: Multimedia Database, Paleolithic Art, Europe, North Spain, Research. 1. 1. Introduction. The paleolithic European art. Between approximately 35000 and 11500 years BP, during the last glacial phases, the European continent continent saw to be born a first artistic cycle of surprising surprising aesthetic achievements. The expressive force force reached in the representation of a great variety of of wild animals, with some very simple techniques, techniques, has been rarely reached in the history of the the western a此 We find this figurative art in caves, caves, rock-shelters and sites in the open air, and at the the same time, on very di 仔erent objects of the daily li た (pendants, spatulas, points ofjavelin, harpoons, perforated perforated baton, estatues or simple stone plates). -
Manual De Arte Rupestre De Cundinamarca
¿Que es arte rupestre?/1 SEGUNDA EDICIÓN Diego Martínez Celis Álvaro Botiva Contreras INSTITUTO COLOMBIANO DE ANTROPOLOGÍA E HISTORIA ICANH Grupo de Arqueología y Patrimonio SECRETARÍA DE CULTURA DE CUNDINAMARCA 2/ARTE RUPESTRE EN CUNDINAMARCA Instituto Colombiano de Antropología e Historia ICANH Directora: María Victoria Uribe Alarcón Planeación: Emiro José Díaz Leal Coordinador Grupo de Arqueología y Patrimonio: Víctor González Fernández Coodinador de publicaciones: Nicolás Morales Thomas Director del proyecto: Álvaro Botiva Contreras Departamento de Cundinamarca Gobernador: Pablo Ardila Sierra Secretario de Cultura: Jorge Santiago Pyñeiro Medina Asosores culturales: Mirella Sepúlveda Hernández / Francisco Gaitán manualdearterupestredecundinamarca Segunda edición Investigación y textos: Diego Martínez Celis / Álvaro Botiva Contreras Fotografías: Álvaro Botiva Contreras / Diego Martínez Celis Edición, diseño e ilustraciones: Diego Martínez Celis Colaboradores: Pedro Argüello, Andrea Martínez, Martha Cecilia Maldonado Bogotá D. C. Colombia, julio de 2004 Copyright: ©Diego Martínez Celis ©Álvaro Botiva Contreras ©Instituto Colombiano de Antropología e Historia (ICANH) ©Departamento de Cundinamarca ISBN: 958-8181-07-0 ¿Que es arte rupestre?/3 contenido 4 / Presentación a la segunda edición 6 / Introducción 8 / Patrimonio arqueológico 10 / ¿Qué es arte rupestre? Descubrimiento del arte rupestre en Europa Descubrimiento del arte rupestre en Colombia 14 / ¿Qué es un petroglifo? 16 / ¿Qué es una pictografía? 18 / ¿En dónde se encuentra el arte -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk 1 UNIVERSITY OF SOUTHAMPTON FACULTY OF LAW, ARTS & SOCIAL SCIENCES School of Humanities Neanderthal archaeology in MIS 3 Western Europe: ecological and anthropological perspectives by Charalampos Garefalakis Thesis for the degree of Doctor of Philosophy January 2009 2 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF LAW ARTS AND SOCIAL SCIENCES SCHOOL OF HUMANITIES Doctor of Philosophy NEANDERTHAL ARCHAEOLOGY IN MIS 3 WESTERN EUROPE: ECOLOGICAL AND ANTHROPOLOGICAL PERSPECTIVES. By Charalampos Garefalakis This thesis focuses on the occupation of selected regions in Western Europe by Neanderthals during the earlier part of Marine Isotope Stage 3 (MIS 3), namely the period between c. 60 and 40 kyr ago. It examines the archaeological evidence from three different areas, Britain, Belgium and South-Western France aiming to understand the occupation in these areas, both at a synchronic and at a diachronic level. -
The Appendicular Remains of the Kiik-Koba 2 Neandertal Infant
The Appendicular Remains of the Kiik-Koba 2 Neandertal Infant ERIK TRINKAUS Department of Anthropology, Washington University, St. Louis, MO 63130, USA; [email protected] MARIA B. MEDNIKOVA Institute of Archaeology, Russian Academy of Sciences, Dm. Ulianova str. 19, Moscow 117036, RUSSIA; [email protected] LIBBY W. COWGILL Department of Anthropology, University of Missouri, Columbia, MO 65201, USA; [email protected] submitted: 9 August 2016; revised 21 November 2016; accepted 7 December 2016 ABSTRACT The appendicular skeleton (scapula, humerus, ulnae, radii, metacarpals, pollical phalanges, hip bone, femora, tibiae and fibula) of the Neandertal infant from Kiik-Koba (Crimea), Kiik-Koba 2, are reassessed in the context of Late Pleistocene archaic and modern human infant remains. Based on long bone lengths, it should have been 4–6 months old at death, of indeterminate sex. The infant resembles (most) older Neandertals in its scapular dorsal sulcus axillary border, medially oriented radial tuberosity, radial curvature, large pollical opponens flange, and low crural index. It lacks the mediolateral pubic elongation seen in some older Neandertals, its brachial index is average for a Late Pleistocene or recent human, and its femoral neck-shaft angle is low for its developmental age. The percent cortical areas of its humerus and especially femur are average for its age, but its tibial one is unusually low. Yet, when scaled to intermetaphyseal lengths, the midshaft rigidities of all three long bones are unexceptional for a Late Pleistocene or non-mechanized recent human infant. The Kiik-Koba 2 infant limb bones thus provide additional data and inferences concerning the mosaic of Neandertal early postnatal development of postcranial features and appendicular hypertrophy, when assessed in the broader context of both Late Pleistocene and recent human infant remains. -
A Heritage and Cultural Tourism Destination
MAKING GABORONE A STOP AND NOT A STOP-OVER: A HERITAGE AND CULTURAL TOURISM DESTINATION by Jane Thato Dewah (Student No: 12339556) A Dissertation submitted in fulfilment of the requirements for the degree of MAGISTER HEREDITATIS CULTURAEQUE SCIENTIAE (HERITAGE AND CULTURAL STUDIES) (TOURISM) In the Department of Historical and Heritage Studies at the Faculty of Humanities University of Pretoria SUPERVISOR: Prof. K.L Harris December 2014 DECLARATION OF AUTHENTICITY I, the undersigned, hereby declare that the work contained in this thesis is my own original work and has not been submitted previously at any other university for a degree. ............................................... Signature Jane Thato Dewah ................................................ Date ii Abstract The main objective of the study was to identify cultural heritage sites in and around Gaborone which could serve as tourist attractions. Gaborone, the capital city of Botswana, has been neglected in terms of tourism, although it has all the facilities needed to cater for this market. Very little information with regards to tourist attractions around Gaborone is available and therefore this study set out to identify relevant sites and discussed their history, relevance and potential for tourism. It also considers ways in which these sites can be developed in order to attract tourists. Due to its exclusive concentration on wildlife and the wilderness, tourism in Botswana tends to benefit only a few. Moreover, it is mainly concentrated in the north western region of the country, leaving out other parts of the country in terms of the tourism industry. To achieve the main objective of the study, which is to identify sites around the capital city Gaborone and to evaluate if indeed the sites have got the potential to become tourist attractions, three models have been used.