Letter from France
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Experimentation Preceding Innovation in a MIS5 Pre-Still Bay Layer from Diepkloof Rock Shelter (South Africa): Emerging Technologies and Symbols
RESEARCH ARTICLE Experimentation preceding innovation in a MIS5 Pre-Still Bay layer from Diepkloof Rock Shelter (South Africa): emerging technologies and symbols. Guillaume Porraz1,2, John E. Parkington3, Patrick Schmidt4,5, Gérald Bereiziat6, Jean-Philip Brugal1, Laure Dayet7, Marina Igreja8, Christopher E. Miller9,10, Viola C. Schmid4,11, Chantal Tribolo12,, Aurore 4,2 13 1 Cite as: Porraz, G., Parkington, J. E., Val , Christine Verna , Pierre-Jean Texier Schmidt, P., Bereiziat, G., Brugal, J.- P., Dayet, L., Igreja, M., Miller, C. E., Schmid, V. C., Tribolo, C., Val, A., Verna, C., Texier, P.-J. (2020). 1 Experimentation preceding Aix Marseille Université, CNRS, Ministère de la Culture, UMR 7269 Lampea, 5 rue du Château innovation in a MIS5 Pre-Still Bay de l’Horloge, F-13094 Aix-en-Provence, France layer from Diepkloof Rock Shelter 2 University of the Witwatersrand, Evolutionary Studies Institute, Johannesburg, South Africa (South Africa): emerging 3 technologies and symbols. University of Cape Town, Department of Archaeology, Cape Town, South Africa EcoEvoRxiv, ch53r, ver. 3 peer- 4 Eberhard Karls University of Tübingen, Department of Early Prehistory and Quaternary reviewed and recommended by PCI Ecology, Schloss Hohentübingen, 72070 Tübingen, Germany Archaeology. doi: 5 10.32942/osf.io/ch53r Eberhard Karls University of Tübingen, Department of Geosciences, Applied Mineralogy, Wilhelmstraße 56, 72074 Tübingen, Germany. 6 Université de Bordeaux, UMR CNRS 5199 PACEA, F-33615 Pessac, France Posted: 2020-12-17 7 CNRS-Université Toulouse Jean Jaurès, UMR 5608 TRACES, F-31058 Toulouse, France 8 LARC DGPC, Ministry of Culture (Portugal) / ENVARCH Cibio-Inbio 9 Eberhard Karls University of Tübingen, Institute for Archaeological Sciences & Senckenberg Recommender: Anne Delagnes Center for Human Evolution and Paleoenvironment, Rümelinstr. -
Ritual Landscapes and Borders Within Rock Art Research Stebergløkken, Berge, Lindgaard and Vangen Stuedal (Eds)
Stebergløkken, Berge, Lindgaard and Vangen Stuedal (eds) and Vangen Lindgaard Berge, Stebergløkken, Art Research within Rock and Borders Ritual Landscapes Ritual Landscapes and Ritual landscapes and borders are recurring themes running through Professor Kalle Sognnes' Borders within long research career. This anthology contains 13 articles written by colleagues from his broad network in appreciation of his many contributions to the field of rock art research. The contributions discuss many different kinds of borders: those between landscapes, cultures, Rock Art Research traditions, settlements, power relations, symbolism, research traditions, theory and methods. We are grateful to the Department of Historical studies, NTNU; the Faculty of Humanities; NTNU, Papers in Honour of The Royal Norwegian Society of Sciences and Letters and The Norwegian Archaeological Society (Norsk arkeologisk selskap) for funding this volume that will add new knowledge to the field and Professor Kalle Sognnes will be of importance to researchers and students of rock art in Scandinavia and abroad. edited by Heidrun Stebergløkken, Ragnhild Berge, Eva Lindgaard and Helle Vangen Stuedal Archaeopress Archaeology www.archaeopress.com Steberglokken cover.indd 1 03/09/2015 17:30:19 Ritual Landscapes and Borders within Rock Art Research Papers in Honour of Professor Kalle Sognnes edited by Heidrun Stebergløkken, Ragnhild Berge, Eva Lindgaard and Helle Vangen Stuedal Archaeopress Archaeology Archaeopress Publishing Ltd Gordon House 276 Banbury Road Oxford OX2 7ED www.archaeopress.com ISBN 9781784911584 ISBN 978 1 78491 159 1 (e-Pdf) © Archaeopress and the individual authors 2015 Cover image: Crossing borders. Leirfall in Stjørdal, central Norway. Photo: Helle Vangen Stuedal All rights reserved. No part of this book may be reproduced, or transmitted, in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior written permission of the copyright owners. -
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. -
The Reception of Palaeolithic Art at the Turn of the Twentieth Century: Between Archaeology and Art History
The reception of Palaeolithic art at the turn of the twentieth century: between archaeology and art history Oscar Moro Abadía If I am asked to define any further what I mean by ‘the primitive’ I must refer the reader to the pages of this book, which will show that the term was associated in its time with early Greek vases, with quattrocento painting and with tribal art.1 These words by Ernst Gombrich summarize some of the main meanings associated with the term ‘primitive’ in the field of art history. In its original sense, the word refers to a movement of taste that, in the story of art, runs parallel to the progress towards naturalism. According to Gombrich, while art history may be described as the story of how ‘the artist got better and better in the imitation of nature’,2 there have been a number of artistic movements that have called for a deliberate abandonment of classical standards.3 This ‘preference for the primitive’ has been expressed in ‘the revulsion from that very perfection that art had been said to aim at’.4 During the last years of the nineteenth century, the theory of evolution ‘gave a new meaning to the term ‘primitive’ which […] came to denote the beginnings of human civilization’.5 As a result of this development, the term ‘primitive art’ was incorporated into art historians’ vocabulary to refer to a set of non-Western arts coming from Africa, America and Oceania.6 At the beginning of the twentieth century, ‘primitive art’ was used interchangeably with terms such as ‘savage art’, ‘tribal art’ and ‘art nègre’.7 Since then, the label has been intensively criticized for Acknowledgements. -
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). -
Palaeolithic Continental Europe
World Archaeology at the Pitt Rivers Museum: A Characterization edited by Dan Hicks and Alice Stevenson, Archaeopress 2013, page 216-239 10 Palaeolithic Continental Europe Alison Roberts 10.1 Introduction The collection of Palaeolithic material from Continental Europe in the Pitt Rivers Museum (PRM) is almost of equivalent size to the collection from the British Isles (see Chapter 9), but is not nearly as well known or as well published. It consists mainly of material from France that seems to have been an under-acknowledged highlight of the PRM archaeological collections for most of the 20th century. Despite the obvious care with which French Palaeolithic material was acquired by the museum, especially during the curatorship of Henry Balfour, the collection has mainly been used for teaching and display, rather than as a research resource. Due to the historic lack of work on the collection so far, this chapter presents a preliminary overview, to orient and inform future research, rather than a full account of the collections. The exact numbers of Palaeolithic objects from Europe are difficult to state with certainty due to factors such as unquantified batch registration of groups of objects in the past, and missing or incorrect cultural attributions in the documentation. However, it is estimated that there are c. 3,760 Palaeolithic objects from continental Europe in the PRM, c. 534 of which are from the founding collection of the PRM (PRMFC)(1). The majority of the material comprises c. 3,585 objects from France (Figure 10.1), with smaller collections from Belgium (c. 63 objects), Italy (c. -
Bataille Looking 125
NOLAND / bataille looking 125 Bataille Looking Carrie Noland “Dans ce livre, j’ai voulu montrer . .” MODERNISM / modernity Georges Bataille’s Lascaux, ou la naissance de l’art (Lascaux, VOLUME ELEVEN, NUMBER or the Birth of Art) is a commissioned work.1 And, like all com- ONE, PP 125–160. missioned works, Lascaux bears the scars of compromise. To a © 2004 THE JOHNS reader well-versed in Bataille’s major works of the 1930s, how- HOPKINS UNIVERSITY PRESS ever, the large-format, lushly illustrated volume of 1955 appears almost lacerated, a patchwork of textual summaries (of Johan Huizinga’s Homo Ludens and Roger Caillois’s L’Homme et le sacré, for instance) roughly stitched together at the seams. Bataille seems to have set himself the ambitious task of fitting all the pieces together, reconciling a generation of speculations on Paleolithic image-making with his own already well-devel- oped theories on the implication of art in religious action. Many of Bataille’s most faithful readers have found his study of “pre- historic art” disappointing, signaling a “retrenchment” rather than an advance.2 In Jay Caplan’s words, Bataille’s arguments in Lascaux are all too “familiar,”3 while for Michel Surya the work as a whole is “of less interest” than the contemporaneous La Carrie J. Noland is 4 souveraineté (1954) or Ma mère (1955). Associate Professor of In contrast, I will argue here that Lascaux is indeed a signifi- French at the University cant book, not only in its own right but also as a precursor to of California, Irvine. -
Historiographical Approaches to Past Archaeological Research
Historiographical Approaches to Past Archaeological Research Gisela Eberhardt Fabian Link (eds.) BERLIN STUDIES OF THE ANCIENT WORLD has become increasingly diverse in recent years due to developments in the historiography of the sciences and the human- ities. A move away from hagiography and presentations of scientifi c processes as an inevitable progression has been requested in this context. Historians of archae- olo gy have begun to utilize approved and new histo- rio graphical concepts to trace how archaeological knowledge has been acquired as well as to refl ect on the historical conditions and contexts in which knowledge has been generated. This volume seeks to contribute to this trend. By linking theories and models with case studies from the nineteenth and twentieth century, the authors illuminate implications of communication on archaeological knowledge and scrutinize routines of early archaeological practices. The usefulness of di erent approaches such as narratological concepts or the concepts of habitus is thus considered. berlin studies of 32 the ancient world berlin studies of the ancient world · 32 edited by topoi excellence cluster Historiographical Approaches to Past Archaeological Research edited by Gisela Eberhardt Fabian Link Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliographie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de. © 2015 Edition Topoi / Exzellenzcluster Topoi der Freien Universität Berlin und der Humboldt-Universität zu Berlin Typographic concept and cover design: Stephan Fiedler Printed and distributed by PRO BUSINESS digital printing Deutschland GmbH, Berlin ISBN 978-3-9816384-1-7 URN urn:nbn:de:kobv:11-100233492 First published 2015 The text of this publication is licensed under Creative Commons BY-NC 3.0 DE. -
Tool Industries of the European Paleolithic: Insights Into Hominid Evolution and Shifts in Archaeological Theory and Practice from the James B
TOOL INDUSTRIES OF THE EUROPEAN PALEOLITHIC: INSIGHTS INTO HOMINID EVOLUTION AND SHIFTS IN ARCHAEOLOGICAL THEORY AND PRACTICE FROM THE JAMES B. BULLITT COLLECTION by Sophie K. Joseph Honors Thesis Department of Anthropology University of North Carolina at Chapel Hill 2020 Approved: ––––––––––––––––––––––––––––––– R. P. Stephen Davis, PhD (Advisor) –––––––––––––––––––––––––––––– Laurie C. Steponaitis, PhD –––––––––––––––––––––––––––––– Silvia Tomášková, PhD ABSTRACT From early archaeological excavation in the nineteenth and twentieth centuries to modern conceptions of Paleolithic stone tool evolution, radiometric dating techniques and studies of paleoenvironment have revolutionized the study of relationships and divisions between these different lithic industries. In addition, there has been a shift from the formal to the functional approach when categorizing lithic industries through time. This project aims to examine how lithic industries in France changed through the Paleolithic and early Neolithic using a curated sample from Dr. James B. Bullitt’s contribution to the North Carolina Archaeological Collection. Early and contemporary archaeological literature about early stone tools are compared and connected to broad theoretical shifts in the field since the 1800s. Because many artifacts in the Collection are used as teaching aids, it is hoped that this project provides insight into the value of the Collection to the study of about Paleolithic hominid evolution. i ACKNOWLEDGEMENTS I would first like to thank my advisor and thesis committee chair Dr. Davis: without his diligent guidance and investment of time, this project truly would not have been possible. Furthermore, the James B. Bullitt Collection and larger North Carolina Archeological Collection would not be in the incredibly organized and accessible state they are today without Dr. -
Collection François Bigot Archéologie
COLLECTION FRANÇOIS BIGOT ARCHÉOLOGIE MARDI 28 SEPTEMBRE 2021 À 11H00 LOTS 1 À 54 À 13H30 LOTS 55 À 391 MERCREDI 29 SEPTEMBRE 2021 À 13H30 LOTS 392 À 786 DROUOT RICHELIEU, SALLE 2 9, RUE DROUOT ‑ 75009 PARIS EXPERT Daniel LEBEURRIER 20 rue de Verneuil 75007 Tel. : 33 (0)1 42 61 37 66 [email protected] CONTACTS ÉTUDE Marie-Hélène CORRE Perrine MINOT + 33 (0)1 40 06 06 08 + 33 (0)1 40 06 06 08 [email protected] [email protected] EXPOSITIONS PUBLIQUES À DROUOT Samedi 25 septembre de 11h à 18h Lundi 27 septembre de 11h à 18h Nous vous informons qu'il ne sera effectué aucun retour étude. Tous les lots de cette vente seront à retirer au magasinage de Drouot. CATALOGUE ET VENTE SUR INTERNET www.AuctionArtParis.com 9, rue de Duras ‑ 75008 Paris Tél. : +33 (0)1 40 06 06 08 | Fax. : +33 (0)1 42 66 14 92 SVV agrément N 2008‑650 www.AuctionArtParis.com ‑ [email protected] Rémy Le Fur, Théo Lavignon & Grégoire Veyres, commissaires‑priseurs habilités FFRANÇOIS BIGOT D'une mâchoire de paranthrope de plusieurs millions d'années, à un casse tête kanak en passant par des bijoux mérovingiens et une collection de figurines de Mercure gallo-romains, voici l'étrange et singulier monde dans lequel François Bigot (1950-2009) vivait à l'abri d'un petit manoir normand. Ayant commencé en 1976 comme antiquaire à Rouen, il su mettre à profit ses compétences pour organiser en tant qu'expert, deux ventes annuelles de préhistoire et d'archéologie, à Évreux. -
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. -
The Case of La Marche (Lussac-Les-Châteaux, Vienne)1
Open Archaeology 2018; 4: 239–261 Original Study Simone Chisena*, Christophe Delage On the Attribution of Palaeolithic Artworks: The Case of La Marche (Lussac-les-Châteaux, Vienne)1 https://doi.org/10.1515/opar-2018-0015 Received April 29, 2017; accepted December 12, 2017 Abstract: In this paper, we have explored the possibility of assigning the humanthemed engravings from La Marche to their authors, according to the method outlined by J.M. Apellaniz in the 1980s. The method employed here follows the first of the three stages postulated by Apellaniz: macroscopic observation, microscopic analysis and experimental protocol. From our study emerged a pattern of five groups and sixteen hands at work in this site. We believe, therefore, that it is possible to speak of La Marche as an “art workshop”, where portable art was produced and taught. Keywords: Magdalenian art; portable art; La Marche; authorship; attribution 1 Introduction The cave of La Marche, located in the town of Lussac-les-Châteaux in the French Département of Vienne (France), is by far one of the most intriguing portable prehistoric art discoveries of the 20th century. What makes this site outstanding in the European panorama is not just the amount of mobile art items (more than 3,000 engraved stones) but the fact that, out of these, numerous human representations may be encountered; so far, the largest concentration of human individual depictions in the whole Upper Palaeolithic in Europe. In this paper, we focused on the human-themed engravings from La Marche, followed the lines traced on the plaquettes and boulders to read the portraits’ outlines and, by applying a variation of the method devised by J.M.