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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. -
Symbolic Territories in Pre-Magdalenian Art?
See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/321909484 Symbolic territories in pre-Magdalenian art? Article in Quaternary International · December 2017 DOI: 10.1016/j.quaint.2017.08.036 CITATION READS 1 61 2 authors, including: Eric Robert Muséum National d'Histoire Naturelle 37 PUBLICATIONS 56 CITATIONS SEE PROFILE Some of the authors of this publication are also working on these related projects: An approach to Palaeolithic networks: the question of symbolic territories and their interpretation through Magdalenian art View project Karst and Landscape Heritage View project All content following this page was uploaded by Eric Robert on 16 July 2019. The user has requested enhancement of the downloaded file. Quaternary International 503 (2019) 210e220 Contents lists available at ScienceDirect Quaternary International journal homepage: www.elsevier.com/locate/quaint Symbolic territories in pre-Magdalenian art? * Stephane Petrognani a, , Eric Robert b a UMR 7041 ArscAn, Ethnologie Prehistorique, Maison de l'Archeologie et de l'Ethnologie, Nanterre, France b Departement of Prehistory, Museum national d'Histoire naturelle, Musee de l'Homme, 17, place du Trocadero et du 11 novembre 75116, Paris, France article info abstract Article history: The legacy of specialists in Upper Paleolithic art shows a common point: a more or less clear separation Received 27 August 2016 between Magdalenian art and earlier symbolic manifestations. One of principal difficulty is due to little Received in revised form data firmly dated in the chronology for the “ancient” periods, even if recent studies precise chronological 20 June 2017 framework. Accepted 15 August 2017 There is a variability of the symbolic traditions from the advent of monumental art in Europe, and there are graphic elements crossing regional limits and asking the question of real symbolic territories existence. -
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. -
The Cave of Isturitz (West Pyrenees, France): One Century of Research in Paleolithic Parietal Art
Arts 2013, 2, 253-272; doi:10.3390/arts2040253 OPEN ACCESS arts ISSN 2076-0752 www.mdpi.com/journal/arts Article The Cave of Isturitz (West Pyrenees, France): One Century of Research in Paleolithic Parietal Art Diego Garate 1,*, Aude Labarge 2, Olivia Rivero 1, Christian Normand 1 and Joëlle Darricau 3 1 TRACES-UMR 5608, Université Toulouse le Mirail, 5 allées Antonio Machado, F-31058 Toulouse, France; E-Mails: [email protected] (O.R.); [email protected] (C.N.) 2 Aulame Médiation en Préhistoire, F- 64640 Saint-Martin-d'Arberoue, France; E-Mail: [email protected] 3 Association Gaztelu, Oxocelhaya Borda, F-64640 Saint-Martin-d'Arberoue, France; E-Mail: [email protected] * Author to whom correspondence should be addressed; E-Mail: [email protected] Received: 24 September 2013; in revised form: 5 November 2013 / Accepted: 7 November 2013 / Published: 14 November 2013 Abstract: The cave of Isturitz is one of the most important archaeological sites of the prehistory of Western Europe. Human occupations followed each other in the cavity from at least the Middle Paleolithic to the Roman age. In 1913, Passermard started archaeological excavations there, and a calcite pillar was discovered next to the original entrance that was sculpted with a dozen of animal representations. In this excavation, the Magdalenian levels yielded a considerable quantity of portable art objects. In the last few years, several workers have resumed the study of those pieces. Since 2011, we have created a research team for the study of the parietal figures of the cave, as well as other elements, for example the objects embedded in the walls. -
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. -
Ibex Images from the Magdalenian Culture
Ibex Images from the Magdalenian Culture ANDREA CASTELLI University of Perugia (Italy) graduate in Natural Sciences; based in Rome, ITALY; [email protected] ABSTRACT This work deals with a set of images created during the Magdalenian period of Western Europe, part of what is known as Upper Paleolithic or prehistoric “art.” The set includes 95 images depicting four species: chamois, Py- renean ibex, Alpine ibex, and saiga antelope. A selection of previously published image descriptions are collected here, and revised and extended with reference to current naturalistic knowledge. In 48 of the images studied, the image-makers selectively depicted seasonal characters and behaviors, as first remarked by Alexander Marshack for images of all subjects, but 41 ibex and saiga antelope images reveal a focus on selected horn features—winter rings and growth rings—which are unique to these two subjects and first remarked here. These are not seasonal characters but are still closely related to the passage of time and may have been used as a visual device to keep track of solar years, elapsed or to come. Revealing similar concerns by the image-makers, and the same creative way of using images from the natural world surrounding them, this new theory can be seen as complementary to the seasonal meaning theory, of which a brief historical account is included here. The careful study of selected images and image associations also led to the finding, in line with recent paleobiogeographical data, that the Py- renean ibex was the most frequently—if not the only—ibex species depicted by the image-makers, as a rule in its winter coat. -
Signbase, a Collection of Geometric Signs on Mobile Objects in The
www.nature.com/scientificdata OPEN SignBase, a collection of geometric DATA DescripTOR signs on mobile objects in the Paleolithic Ewa Dutkiewicz1,3,4 ✉ , Gabriele Russo1,3, Saetbyul Lee2,3 & Christian Bentz 2,3 ✉ In the Paleolithic, geometric signs are abundant. They appear in rock art as well as on mobile objects like artworks, tools, or personal ornaments. These signs are often interpreted as a refection of symbolic thought and associated with the origin of cognitively modern behavior. SignBase is a project collecting the wealth of geometric signs on mobile objects in the European Upper Paleolithic, African Middle Stone Age (MSA), as well as selected sites from the Near East and South East Asia. Currently, more than 500 objects of the Aurignacian techno-complex (ca. 43,000 to 30,000 years BP) are registered in SignBase. They are linked to information about geographic and archaeological provenience, the type of object and material, size and preservation, and respective literature references. We identify around 30 diferent sign types found on these objects across Europe in the Aurignacian and illustrate how SignBase can be used to analyze geographical clusters. Ultimately, we aim to enable quantitative analyses of abstract graphical expression before the emergence of writing. Background & Summary In the Paleolithic, geometric signs are found in parietal art as well as on mobile objects. Most of these signs appear in the period between 100,000 and 10,000 BP, but some examples are known from earlier periods1,2. Te Paleolithic is further subdivided into so-called techno-complexes. For instance, the Aurignacian is an Early Upper Paleolithic techno-complex dating to around 43,000 to 30,000 BP3–9. -
Non-Figurative Cave Art in Northern Spain
THE CAVES OF CANTABRIA: NON-FIGURATIVE CAVE ART IN NORTHERN SPAIN by Dustin Riley A thesis submitted To the School of Graduate Studies in partial fulfllment of the requirments for the degree of Master of Arts, Department of Archaeology Memorial University of Newfoundland January, 2017 St. John’s Newfoundland and Labrador Abstract This project focuses on non-figurative cave art in Cantabrian (Spain) from the Upper Palaeolithic (ca. 40,000-10,000). With more than 30 decorated caves in the region, it is one of the world’s richest areas in Palaeolithic artwork. My project explores the social and cultural dimensions associated with non-figurative cave images. Non-figurative artwork accounts for any image that does not represent real world objects. My primary objectives are: (1) To produce the first detailed account of non-figurative cave art in Cantabria; (2) To examine the relationships between figurative and non-figurative images; and (3) To analyse the many cultural and symbolic meanings associated to non- figurative images. To do so, I construct a database documenting the various features of non-figurative imagery in Cantabria. The third objective will be accomplished by examining the cultural and social values of non-figurative art through the lens of cognitive archaeology. ii Acknowledgements I would like to thank and express my gratitude to the members of the Department of Archaeology at Memorial University of Newfoundland and Labrador for giving me the opportunity to conduct research and achieve an advanced degree. In particular I would like to express my upmost appreciation to Dr. Oscar Moro Abadía, whose guidance, critiques, and continued support and confidence in me aided my development as a student and as a person. -
Kobie. Redescubriendo El Arte Parietal Paleolítico
2017 Bilbao 2017 KOBIE • Serie Anejo • 16 2017 Anejo • 16 k o b i e Anejo obieREDESCUBRIENDO EL ARTE 16 k PARIETAL PALEOLÍTICO Últimas novedades sobre los métodos y las técnicas de investigación REDESCUBRIENDO EL ARTE ParIETAL PALEOLÍTICO. ÚLTIMAS NOVEDADES SOBRE LOS MÉTODOS Y LAS TÉCNICAS DE INVESTIGACIÓN Diego Garate Maidagan (Dir.) - Mikel Unzueta Portilla (Coord.) Con la participación de: Arantza Aranburu Artano, Jean Clottes, Inés Domingo Sainz, Carole Fritz, César González Sainz, Antonio Hernanz Gismero, Eneko Iriarte Avilés, Sally K. May, María Ángeles Medina Alcaide, Patrick Paillet, José Manuel Pereira Uzal, Olivia Rivero Vila, José Luis Sanchidrián Torti, Georges Sauvet, Claire Smith, Gilles Tosello, Valentín Villaverde Bonilla ANEJO 16 Bilbao 2017 2 KOBIE. SERIE ANEJO Nº16 ZUZENDARIA - DIRECTOR Andoni Iturbe Amorebieta KOORDINATZAILEA - COORDINADOR - MANAGING EDITOR Mikel Unzueta Portilla. ® Revista KOBIE Portada: Labores de georeferenciación y restitución tridimensional de la cueva de Isturitz (Pirineos Atlánticos, Francia). Autor: Diego Garate Kultura Ondarearen Zerbitzua. Bizkaiko Foru Aldundia Servicio de Patrimonio Cultural. Diputación Foral de Bizkaia María Díaz de Haro, 11 - 6ª planta. 48013 Bilbao (Bizkaia) KOBIE DIGITALA - KOBIE DIGITAL - DIGITAL KOBIE e-mail: [email protected] Kobie aldizkariaren (1969-2017) sail eta edizio monografiko guztiak eskura daude helbide honetan: http://www.bizkaia.eus/kobie Teléfonos La Revista Kobie (1969-2017) puede ser consultada, en todas sus series y ediciones monográficas, Intercambio: 0034.94.4067723 acudiendo a la dirección: http://www.bizkaia.eus/kobie Coordinador: 0034.94.4066957 All series and monographic editions of Kobie Magazine (1969-2017) can be looked ur in the following e-mail address: http://www.bizkaia.eus/kobie Depósito Legal: ISBN: Título clave: ISSN: ARGITARAZLEA - EDITOR BI-1340 - 1970 978-84-7752-470-X. -
In the Trail of the Elks.Pdf
In the trail of the elks Finds from the Preboreal in southern Sweden Larsson, Lars Published in: Forgotten Times and Spaces 2015 Document Version: Publisher's PDF, also known as Version of record Link to publication Citation for published version (APA): Larsson, L. (2015). In the trail of the elks: Finds from the Preboreal in southern Sweden. In S. Saselova, M. Novak, & A. Mizerova (Eds.), Forgotten Times and Spaces: New perspectives in paleoanthropological, paleoetnological and archeological studies (pp. 468). Masaryk University Press. Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Bibliographic Citation of the book: SÁZELOVÁ, Sandra, Martin NOVÁK and Alena MIZEROVÁ (eds.). -
Rock Art Sites Bibliography
UNESCO‐ICOMOS Documentation Centre ROCK ART SITES ON THE UNESCO WORLD HERITAGE LIST BIBLIOGRAPHY UNESCO‐ICOMOS Documentation Centre September 2009 Description of World Heritage Rock Art Sites with a Bibliography of documents available at the UNESCO‐ICOMOS Documentation Centre 49-51, Rue de la Fédération, 75015 Paris, France Tel. 33 (0) 1 45 67 67 70 Fax. 33 (0) 1 45 66 06 22 E-mail: [email protected] http://www.international.icomos.org/centre_documentation 1 * The descriptions of the sites have been taken from the UNESCO World Heritage Centre website. * Les descriptions des sites ont été prises du site web du Centre du Patrimoine Mondial de l'UNESCO 2 Table of Contents AFRICA 5 Botswana 6 Tsodilo (2001) 6 Gabon 8 Ecosystem and relict cultural landscape of Lopé-Okanda (2007) 8 Malawi 13 Chongoni Rock-Art Area (2006) 13 Namibia 14 Twyfelfontein or /Ui-//aes (2007) 14 South Africa 16 Mapungubwe Cultural Landscape (2003) 16 uKhahlamba / Drakensberg Park (2000) 18 Tanzania, United Republic of 20 Kondoa Rock-Art Sites (2006) 20 Zimbabwe 21 Matobo Hills (2003) 21 ARAB STATES 23 Algeria 24 Tassili N’Ajjer (1982) 24 Lybian Arab Jamahiriya 27 Rock-Art sites of Tadrart Acacus (1985) 27 ASIA AND THE PACIFIC 29 Australia 30 Kakadu National Park (1981, 1987, 1992) 30 Uluru-Kata Tjuta National Park (1987, 1994) 32 India 35 Rock Shelters of Bhimbetka (2003) 35 Kazakhstan 37 Petroglyphs within the Archaeological Landscape of Tamgaly (2004) 37 EUROPE 39 Azerbaijan 40 Gobustan Rock Art Cultural Landscape (2007) 40 Bulgaria 43 Madara River (1979) -
Sanz De Sautuola and the Discovery of the Caves of Altamira PUBLISHED by Fundación Marcelino Botín, Pedrueca I, Tel
HISTORIA Y DOCUMENTOS Sanz de Sautuola and the discovery of the Caves ofAltamira Benito Madariaga de la Campa Fundación Marcelino Botín Benito Madariaga de la Campa. The author has a doctorare in Veterinary Sciences from the Faculty of León (University of Oviedo) and has worked as a civil servant in the Ministery of Agriculture, Livestock and Fishing, and has also worked as a laboratory assistant in the Santander Institute of Oceanography, but is now retired. He is the Crhonicler of the city of Santander, as well as being a corresponding member of the Academy of History, the Academy of Doctors and the Academy of Veterinary Sciences, al three in Madrid. He is also a member of severa! cultural institutions in Santander. Amongst the books he has written on a range of subjects, the folloing studies on Prehistoy are of particular interest: Las pinturas rupestres de animales en la región Franco-cantábrica (1969), with prologue by Flélix Rodríguez de la Fuente; Hermilio Alcalde del Río. Una Escuela de Prehistoria en Santander (1972), with prologue by Professor Martín Almagro; and the edition of Marcelino Sanz de Sautuola's Escritos y Documentos, with its introduction by Emilio Botín. Because of his knowledge of marine biology, Benito Madariaga has taken part in sorne excavations involving the study of molluscs in the strata of the caves of La Chora, Morín, El Pendo and El Juyo in Cantabria and in those of Tito Bustillo, El Águila, La Cámara Superior and El Llongar, in Asturias. He si also an authority on the subject of cave painting and has given severa! lectures and had articles published on this topic.