Using the geo-archaeological approach to explain past urban hazards

2012 ◽  
pp. 15-20
Author(s):  
E Fouache
Keyword(s):  
Urban Hazards ◽  
Archaeological Approach

scholarly journals ANJING DALAM BUDAYA PAPUA (Dog in the Papua Culture)

2018 ◽  
Vol 10 (1) ◽  
pp. 53-62
Author(s):  
Rini Maryone
Keyword(s):  
Archaeological Approach

Tribes in Papua consider dogs to be animals that have important values for their lives. This paper aims to determine the function of dogs for the lives of tribes in Papua and to determine the value of these dogs for the lives of tribes in Papua. The method used in this study is an ethno-archaeological approach. The function of dogs in the lives of several tribes in Papua is as friends for hunting and also as their dema and totem. The Momuna and Korowai tribes use dog tooth fangs as payment for dowry, custom fines, and also used as body jewelry in the form of necklaces and bracelets. The sacred value of a dog for the lives of these tribes is the belief that a dog can expel subtle creatures (demons, dead spirits, evil magic, suanggi) by barking and also as dema / totems that can provide abundant hunting blessings. ABSTRAK Suku-suku di Papua menganggap anjing merupakan binatang yang mempunyai nilai penting bagi kehidupan mereka. Tulisan ini bertujuan untuk mengetahui fungsi anjing bagi kehidupan suku-suku yang berada di Papua serta untuk mengetahui nilai anjing tersebut bagi kehidupan suku-suku di Papua. Metode yang digunakan dalam penelitian ini yaitu pendekatan etnoarkeologi. Fungsi anjing dalam kehidupan beberapa suku-suku yang berada di Papua adalah sebagai sahabat untuk berburu dan juga sebagai dema dan totem mereka. Suku Momuna dan Suku Korowai menggunakan taring gigi anjing sebagai pembayaran mas kawin, denda adat, dan juga dijadikan perhiasan tubuh berupa kalung dan gelang. Nilai sakral seekor anjing bagi kehidupan suku-suku ini adalah kepercayaan bahwa seekor anjing dapat mengusir makluk halus (setan, roh-roh orang mati, sihir jahat, suanggi) dengan cara menggonggong dan juga sebagai dema/totem yang dapat memberikan berkat berburuan yang melimpah.

Between Copyright and Creativity

2020 ◽  
pp. 104-121
Author(s):  
Amanda Egbe
Keyword(s):  
Film Industry ◽  
Motion Pictures ◽  
Film History ◽  
Copyright Law ◽  
Early Cinema ◽  
New Materials ◽  
Moving Image ◽  
Primary Form ◽  
Archaeological Approach

Focusing on Edison’s early cinematic apparatus and the optical printer, this chapter explores how copyright law intersects with creativity, providing an alternative to teleological accounts of moving-image technologies. Thomas Edison attempted to control the film industry through patents and copyright. Edison’s first film experiments were registered as a series of photographs on card by his assistant, W. L. Dickson. In protecting these contact copies as paper prints with copyright, the new medium of motion pictures was being formalized. The necessity to duplicate film to support the development of exhibition and distribution was also necessary for copyright purposes. An archaeological approach is utilized to explore how paper prints enabled innovation in the area of the optical printer, a primary form of duplication in cinema. In developing approaches that could bring to life the remaining examples of early cinema, novel solutions in the form of innovations were required. The overlapping concerns of the copyright clerk, the film entrepreneur, and the film historian thus provide a basis for new materials and new innovations in moving-image technology and film history.

Zamboanga and Sulu: An Archaeological Approach to Ethnic Diversity.

Man ◽  
1974 ◽  
Vol 9 (4) ◽  
pp. 635
Author(s):  
Wilhelm G. Solheim II ◽  
Alexander Spoehr ◽  
Alan C. Ziegler ◽  
Danielle B. Fellows
Keyword(s):  
Ethnic Diversity ◽  
Archaeological Approach

What Is Left of the Cinematic Apparatus, or Why We Should Retain (and Return to) It

2014 ◽  
Vol 31 (1-2-3) ◽  
pp. 33-44 ◽  
Author(s):  
Thomas Elsaesser
Keyword(s):  
Original Formulation ◽  
Archaeological Approach

In this essay I shall briefly summarize what it was about the original formulation of the cinematic apparatus that seemed crucial; what were subsequently perceived to be its shortcomings; how in my own media-archaeological approach I have tried to extend as well as to relativize/historicise the model of the apparatus/dispositif; and finally, what avenues I see for invigorating the theoretical challenges apparatus theory still poses, now in the context of viewing situations that either pastiche and inflate the original paradigm or completely bypass or ignore it.

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