scholarly journals The Collection of Ancient Greek Inscriptions in the British Museum. Part iv: Knidos, Halikarnassos and Branchidae. By Gustav Hirschfeld, sometime Professor in the University of Königsberg. Supplementary and Miscellaneous Inscriptions, by F. H. Marshall, M.A., Fellow and Lecturer of Emmanuel College, Cambridge, formerly Assistant in the Department of Greek and Roman Antiquities. Pp. 301. Printed by order of the Trustees at the Clarendon Press, Oxford: 1893–1916.

1916 ◽  
Vol 36 ◽  
pp. 404-405
Author(s):  
Edward Lincoln
Keyword(s):  
British Museum ◽  
Ancient Greek ◽  
The University

Sacred ‘Idiocy’ the Avant-Garde as Alternative Establishment

1991 ◽  
Vol 7 (28) ◽  
pp. 348-352
Author(s):  
Graham Ley
Keyword(s):  
New Zealand ◽  
Corporate Finance ◽  
University Of Chicago ◽  
Ancient Greek ◽  
Short Introduction ◽  
Contemporary Theatre ◽  
Avant Garde ◽  
Alternative Theatre ◽  
The University ◽  
University Of Chicago Press

Is there a postmodernist theatre – and if so, what was the modernist theatre? What qualifies as avant-garde – and for how long? And why does the ‘established’ alternative theatre lean so heavily on appropriation, whether of ancient myths or contemporary ideologies – such as postmodernism? Graham Ley uses analogies from dance and design to explore our perceptions of and attitudes towards those contemporary theatre practitioners who may once have broken boundaries, but now often head the queue for lavish corporate finance. Graham Ley has taught in universities in England, Australia, and New Zealand, and his Short Introduction to the Ancient Greek Theatre will shortly appear from the University of Chicago Press.

Excavations at Ur, 1931–2

1932 ◽  
Vol 12 (4) ◽  
pp. 355-392 ◽  
Author(s):  
C. Leonard Woolley
Keyword(s):  
British Museum ◽  
University Of Pennsylvania ◽  
Single Visit ◽  
The University ◽  
The Way

The tenth season of the Joint Expedition of the British Museum and of the Museum of the University of Pennsylvania began work in the field on 25 November 1931, and closed down on 19 March 1932. In addition to my wife, my staff included Mr. J. C. Rose, who came out as architect for his second season, and Mr. R. P. Ross-Williamson, who acted as general archaeological assistant; Mr. F. L. W. Richardson of Boston, Massachusetts, was also attached to the Expedition to make a contoured survey of the site (pl. LVIII). NO epigraphist was engaged, for the work contemplated was not expected to produce much in the way of inscriptions; but an arrangement was made whereby Dr. Cyrus B.Gordon, epigraphist on the Tell Billah Expedition of the Museum of the University of Pennsylvania, could be called upon to give his services when required; actually a single visit enabled him to do all that was essential. To each of these I am very much indebted. As usual, Hamoudi was head foreman, with his sons Yahia, Ibrahim and Alawi acting under him, and as usual was invaluable; Yahia also was responsible for all the photographic work of the season. The average number of men employed was 180. This relatively small number of workmen, and the shortness of the season, were dictated partly by reasons of finance but more by the nature of our programme, which envisaged not any new departure in excavation but the clearing up of various points still in doubt and the further probing of sites already excavated, with a view to the final publication of the results of former seasons; the work was therefore rather scattered, five different areas being investigated in turn.

William Watson 1917–2007

2009 ◽  
Author(s):  
Rosemary Scott
Keyword(s):  
World War Ii ◽  
British Museum ◽  
African Studies ◽  
Chinese Art ◽  
World War ◽  
University Of Cambridge ◽  
Fellow Student ◽  
The Arts ◽  
The University

William Watson (1917–2007), a Fellow of the British Academy, was a scholar whose contribution to the field of Asian art and archaeology was both multifaceted and far-reaching. He earned a scholarship to Gonville and Caius College at the University of Cambridge to read Modern and Medieval Languages (1936–1939), and it was at Cambridge that he met a fellow-student Katherine Armfield, whom he married in 1940. After World War II, Watson took up his first post in the arts in 1947, joining the staff of the British and Medieval Department of the British Museum. In 1966, he left the British Museum and moved to the Percival David Foundation of Chinese Art to become its Director and take up the professorship of Chinese Art and Archaeology at the School of Oriental and African Studies, University of London. Watson travelled widely and often, and he became fascinated with the arts and language of Japan.

Archaeology in the home: neoclassical ceramics for new audiences in mid-nineteenth-century Britain

2020 ◽  
Vol 63 (1) ◽  
pp. 72-88
Author(s):  
Paul Lewis
Keyword(s):  
Nineteenth Century ◽  
Cultural Heritage ◽  
British Museum ◽  
Transfer Printing ◽  
Ancient Greek ◽  
The Creation ◽  
Ceramics Industry ◽  
Material Evidence

Abstract For audiences not familiar with antiquity, the shattering of the Portland Vase at the British Museum in 1845 raised awareness of a classical past which was claimed by many European nations as their cultural heritage. This article explores how the British ceramics industry quickly exploited a ready market, prompted by such interest. A new genre of wares was produced industrially, mainly in Stoke-on-Trent until the 1870s, although manufacture continued sporadically until 1900. Modern techniques, including moulding and transfer-printing, allowed the creation of versions of black- and red-figure ancient Greek ceramics, sometimes in vivid polychrome. Hitherto largely overlooked by museums and standard histories of ceramics, the material evidence of this fashion endures. Although the resulting artefacts were often marketed without reference to their origins in antiquity, an argument is presented here for their having more than merely decorative significance.

The real other? Museum objects in digital contact networks

2012 ◽  
Vol 17 (3) ◽  
pp. 265-286 ◽  
Author(s):  
Carl Hogsden ◽  
Emma K Poulter
Keyword(s):  
British Museum ◽  
Contact Network ◽  
Contact Networks ◽  
The Real ◽  
Meaning Change ◽  
Museum Objects ◽  
Digital Objects ◽  
To Come ◽  
The University ◽  
Relational Capacities

What can museum objects do when they are placed within a digital contact network – a system made up of reciprocally linked but otherwise separate nodes in which control and ownership of content lies with each location? What new connections are enabled through the placement of objects within this contact network and what are the new understandings that result? Dynamics of access, ownership and meaning change when museum collections are transformed into digital forms, in ways that require the reconceptualization of digital objects and their relational capacities. In theory and in practice, the ‘real’ and the digital object are often framed as disconnected and oppositional entities, a separation that hinders approaches to, and uses of, digital forms. Using examples of recent projects at the University of Cambridge Museum of Archaeology and Anthropology, and at the British Museum, it is argued that digital contact networks enable the unique qualities of digital objects to come to the fore, providing platforms for effective engagement and digital reciprocation.

scholarly journals A FAKE OR GENUINE ARTEFACT? THE PARIAN CHRONICLE AND PERCEPTIONS OF AUTHENTICITY IN EIGHTEENTH-CENTURY BRITAIN

2019 ◽  
Vol 99 ◽  
pp. 271-295
Author(s):  
Peter N Lindfield
Keyword(s):  
Eighteenth Century ◽  
Third Century ◽  
Ancient Greek ◽  
University Of Oxford ◽  
Greek History ◽  
Eighteenth Century Britain ◽  
The University ◽  
Opening Up

A remarkable controversy raged in the late 1780s concerning the authenticity of the Parian Chronicle, a supposedly genuine carved fragment recording ancient Greek history that was included in the 1667 Arundel bequest to the University of Oxford. Drawing in figures in British antiquarianism, including Richard Gough who, as Director of the Society of Antiquaries of London, intervened in the debate with a pamphlet that came out in support of the artefact’s authenticity, this was an important moment in eighteenth-century antiquarian study. Hot on the heels of the now much more well-known Ossian controversy of the 1760s, the Chatterton–Rowley–Walpole debacle from 1770, Chatterton’s subsequent death and the publication of his forgeries from 1777, the literature variously refuting and supporting the Parian Chronicle’s authenticity strikes at the heart of antiquarianism, in particular opening up to dispute assumptions made about or accepted interpretations concerning the authenticity of the fragments upon which subsequent antiquarian work and interpretation was based. This debate took the form of a very public attack upon, and defence of, the Parian Chronicle’s status as a genuine third-century bc antiquarian fragment, and the controversy within antiquarian circles that it occasioned is reconstructed here.

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