Archaeology in Greece, 1939–45

1944 ◽  
Vol 64 ◽  
pp. 78-97 ◽  
Author(s):  
T. J. Dunbabin
Keyword(s):  
Works Of Art ◽  
Archaeological Work ◽  
The Many

Little serious archaeological work has been carried out in Greece during the war years. The Greek Archaeological Service has been obliged to give all its attention to the conservation of sites and works of art, a task carried out with courage and devotion in often very difficult circumstances. The foreign Schools have been able to carry out little work. The many military works carried out by the occupying forces have had a less rich harvest of antiquities than might have been expected. In many cases little information is available beyond the bare fact that excavations were carried out or finds made; no Greek experts were present and the finds were not handed over to the Greek Archaeological Service.This article describes new finds only. It does not cover the damage done by acts of war to monuments and museums, which will be described elsewhere. It does include excavations and finds of 1939–40, which have not yet been reported in JHS, and summarises a number of Greek publications of the war years.I am indebted for information to P. Amandry (on whose articles in BCH lxiv–lxv (1940–1), 231 ff. and lxvi–lxvii (1942–3), 320 ff. this article is largely based), to J. M. Cook and T. W. French, who collected much of the material, to A. D. Keramopoullos and the members of the Greek Archaeological Service of which he is head, who have given information and assistance at every point. I have also made use of the articles in AA 1940, 121 ff.; 1942, 99 ff.

The Enigmatic Crystal River Site

1951 ◽  
Vol 17 (2) ◽  
pp. 142-143 ◽  
Author(s):  
Ripley P. Bullen
Keyword(s):  
West Coast ◽  
Burial Mound ◽  
The West ◽  
Florida Archaeology ◽  
The North ◽  
Archaeological Work ◽  
Crystal River ◽  
The Many ◽  
Work Done ◽  
River Site

The Crystal River site, on the west coast of Florida about 65 miles north of Tampa, presents one of the many unsolved problems of Florida archaeology. Included in the site is a curving shell ridge, shaped like a fishhook with a temple mound where the barb of the hook would be, a large sand or sand and shell burial mound surrounded by a platform to the north, another temple mound further to the north, and a large deposit of shell to the northwest (Moore, 1903, Fig. 16). Obviously, this is a large and complicated site. Practically the only archaeological work done at Crystal River is that of Moore who, during his three visits, dug all the burial mound and part of its surrounding platform (Moore, 1903; 1907; 1918). Moore did no work in the shell midden or temple mounds and our knowledge of the site is limited to its burial complex.

The Development of Folk and Complex Cultures in the Southern Maya Area

1956 ◽  
Vol 21 (4) ◽  
pp. 343-356 ◽  
Author(s):  
Stephan F. de Borhegyi
Keyword(s):  
Great Part ◽  
Factual Information ◽  
Urban Centers ◽  
Archaeological Material ◽  
Two Generations ◽  
Archaeological Work ◽  
Carnegie Institution Of Washington ◽  
Maya Area ◽  
The Many ◽  
Factual Data

Two generations of intensive archaeological work conducted in great part by the Carnegie Institution of Washington in the Southern Maya area have resulted in a wealth of factual information and the establishment of a fairly comprehensive and continuous cultural sequence. In spite of the many facts, few attempts have been made by Middle American archaeologists to synthesize this data and present it within a coherent conceptual framework. The reluctance of Middle Americanists to extract from the factual data theories regarding the recurring regularities of human behavior may be due in part to the feeling that such “theorizing” is purely speculative and unscientific. The picture is further complicated by the fact that in the Maya area the great bulk of the archaeological material collected and studied consists of artifacts from the excavations of mounds and tombs in the large ceremonial and urban centers. This material understandably does not represent the totality of the culture concerned.

scholarly journals Heretyk Jeroen i jego ekrany. Refleksje o pewnej wystawie multimedialnej

2019 ◽  
Vol 40 ◽  
pp. 219-235
Author(s):  
Leszek Pułka
Keyword(s):  
Marketing Strategies ◽  
Works Of Art ◽  
The Many

Heretic Jeroen and his screens The article presents the multimedia binding of the many years’ project “Jheronimus Bosch 500”, which led — in the jubilee year — to developing the monographic exhibition of Hieronymus Bosch’s works in Hertogenbosch 2016. According to the author of the article Internet seems to be a useful “megaarchives” for works of art and for some important events organized because of them. It is useful especially for collecting and exposing film documentation of interpretation of the works, their con-servation and creating marketing strategies which make the artist a so-called glocalbrand hero. The documentation of some film events of the project in Hertogenbosch is presented on the page https://www.youtube.com/channel/UCh9n1lmat4buzWzjqJaDfMA/videos. We can find there a collection of documents and quasi-documents, some films of didactic and persuasive cinema, but also some marketing products, of which role is to cause selling the constellation of events of the project. Avoiding the rating of the substantive value of the mentioned objects, the author of the article shows that the portals YouTube or Vimeo are sometimes the only, and sometimes not too orderly, open film archive of associating of people with art.

scholarly journals XXVI. On Mortuary Urns found at Stade-on-the-Elbe, and other parts of North Germany, now in the Museum of the Historical Society of Hanover

Archaeologia ◽  
1855 ◽  
Vol 36 (02) ◽  
pp. 270-283 ◽  
Author(s):  
John Mitchell Kemble
Keyword(s):  
Great Benefit ◽  
Historical Society ◽  
Intimate Connection ◽  
Works Of Art ◽  
North Germany ◽  
The Many

Among the many interesting remains of heathendom, which, to the great benefit of comparative Archaeology, you have recorded in your work on Saxon Pagandom, none have struck me more than certain vessels and utensils found at Eye in Suffolk, and described by you in Part xi. plate xxii. compared with Part ii. plate iv. As works of art they have not indeed much to recommend them; nor are they valuable for the sake of the material of which they are formed. And yet they are more than commonly remarkable. They are so, not only on account of their comparative rarity in this country, which renders them attractive merely as curiosities; but of their intimate connection with objects identical in form, which have been discovered in various parts of North Germany. You are, no doubt, aware that thousands of urns have been exhumed in that part of the continent within the last two hundred years; but, of them all, none approach more nearly in form to the English than those excavated last year at Stade-on-the-Elbe. A comparison of them with those which you have engraved, and those which we find in the “Saxon Obsequies,” and other English works of archaeological interest, will, I trust, not be without value for you. It will serve to shew how complete, even in this matter of detail, was the resemblance between the Saxons in England, and those who remained behind in their old seats upon the Elbe.

scholarly journals Urania Observed

1990 ◽  
Vol 105 ◽  
pp. 431-436
Author(s):  
Rafael Fernandez ◽  
Jay M. Pasachoff ◽  
Robert Volz
Keyword(s):  
Public Interest ◽  
The Public ◽  
Works Of Art ◽  
The Many

The public interest in astronomy, so often cited in this Colloquium, is demonstrated by the many works of art over the centuries with astronomical content. We mounted an exhibition, named Urania Observed after the muse of astronomy, at the Clark Art Institute to coincide with IAU Colloquium #105 on the Teaching of Astronomy and with the Sesquicentennial of the Hopkins Observatory. We thank Wayne Hammond of the Chapin Library for his expert assistance with this exhibition.

scholarly journals Marilynne Robinson, Gilead, and the Battle for the Soul

Perichoresis ◽  
2017 ◽  
Vol 15 (2) ◽  
pp. 41-58
Author(s):  
Annette Aronowicz
Keyword(s):  
The Novel ◽  
Human Beings ◽  
Marilynne Robinson ◽  
Works Of Art ◽  
The Many ◽  
Widespread View ◽  
The Way

Abstract A widespread view among contemporary philosophers and scientists is that the soul is a mystification. For Marilynne Robinson, American essayist and novelist, the crux of the matter is not the existence of the soul in itself, since this cannot be settled by debate. Rather, she challenges the sort of evidence that her opponents—mostly basing themselves on the work of neuroscientists, and evolutionary biologists—deem to be decisive in determining the question. The soul, she claims, does not appear at the level of our genes and neurons. Rather it is encountered in the many works of art and reflection that human beings have produced from the earliest times. This paper will focus on one such document, Robinson’s novel Gilead (2004), in which she proposes a vision of the soul closely allied to the notion of blessing. Blessing, in turn, is inseparable from metaphor, pointing us to mystery, an elusive reality whose presence we experience only intermittently, although it is always there. Although Robinson’s several collections of essays provide needed context for the view of the soul displayed in the novel, it is our claim that it is the novel that truly turns the tables in the debate, inviting the reader to affirm or deny the soul’s reality not on the basis of the pronouncement of experts but on the basis of the way a given language aligns with experience. The internalization that such a process requires reveals the soul in action. This paper is thus a reading of Robinson’s writings on the soul.

Archaeometrical Studies of Classic Mayan Mural Painting at Peten: La Blanca and Chilonche

2014 ◽  
Vol 1618 ◽  
pp. 45-62
Author(s):  
Mª Luisa Vázquez de Ágredos Pascual ◽  
Cristina Vidal Lorenzo ◽  
Gaspar Muñoz Cosme
Keyword(s):  
Electron Microscopy ◽  
Mineralogical Composition ◽  
Mural Painting ◽  
Monumental Architecture ◽  
X Ray ◽  
Transmission Electron ◽  
Archaeological Work ◽  
The Rich ◽  
The Many ◽  
The University

ABSTRACTLa Blanca and Chilonche are two of the many Mayan settlements located on the lower reaches of the Mopan river (Department of Petén, Guatemala). The archaeological work conducted by La Blanca Project (University of Valencia, Spain) over the last ten years has revealed the rich polychrome of the monumental architecture of these sites, where the remains of ancient mural paintings are of the highest quality.In order to ascertain the materials and techniques used by painters at each site throughout the Classic period, our research team has recently conducted an analytical study with a multi-technique approach based on the combination of several non destructive and micro-destructive instrumental techniques, namely, light microscopy (LM), scanning electron microscopy-X-ray microanalysis (SEM/EDX), transmission electron microscopy (TEM), voltammetry of microparticles (VMP), X-ray microdiffraction (mXRD), X-ray diffraction (XRD), UVeVis spectrophotometry, FTIR spectroscopy and gas chromatographyemass spectrometry (GCeMS). These instrumental techniques provide reliable and complementary data, such as elemental and mineralogical composition, the identification of functional groups as well as specialization studies of electroactive species.This paper presents the results obtained at the Laboratories for the Analysis of Works of Art at the University of Valencia (Spain) and the Polytechnic University of Valencia (Spain) after chemically comparing the pigments and mural painting techniques of both Maya archaeological sites.

Secretive Slime Moulds

2021 ◽  
Author(s):  
Steven Stephenson
Keyword(s):  
Southern Hemisphere ◽  
Leaf Litter ◽  
Life Forms ◽  
Fruiting Bodies ◽  
Works Of Art ◽  
Slime Moulds ◽  
Introductory Material ◽  
Decaying Wood ◽  
The Many ◽  
Insight Into

Neither plants, nor animals, nor fungi, the myxomycetes are a surprisingly diverse and fascinating group of organisms. They spend the majority of their life out of sight as single-celled amoeboid individuals in leaf litter, soil or decaying wood, foraging for bacteria and other simple life forms. However, when conditions are right, two individual cells come together to give rise to a much larger, creeping structure called a plasmodium, which produces the even more complex and often beautiful fruiting bodies. Indeed, the fruiting bodies of myxomycetes are often miniature works of art! Their small size (usually only a few millimetres tall) and fleeting fruiting phase mean that these organisms, although ubiquitous and sometimes abundant, are overlooked by most people. However, recent research by a few dedicated individuals has shown that Australia has a very diverse myxomycete biota with more than 330 species, the largest number known for any region of the Southern Hemisphere. This comprehensive monograph provides keys, descriptions and information on the known distribution for all of these species in addition to containing introductory material relating to their biology and ecology. Many species are illustrated, showing the diversity of their fruiting bodies, and greatly facilitating their identification. This book will give naturalists a new insight into an often overlooked group of organisms in addition to providing an incentive to search for the many species which have undoubtedly thus far escaped notice.

scholarly journals NILAI NILAI ISLAM PADA WAYANG KULIT, MENJADIKAN PERAN PENTING DALAM PERKEMBANGAN SENI ISLAMI DI INDONESIA

CORAK ◽  
2014 ◽  
Vol 3 (1) ◽  
Author(s):  
Otok Herum Marwoto
Keyword(s):  
Work Of Art ◽  
Works Of Art ◽  
The World ◽  
The Many ◽  
Wayang Kulit

One of the many works of art heritage in Indonesia is a shadow puppet performance(Wayang Kulit). Wayang Kulit is a one of branch of art that is popular and favored by someIndonesian, a work of art that is considering masterpiece based onphilosophical valuecontained in its story.Through the characters and the story, wayang has a role in building nation character.Since wayang is one of Indonesian valuable art tradition, if should be maintained and preservedin order to build and empower nation’s identity. The philosophy values in wayang alwaysincourage people to do a good spare not a harmful things, the spirit of commanding tho goodand fortidding unjust or a tern in the shadow puppet is “Memayu Hayuning Bebrayan Agung”,according to their own beliefs and religion.Islam as a religion that full of value and norm has its own rule for its follower. If thrfollower willing to obey the rule then he or she will get happines in the world and here after.Related to this effort, art is fully needed in the knowledge transfoemation process and valuableIslamic Education.Keyword: leather puppet, Art and Islam  Salah satu dari banyak karya seni warisan di Indonesia adalah kinerja wayang kulit(Wayang Kulit). Wayang Kulit adalah salah satu cabang seni yang populer dan disukai olehbeberapa Indonesia, sebuah karya seni yang sedang mempertimbangkan nilai onphilosophicalberbasis karya yang terkandung dalam cerita tersebut.Melalui karakter dan cerita, wayang memiliki peran dalam membangun karakterbangsa. Karena wayang merupakan salah satu seni tradisi yang berharga Indonesia, jika harusdijaga dan dilestarikan dalam rangka membangun dan memberdayakan identitas bangsa. Nilainilaifilsafat wayang selalu incourage orang untuk melakukan cadangan yang baik bukan halyang berbahaya, semangat memerintah tho baik dan fortidding tidak adil atau tern di wayangkulit adalah "Memayu Hayuning Bebrayan Agung", menurut keyakinan dan agama merekasendiri. Islam sebagai agama yang penuh nilai dan norma memiliki aturan sendiri untukpengikutnya. Jika thr pengikut bersedia untuk mematuhi aturan maka ia akan mendapatkankebahagiaan di dunia dan di sini setelah. Terkait dengan upaya ini, seni sepenuhnya diperlukandalam proses transfoemation pengetahuan dan Pendidikan Islam berharga.Kata kunci: wayang kulit, Seni dan Islam

scholarly journals An Empty Table and an Empty Boat: Empathic Encounters with Refugee Experiences in Intermedial Installation Art

2016 ◽  
Vol 27 (1) ◽  
pp. 44-73 ◽  
Author(s):  
Janna Houwen
Keyword(s):  
Installation Art ◽  
Common Denominator ◽  
Refugee Crisis ◽  
Video Installation ◽  
Slavoj Zizek ◽  
Slavoj Žižek ◽  
Works Of Art ◽  
Starting Point ◽  
The Many ◽  
The Way

Abstract This essay is an inquiry into two intermedial installations that address the experiences of people on the run from war or poverty, yet overtly hinder and problematize the viewer’s identification with the depicted refugees. By doing so, Friday Table (2013) by art collective Foundland, and Isaac Julien’s video installation Ten Thousand Waves (2010) differ from the many contemporary discourses dealing with the so-called refugee crisis that suggest a blind assumption of empathy’s benevolence. Taking theoretical texts concerning the relation between empathy, politics and the (lens-based) representation of refugees by, for instance, Slavoj Zizek (2016) and Jill Bennett (2005) as a starting point, I read Friday Table and Ten Thousand Waves as reflections on the pitfalls as well as the critical political possibilities of empathy in contemporary debates on refugees. Moreover, I argue that the two lens-based installations in question are able to examine the limits of empathy and identification with refugees through their common denominator: intermediality. Both Friday Table and Ten Thousand Waves combine lens-based media (photography, video and film) with non-lens-based medial forms such as drawings, graphs and calligraphy. As I will demonstrate, the interplay between different media is decisive when it comes to the way in which the three works of art produce, manage and reflect on the relation between spectators and depicted refugees.

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