The book contains the Proceedings of the 37th International Symposium on Archaeometry, 12th May 2008, Siena, Italy. The aim of the Symposium is to promote the development and use of scientific techniques in order to extract archaeological and historical information from cultural heritage and the paleoenvironment. It involves all Natural Sciences and all types of objects and materials related with human activity. Papers deal with the development and/or application of scientific techniques for extracting information related to human activities of the past, including the biological nature of man himself and the environment in which he lived. Topics include: Field Archaeology and Intergrated Site Studies; Archaeo-chronometry including recent developments in Radiocarbon Dating; Human - Environment Interactions including Geoarchaeology, Palaeoclimate studies, Landscape Archaeology, Environmental reconstructions, etc.; Bioarchaeology; Food preparation and consumption in Antiquity; the Technology and Provenance of Stone, Plaster, Pigments;Ceramics, Glazes, Glass and Vitreous Materials, Metals and Metallurgical Ceramics; and Micro/nano diagnostic techniques.
The 23 papers presented here are the product of the interdisciplinary exchange of ideas and approaches to the study of kitchen pottery between archaeologists, material scientists, historians and ethnoarchaeologists. They aim to set a vital but long-neglected category of evidence in its wider social, political and economic contexts. Structured around main themes concerning technical aspects of pottery production; cooking as socioeconomic practice; and changing tastes, culinary identities and cross-cultural encounters, a range of social economic and technological models are discussed on the basis of insights gained from the study of kitchen pottery production, use and evolution. Much discussion and work in the last decade has focussed on technical and social aspects of coarse ware and in particular kitchen ware. The chapters in this volume contribute to this debate, moving kitchen pottery beyond the Binfordian ‘technomic’ category and embracing a wider view, linking processualism, ceramic-ecology, behavioral schools, and ethnoarchaeology to research on historical developments and cultural transformations covering a broad geographical area of the Mediterranean region and spanning a long chronological sequence.
The first scientific volume to compile the modern analytical techniques for glass analysis, Modern Methods for Analysing Archaeological and Historical Glass presents an up-to-date description of the physico-chemical methods suitable for determining the composition of glass and for speciation of specific components. This unique resource presents members of Association Internationale pour l'Histoire du Verre, as well as university scholars, with a number of case studies where the effective use of one or more of these methods for elucidating a particular culturo-historical or historo-technical aspect of glass manufacturing technology is documented.
This book explores the changing nature of power and identity from the Iron Age to the Roman period in Britain. It provides fresh insights into the origins and nature of one of the lesser-known, but perhaps most significant, Late Iron Age 'oppida' in Britain: Bagendon in Gloucestershire.
The title of the volume may be a little perplexing: Archaeology on Either Side. But on either side of what? The picture we chose for the front cover might give an indication of the answer. This image shows two sides of the River Jordan – the Israeli side and the Jordanian side – both part of the Holy Land! Or we might understand the “either side” of our topic in another way, that is, archaeology both as the study of artifacts and archaeology as the study of literary sources. In the contributions the reader will find all these topics and much more: essays on excavations or archaeological findings in the Holy Land as defined above, and essays on literary sources linked to the history of the ancient Near East, especially in the time of the Christian/Common Era (CE). The book is made up of three main sections: “Excavations and Topographical Surveys”; “Architecture, Decorations, and Art”; “Epigraphy and Sigillography”. Some articles touch on more than one specific section, so they may be found between sections.
A unique and wide-ranging introduction to the major prehispanic and colonial societies of Mexico and Central America, featuring new and revised material throughout Mesoamerican Archaeology: Theory and Practice, Second Edition, provides readers with a diverse and well-balanced view of the archaeology of the indigenous societies of Mexico and Central America, helping students better understand key concepts and engage with contemporary debates and issues within the field. The fully updated second edition incorporates contemporary research that reflects new approaches and trends in Mesoamerican archaeology. New and revised chapters from first-time and returning authors cover the archaeology of Mesoamerican cultural history, from the early Gulf Coast Olmec, to the Classic and Postclassic Maya, to the cultures of Oaxaca and Central Mexico before and after colonization. Presenting a wide range of approaches that illustrate political, socio-economic, and symbolic interpretations, this textbook: Encourages students to consider diverse ways of thinking about Mesoamerica: as a linguistic area, as a geographic region, and as a network of communities of practice Represents a wide spectrum of perspectives and approaches to Mesoamerican archaeology, including coverage of the Postclassic and Colonial periods Enables readers to think critically about how explanations of the past are produced, verified, and debated Includes accessible introductory material to ensure that students and non-specialists understand the chronological and geographic frameworks of the Mesoamerican tradition Discusses recent developments in the contemporary theory and practice of Mesoamerican archaeology Presents new and original research by a team of internationally recognized contributors Mesoamerican Archaeology: Theory and Practice, Second Edition, is ideal for use in undergraduate courses on the archaeology of Mexico and Central America, as well as for broader courses on the archaeology of the Americas.
Conceptualizado como una contribución a la continua construcción de la identidad del Códice mendocino, el presente volumen está organizado en torno a tres ejes: el análisis material, la interpretación textual y estilística, y la recepción y transmisión del manuscrito. Los estudios de Barker Benfield y MOLAB abren una ventana hacia el entendimiento objetivo de la materialidad del manuscrito. El proceso de conservación y reencuadernamiento del Mendocino registrado por Barker Benfield ha disipado especulaciones en cuanto al método de construcción del manuscrito y sus posibles encuadernaciones previas, permitiendo que conexiones antes aceptadas, como la autoría de Francisco Gualpuyogualcal, sean reexaminadas. Asimismo, el análisis llevado a cabo por el equipo de MOLAB —liderado por Davide Domenici— ha sacado del ámbito de la especulación la naturaleza de los pigmentos del manuscrito, así como ha permitido que hipótesis interpretativas —previamente articuladas al respecto del significado de pigmentos específicos y lo estricto de su aplicación en el tlacuilolli— sean refinadas y contenidas. Si bien el color tiene significado para el tlacuilo, este no está directa y necesariamente ligado a su materialidad. A partir de estas observaciones se puede desarrollar una nueva generación de estudios interpretativos cuyas propuestas se basen en datos cada vez más certeros acerca de la naturaleza material del Mendocino. Los estudios interpretativos del manuscrito que ocupan el presente volumen representan una línea de investigación que, al considerar al manuscrito desde la perspectiva compleja de la obra de arte, bibliográfica y literaria, complementa las lecturas antropológicas e históricas que se han hecho del Mendocino en estudios anteriores. Así, los ensayos de Diana Magaloni, Daniela Bleichmar y Jorge Gómez Tejada, editor del libro, reconsideran el número y estilo de los artistas que crearon el manuscrito para entender tanto el proceso de creación del mismo como el lugar que este ocupa en el contexto artístico del virreinato temprano. Las decisiones que estos artistas e intelectuales toman en el Mendocino, lejos de insertarse en una relación binaria dominante-dominado, se presentan como una manifestación de los modos de pensar y ver el espacio y el tiempo en el mundo mesoamericano. Las pinturas del Mendocino —ejecutadas a manera de taller en donde uno, dos o más individuos intervienen en una misma página para crear de manera sincronizada una sola composición, tal como demuestra quien escribe— toman visos de ritualidad y funcionan como "instrumento para re-crear, reactualizar y hacer coherente el devenir histórico ligado al territorio y los patrones cósmicos" (ver Capítulo 4). Esta última observación complementa y refuerza la lectura de la tercera sección del manuscrito propuesta por Joanne Harwood, para quien, independientemente de lo original de las soluciones visuales utilizadas para componer esta sección del manuscrito, su modelo prehispánico se encuentra en un género de resonancia religiosa mesoamericana: el teoamoxtli.
Conceived as a contribution to the continuous construction of the identity of the Codex Mendoza, the present volume is organized around three axes: material analysis, textual and stylistic interpretation, and reception and circulation studies. The works of Barker-Benfield and MOLAB further our objective of understanding the manuscript's materiality. The re-binding and conservation process registered by Barker-Benfield has allowed us to do away with speculation regarding the method of production used to create the manuscript and its previous bindings. This, in turn, has allowed heretofore accepted connections, such as the authorship of Francisco Gualpuyogualcal, to be reexamined. Similarly, the analysis undertaken by the MOLAB team and headed by Davide Domenici has settled the debate on the nature of the pigments used in the production of the manuscript. This has added additional layers of nuance to previously held interpretative hypotheses on the meaning of specific pigments and the strictness of their application in the tlacuilolli. While color holds meaning for the tlacuilo, color is not inexorably linked to its materiality. These observations have the potential to inspire a new generation of interpretative studies, based on ever more accurate data regarding the material nature of the Codex Mendoza. Interpretative studies of the manuscript in this volume represent a line of inquiry that, by considering the manuscript from the complex perspectives of the work of art, literature, and bibliography, complement previous anthropological and historical readings of the Codex Mendoza. My essays as well as those by Diana Magaloni and Daniela Bleichmar reconsider the number and style of the artists who produced the manuscript in order to understand both the process by which it was created as well as the place it occupies in the artistic context of the early viceroyalty. Far from entering a binary relation between subjugator and subjugated, the decisions made by these artists and intellectuals manifest the forms of thinking and seeing time and space in the Mesoamerican world. I demonstrate that the pictures in the Codex Mendoza were painted in a workshop in which one, two, or more individuals collaborated on each page to create a single composition; as such, the creation of these pictures took on an air of rituality and functioned as "an instrument to recreate, reactualize, and make coherent the historical becoming linked to territory with cosmic patterns" (Magaloni, this volume). This last observation complements and reinforces Joanne Harwood's proposed reading of the third section of the manuscript. For Harwood, notwithstanding the originality of the visual solutions used to compose this section of the manuscript, the Codex Mendoza's pre-Columbian model resonates with a Mesoamerican religious genre: the teoamoxtli.
New insights into the trade and processing of mineral raw materials for glass making - Free ebook at OAPEN Library (www.oapen.org) This book presents a reconstruction of the Hellenistic-Roman glass industry from the point of view of raw material procurement. Within the ERC funded ARCHGLASS project, the authors of this work developed new geochemical techniques to provenance primary glass making. They investigated both production and consumer sites of glass, and identified suitable mineral resources for glass making through geological prospecting. Because the source of the raw materials used in the manufacturing of natron glass can be determined, new insights in the trade of this material are revealed. While eastern Mediterranean glass factories were active throughout the Hellenistic to early Islamic period, western Mediterranean and possibly Italian and North African sources also supplied the Mediterranean world with raw glass in early Roman times. By combining archaeological and scientific data, the authors develop new interdisciplinary techniques for an innovative archaeological interpretation of glass trade in the Hellenistic-Roman world, highlighting the development of glass as an economic material. Contributors Annelore Blomme (KU Leuven), Sara Boyen (KU Leuven), Dieter Brems (KU Leuven), Florence Cattin (Université de Bourgogne), Mike Carremans (KU Leuven), Veerle Devulder (KU Leuven, UGent), Thomas Fenn (Yale University), Monica Ganio (Northwestern University), Johan Honings (KU Leuven), Rebecca Scott (KU Leuven)
