This book provides comprehensive information on the materials excavated at Pech de l’Azé IV, both by the original excavator François Bordes in the 1970s, and more recently by the authors and their scientific team. Applying a range of new excavation and analytical techniques, it presents detailed material on the formation of the site, its chronology and the nature of the hominin occupations. Pech de l’Azé IV is part of a complex of Lower and Middle Paleolithic cave sites in the Dordogne Valley of southwestern France. Although this region is well known for its rich concentration of Paleolithic sites since the mid-19th century and many of the sites have been repeatedly excavated, no detailed studies have fully documented the stone tool technology and faunal remains or the changes in them over time. The site was regularly occupied by groups of Neanderthals from approximately 100,000 to 40,000 years ago, during which time global-scale changes transformed the region from a relatively warm climate (similar to today’s) to a very cold, glacial one. The site provides valuable insights into changes in Neanderthal behavior that reflect, at least in part, their adaptation to changes in the environment and the availability of important resources, such as prey species.
Presents evidence to support the author's woman-centered interpretation of prehistoric civilizations, considering the prehistoric goddesses, gods and religion, and discussing the living goddesses--deities which have continued to be venerated through the modern era.
This book describes the emergent nature of human culture, based on the human ability to create and pass on social codes through instruction and example. It proposes hypotheses to explain how a phenomenon that is potentially maladaptive for individuals could have evolved, and to explain why culture plays such a pervasive role in human life. It then reviews the primatological, fossil, and archaeological data to test these hypotheses.
In the 40 essays that constitute this collection, Guy Davenport, one of America's major literary critics, elucidates a range of literary history, encompassing literature, art, philosophy and music, from the ancients to the grand old men of modernism.
About Trees considers our relationship with language, landscape, perception, and memory in the Anthropocene. The book includes texts and artwork by a stellar line up of contributors including Jorge Luis Borges, Andrea Bowers, Ursula K. Le Guin, Ada Lovelace and dozens of others. Holten was artist in residence at Buro BDP. While working on the book she created an alphabet and used it to make a new typeface called Trees. She also made a series of limited edition offset prints based on her Tree Drawings.
The nine interrelated chapters in this book aim to identify and describe the iconographies and trace fossils of ritual and religion in late prehistoric Europe - to infuse them with meaning, celebrate their complexity and integrate the ideas, which they evoke into the rich tapestry of historically transmitted ancient European and Mediterranean ideology, mythology and ritual. This book explores libation and feasting, engendered patterns of communication, ritual drama and iconographic creativity. Case studies range from 13th century BC Bavarian ostentatious graves, 9th century Scandinavian bog hoards, 8th century Austrian women's chambered tombs, 7th century Lusatian children's graves to 6th century BC Scythian kurgans from the Ukraine. A thick description of ancient European ideology emerges demonstrating that non-literate communities were developing surprisingly vibrant and sophisticated solutions to the problems posed by transcending death, revering the ancestors and communicating between earth and eternity.
Seventeen-year-old Katelyn Michaels plans on hating every moment of her visit to Mont Saint Michel with her father's new French wife. Once there, she is confused when she experiences sensations of deja vu and hears voices as she and her younger brother explore the medieval village and abbey. She is confronted by two unusual young men, one who insists she is there to save the mount, and the other who will stop at nothing, even murder, to stop her from fulfilling her destiny. When the oddly-dressed but alluring Nicolas slips Katelyn a strange medallion, she is whisked back through time with him to the 15th century where her Watchmen hosts tell her she is the only hope to save Mont Saint Michel from the invading English armies. Even worse, she learns those armies are led by a fallen angel intent on learning the mount's closely-guarded secret. Katelyn is torn by feelings of anger at being taken back in time, inadequacy at finding a modern solution for a medieval problem, and responsibility for the mount's starving inhabitants. She is also perturbed by her surprising attraction to the ill-tempered Nicolas. Will she stay to learn why she was chosen by the Archangel Michael and find a way to save his mount?"
This classic exploration of the Goddess through time and throughout the world draws on religious, cultural, and archaeological sources to recreate the Goddess religion that is humanity’s heritage. Now, with a new introduction and full-color artwork, this passionate and important text shows even more clearly that the religion of the Goddess--which is tied to the cycles of women’s bodies, the seasons, the phases of the moon, and the fertility of the earth--was the original religion of all humanity.
From one of Britain’s most respected and acclaimed art historians, art critic of The Guardian—the galvanizing story of a sixteenth-century clash of titans, the two greatest minds of the Renaissance, working side by side in the same room in a fierce competition: the master Leonardo da Vinci, commissioned by the Florentine Republic to paint a narrative fresco depicting a famous military victory on a wall of the newly built Great Council Hall in the Palazzo Vecchio, and his implacable young rival, the thirty-year-old Michelangelo. We see Leonardo, having just completed The Last Supper, and being celebrated by all of Florence for his miraculous portrait of the wife of a textile manufacturer. That painting—the Mona Lisa—being called the most lifelike anyone had ever seen yet, more divine than human, was captivating the entire Florentine Republic. And Michelangelo, completing a commissioned statue of David, the first colossus of the Renaissance, the archetype hero for the Republic epitomizing the triumph of the weak over the strong, helping to reshape the public identity of the city of Florence and conquer its heart. In The Lost Battles, published in England to great acclaim (“Superb”—The Observer; “Beguilingly written”—The Guardian), Jonathan Jones brilliantly sets the scene of the time—the politics; the world of art and artisans; and the shifting, agitated cultural landscape. We see Florence, a city freed from the oppressive reach of the Medicis, lurching from one crisis to another, trying to protect its liberty in an Italy descending into chaos, with the new head of the Republic in search of a metaphor that will make clear the glory that is Florence, and seeing in the commissioned paintings the expression of his vision. Jones reconstructs the paintings that Leonardo and Michelangelo undertook—Leonardo’s Battle of Anghiari, a nightmare seen in the eyes of the warrior (it became the first modern depiction of the disenchantment of war) and Michelangelo’s Battle of Cascina, a call to arms and the first great transfiguration of the erotic into art. Jones writes about the competition; how it unfolded and became the defining moment in the transformation of “craftsman” to “artist”; why the Florentine government began to fall out of love with one artist in favor of the other; and how—and why—in a competition that had no formal prize to clearly resolve the outcome, the battle became one for the hearts and minds of the Florentine Republic, with Michelangelo setting out to prove that his work, not Leonardo’s, embodied the future of art. Finally, we see how the result of the competition went on to shape a generation of narrative paintings, beginning with those of Raphael. A riveting exploration into one of history’s most resonant exchanges of ideas, a rich, fascinating book that gives us a whole new understanding of an age and those at its center.
