Ebooks de historia, página 23 de 2326

The so-called Chronica urbis Romae has long been valued for the exact year-month-day figures that it gives for the reign of every Roman emperor from Julius Caesar to Licinius, especially those for the emperors of the third century, whose dates of accession and death are for the most part unknown. This e-book, for the first time, submits every year-month-day figure found in this text to a detailed historiographical analysis that puts our understanding of the historical accounts of the chronologies of the Roman emperors particularly those of the third century on a completely new footing. In so doing it provides new insights into the nature of this text and the methods of Roman historians. This volume concludes with detailed studies of the chronological information on Roman emperors provided by Cassius Dio and the witnesses to the now-lost fourth-century Kaisergeschichte; a new critical edition and translation of the text based upon a fresh examination of all the manuscripts and made in the light of recent studies; and an analysis of the verbal parallels between this text and other surviving Greek and Latin histories, particularly those of the fourth century.

Bona Dea, also known as Fauna, was a very important goddess of female initiations in Rome, and several features of hers were shared by similar goddesses in ancient Italy. This e-book sheds light on two hitherto unexplored features: the Dionysiac character and the Lydian style of her festivals. The wife of a consul took on the attitude and the attire of Omphale as the president of Dionysiac ceremonies. Faunus was supposed to precede Bacchus and give fecundity to the bride (i.e. Ariadne), whereas Hercules was thought of as an effeminate musician who created harmony. This was the correct ritual behaviour of prenuptial ceremonies, as it was depicted on many Dionysiac sarcophagi. The iconography of these monuments depicts important features of Faunus and Fauna. Believers are depicted on sarcophagi in the attitude of Bacchus or, in case of women, of either Ariadne or Omphale. A final comparison with initiations among native tribes of Oceania clarifies many rituals of the ancients.

In ancient Greece, religion and politics were inextricably linked. This symbiosis manifests itself particularly clearly in Greek sanctuaries as locations of both cult practices and political activities. A colloquium held at Munster aimed at analysing the formative function of trans-regional sanctuaries in mainland Greece and on the Greek islands in the genesis and legitimisation of political order in Greek tribal alliances and federal states from the Archaic down to the Hellenistic period.Religion und Politik waren im antiken Griechenland auf das Engste miteinander verwoben. Besonders deutlich manifestiert sich diese Symbiose in griechischen Heiligtumern als Orten kultischer Handlungen und zugleich politischen Agierens. Das Munsteraner Kolloquium analysiert die formative Funktion uberregionaler Heiligtumer in Griechenland und der griechischen Inselwelt bei der Genese und Legitimation von politischer Ordnung in griechischen Stammesbunden und Bundesstaaten von der archaischen bis in die hellenistische Zeit.

This e-book explores how Roman ideas about human behaviour and historiography affected the ways in which the Romans wrote about their past. The first of the e-books three chapters considers Roman views concerning human behaviour and the impact that these had on the traditions of Romes past. The second looks at the presentation of the gens Fabia in the literary evidence and at the ways individual Fabii were said to have behaved. The final chapter examines the evidence for the Gallic sack of Rome and considers the influence that Greek historical traditions had on Romes own traditions. Numerous members of the gens Fabia were said to have acted in a similar manner and even to have done the same things, while the tradition of the Gallic sack bears a striking resemblance to the tradition of the Persian sack of Athens. Scholarship usually maintains that individual historians such as Fabius Pictor were responsible for devising these sorts of parallels, and that they did so for their own literary and political purposes. The principal argument put forward here is that they are the inevitable product of Roman historical thought, and so need not be attributed to any one historian.

The bilingual series Flower World - Music Archaeology of the Americas raises the study of ancient music and music-related activities of the pre-Columbian Americas to the next level. For the first time in the history of science, a series offering anthologies featuring scientific investigations in this fascinating multidisciplinary field is available. The series encompasses peer-reviewed studies by renowned scholars on both past and living music traditions from South, Central and North America, and thus constitute a platform for the most up-to-date information on the music archaeology of the continent. It features case studies and the results of research projects in the field, in which a great variety of music-archaeological approaches, such as conventional archaeology - for the interpretation of the find contexts, experimental archaeology - for reconstructive instrument making and playing, ethnohistory and ethnolinguistics - for the interpretation of textual sources, music iconology - for the interpretation if visual sources, organology and acoustics, and ethnomusicology - for the research on contemporary legacies - for the study of the instrument finds, are commonly applied. The title of the series, Flower World, refers to a mythological, even sacred place filled with the sweet scent of flowers, bird calls, pleasant sounds, and dance. It is a place full of happiness and joy, even if it belongs to the realm of the Dead, which sustains the enduring renewal of life on earth.

The bilingual series Flower World - Music Archaeology of the Americas raises the study of ancient music and music-related activities of the pre-Columbian Americas to the next level. For the first time in the history of science, a series offering anthologies featuring scientific investigations in this fascinating multidisciplinary field is available. The series encompasses peer-reviewed studies by renowned scholars on both past and living music traditions from South, Central and North America, and thus constitute a platform for the most up-to-date information on the music archaeology of the continent. It features case studies and the results of research projects in the field, in which a great variety of music-archaeological approaches, such as conventional archaeology - for the interpretation of the find contexts, experimental archaeology - for reconstructive instrument making and playing, ethnohistory and ethnolinguistics - for the interpretation of textual sources, music iconology - for the interpretation if visual sources, organology and acoustics, and ethnomusicology - for the research on contemporary legacies - for the study of the instrument finds, are commonly applied. The title of the series, Flower World, refers to a mythological, even sacred place filled with the sweet scent of flowers, bird calls, pleasant sounds, and dance. It is a place full of happiness and joy, even if it belongs to the realm of the Dead, which sustains the enduring renewal of life on earth.

The bilingual series Flower World - Music Archaeology of the Americas raises the study of ancient music and music-related activities of the pre-Columbian Americas to the next level. For the first time in the history of science, a series offering anthologies featuring scientific investigations in this fascinating multidisciplinary field is available. The series encompasses peer-reviewed studies by renowned scholars on both past and living music traditions from South, Central and North America, and thus constitute a platform for the most up-to-date information on the music archaeology of the continent. It features case studies and the results of research projects in the field, in which a great variety of music-archaeological approaches, such as conventional archaeology - for the interpretation of the find contexts, experimental archaeology - for reconstructive instrument making and playing, ethnohistory and ethnolinguistics - for the interpretation of textual sources, music iconology - for the interpretation if visual sources, organology and acoustics, and ethnomusicology - for the research on contemporary legacies - for the study of the instrument finds, are commonly applied. The title of the series, Flower World, refers to a mythological, even sacred place filled with the sweet scent of flowers, bird calls, pleasant sounds, and dance. It is a place full of happiness and joy, even if it belongs to the realm of the Dead, which sustains the enduring renewal of life on earth.

The bilingual series Flower World - Music Archaeology of the Americas raises the study of ancient music and music-related activities of the pre-Columbian Americas to the next level. For the first time in the history of science, a series offering anthologies featuring scientific investigations in this fascinating multidisciplinary field is available. The series encompasses peer-reviewed studies by renowned scholars on both past and living music traditions from South, Central and North America, and thus constitute a platform for the most up-to-date information on the music archaeology of the continent. It features case studies and the results of research projects in the field, in which a great variety of music-archaeological approaches, such as conventional archaeology - for the interpretation of the find contexts, experimental archaeology - for reconstructive instrument making and playing, ethnohistory and ethnolinguistics - for the interpretation of textual sources, music iconology - for the interpretation if visual sources, organology and acoustics, and ethnomusicology - for the research on contemporary legacies - for the study of the instrument finds, are commonly applied. The title of the series, Flower World, refers to a mythological, even sacred place filled with the sweet scent of flowers, bird calls, pleasant sounds, and dance. It is a place full of happiness and joy, even if it belongs to the realm of the Dead, which sustains the enduring renewal of life on earth.

The bilingual series Flower World - Music Archaeology of the Americas raises the study of ancient music and music-related activities of the pre-Columbian Americas to the next level. For the first time in the history of science, a series offering anthologies featuring scientific investigations in this fascinating multidisciplinary field is available. The series encompasses peer-reviewed studies by renowned scholars on both past and living music traditions from South, Central and North America, and thus constitute a platform for the most up-to-date information on the music archaeology of the continent. It features case studies and the results of research projects in the field, in which a great variety of music-archaeological approaches, such as conventional archaeology - for the interpretation of the find contexts, experimental archaeology - for reconstructive instrument making and playing, ethnohistory and ethnolinguistics - for the interpretation of textual sources, music iconology - for the interpretation if visual sources, organology and acoustics, and ethnomusicology - for the research on contemporary legacies - for the study of the instrument finds, are commonly applied. The title of the series, Flower World, refers to a mythological, even sacred place filled with the sweet scent of flowers, bird calls, pleasant sounds, and dance. It is a place full of happiness and joy, even if it belongs to the realm of the Dead, which sustains the enduring renewal of life on earth.

Since the advent of Assyriology in the early nineteenth century it has been known that two distinct scripts were used in ancient Mesopotamian inscriptions and documents. One, usefully characterized as "cursive," was used for the ephemeral documents of "daily life" as well as on most library and archival texts. The other was a deliberately archaizing script reserved for ceremonial use. This ceremonial script, of Babylonian origin, contained both archaic and archaizing signs, and was in productive use for over two millennia, not only in Babylonia but occasionally also in Assyria and beyond. Yet to date there has been no systematic study devoted specifically to this ceremonial script, nor any published syllabary of the archaic and archaizing signs it employs. This volume attempts to rectify this deficiency by providing a substantive introduction to Babylonian ceremonial script, along with a history of its modern study, and several case studies of how the script was actually used. The introduction is supplemented by an edition of the paleographic lists of the second and first millennia BCE, which contain pedagogical inventories of the archaic and archaizing cuneiform signs, illustrating how the ceremonial script was taught, learned and transmitted in scholarly contexts.

This book focuses on researching the chime stone, a percussion instrument carved from stone that originated in ancient China. In antiquity, people regarded the chime stone as an important musical instrument because its presence indicated the wealth and status of the tomb owners. In the late Neolithic Age, people discovered the differences between each type of stone and their sound qualities. Chime stone manufacture focused on the timbre of the natural stone, as opposed to both materials and sounding based selection in later periods, which formed a part of making a perfect and delicate chime stone. In the earlier period the chime stone was only a musical instrument for producing rhythmic sound, but as time went by, chime stones gradually became melodic instruments and were played with string, wind, and other percussion instruments in ensemble. The book is divided into 10 chapters. Chapter 1 provides a comprehensive view of existing research, sets out the aims of the present research alongside material sources and methodology, elaborates the theoretical framework of the book, and clarifies terminology in both English and Chinese. A summary of the main chime stone finds of the Yellow River andthe Yangtze River valley areas, together with geographical features of these distributions, is provided in Chapter 2. Chapters 3 to 8 contain an in-depth discussion of the chime stones unearthed from those regions, including classification and typology, shape, manufacture, assemblage and performance of the chime stones as well as the detailed tone measurementand analysis. Chapter 9 examines the acoustic properties of chime stones. Chapter 10 looks at the use and function of chime stones, which includes the role of chime stones in ancient ensembles, cultural context, use in ritual music, and the symbolic meaning of chime stones in ancient China.

In this volume, Barbara Stark examines settlement in the coastal plain of lowland Mesoamerica, which was richly endowed with fertile soil and valued tropical resources such as jaguars, cacao, avian species with bright plumage, and cotton. The book provides basic archaeological data about regional settlement from three decades of survey research in south-central Veracruz in the western lower Papaloapan basin, a region with low density urbanism. The data reveals political and social change, with consolidation of wealth by elite families during the Late Classic period. The political analysis considers archaeological evidence related to several organizational principles: collective versus autocratic, corporate versus exclusionary/network, and segmentary (unspecialized versus specialized). Many variables related to these principles used by other scholars are either suited to historically documented states, not archaeological ones, or ambiguous. Many published studies either focus on a particular city or use documents or other evidence drawn from the top of the settlement hierarchy, characterizing the whole society politically from a biased sample. This political analysis is regional in scope and attentive to variation in the settlement hierarchy, providing a guidepost to analysis of political principles with archaeological data.

The ICTM Study Group on Music Archaeology was founded in the early 1980s by Ellen Hickmann, John Blacking, Mantle Hood and Cajsa S. Lund. This is the second volume of the new anthology series published by the study group, turning to the topic of cross-cultural musical interactions through time. Each volume of the series is composed of concise case studies, bringing together the worlds foremost researchers on a particular subject, reflecting the wide scope of music-archaeological research world-wide. The series draws in perspectives from a range of different disciplines, including newly emerging fields such as archaeoacoustics, but particularly encouraging both music-archaeological and ethnomusicological perspectives.

The ICTM Study Group on Music Archaeology was founded in the early 1980s by Ellen Hickmann, John Blacking, Mantle Hood and Cajsa S. Lund. This is the third volume of the new anthology series published by the study group, bringing together theoretical and methodological approaches in the study of past music cultures. Each volume of the series is composed of concise case studies, bringing together the worlds foremost researchers on a particular subject, reflecting the wide scope of music-archaeological research world-wide. The series draws in perspectives from a range of different disciplines, including newly emerging fields such as archaeoacoustics, but particularly encouraging both music-archaeological and ethnomusicological perspectives.

The Wari State was the first expansionistic power to develop in the Andean highlands. Emerging in the area of modern Ayacucho (Peru) around AD 650, the Wari expanded to control much of the central Andes by the time of their collapse at AD 1000. This book describes the discovery and excavation (2010-2012) of a major new Wari site (Espiritu Pampa), located in the subtropical region of Vilcabamba (Department of Cuzco). While it was long believed that the Wari established trade networks between their highland capital and the Amazonian lowlands, the identification of a large Wari site in the Vilcabamba region came as a surprise to most Wari specialists. This book covers the first three years of excavations at the Wari site of Espiritu Pampa. It describes the identification of a central plaza surrounded by a series of D-shaped structures, that are believed to the loci of special activates for the Wari. It also describes the contents of more than 30 burials, many of which contained finely crafted silver, gold, bronze and ceramic objects.

Winner of AIAs 2022 Anna Marguerite McCann Award for Fieldwork Reports The rugged highlands of southern Yemen are one of the less archaeologically explored regions of the Near East. This final report of survey and excavations by the Roots of Agriculture in Southern Arabia (RASA) Project addresses the development of food production and human landscapes, topics of enduring interest as scholarly conceptualizations of the Anthropocene take shape. Along with data from Manayzah, site of the earliest dated remains of clearly domesticated animals in Arabia, the volume also documents some of the earliest water management technologies in Arabia, thereby anchoring regional dates for the beginnings of pastoralism and of potential farming. The authors argue that the initial Holocene inhabitants of Wadi Sana were Arabian hunters who adopted limited pastoral stock in small social groups, then expanded their social collectives through sacrifice and feasts in a sustained pastoral landscape. This volume will be of interest to a wide audience of archaeologists including not only those working in Arabia, but more broadly those interested in the ancient Near East, Africa, South Asia, and in Holocene landscape histories generally.

The ICTM Study Group on Music Archaeology was founded in the early 1980s by Ellen Hickmann, John Blacking, Mantle Hood and Cajsa S. Lund. This is the first volume of the new anthology series published by the study group, turning to the topic of music and religion in past cultures. Each volume of the series is composed of concise case studies, bringing together the worlds foremost researchers on a particular subject, reflecting the wide scope of music-archaeological research world-wide. The series draws in perspectives from a range of different disciplines, including newly emerging fields such as archaeoacoustics, but particularly encouraging both music-archaeological and ethnomusicological perspectives.

This volume completes the documentation of excavations at the Nubian site of Qasr Ibrim conducted by the Egypt Exploration Society, continuing the tradition of documenting the history and archaeology of the site phase-by-phase. Previous monographs dealt with the Ballana phase (c. AD 350-600), the earlier (c. 600-1172) and the later medieval period (c. 1172-1500). The present work carries the story forward to the final abandonment of the site in AD 1812, the period when Lower Nubia was annexed to the Ottoman Empire, and an Ottoman garrison was installed at Qasr Ibrim. Part I deals with the historical record of the site, based on archival sources, Part II presents the archaeological evidence, followed in Part III by brief summaries on the Ottoman period artefacts found at the site, in particular pottery (by William Y. Adams), basketry (by Boyce N. Driskell), and textiles (by Nettie K. Adams)

This volume offers the first comprehensive overview of the evolution over time of a foundational concept of the Egyptian afterlife beliefs, the Duat, or netherworld. The Duat is a complicated, multifaceted notion, which was never canonized into a single version of the beyond, but offered instead a variety of alternatives attempting to describe the metaphysical realms beyond the visible world, and beyond life. Theological speculations gave rise to a rich textual and visual repertoire, which underwent a process of evolution over thousands of years, during which newer ideas and images were constantly introduced. Through the analysis of royal and non-royal funerary texts from the late Old Kingdom to the end of the New Kingdom, this book traces the development of the conceptualization of the notion of Duat, outlining what it encompassed and where it was imagined to be located. In addition to the translation and discussion of the most significant passages of the texts analyzed, each chapter also provides an overview of the individual compositions and of the relevant theological, cosmological, and astronomical notions complementing the conceptual framework, of which the Duat formed but a part. Additionally, discussions of concurrent changes in Egyptian culture, society, and ideology are included in order to clarify the context in which afterlife beliefs and related texts evolved. An analysis of the correlation between funerary compositions and their material supports complements the study, emphasizing the Egyptians belief in a magical synergy between texts, images, and their contexts in the activation of a suitable, effective afterlife for the recipients of the texts.

In this volume Christina Di Cerbo and Richard Jasnow publish 92 Demotic graffiti, along with several ostraca and mummy bandages, from Theban Tombs 11, 12, Tomb-399-, and environs recorded and studied under the aegis of the Spanish Mission at Dra Abu el-Naga directed by Jose Galan. These texts from the mid-second century BCE were inscribed on the tomb walls by workers of the Ibis and Falcon cult, who used the New Kingdom tombs as burial places for mummified birds dedicated to the gods Thoth and Horus. This varied corpus of texts includes not only votive formulae and lists of names, but, most unusually, labels for chambers and halls to guide the men depositing the mummies through the labyrinthine catacombs. The cult workers also recorded important burials and memorialized events of special significance, as when a massive conflagration broke out that consumed several mummies and damaged the tomb walls. The Missions conservators recovered many hitherto virtually invisible graffiti. Numerous inscriptions posed daunting epigraphic challenges; the text editors employed computer applications, especially DStretch, in order to enhance the digital images forming the basis for decipherment. In an introductory chapter Galan discusses the work of the Spanish Mission at Dra Abu Naga and recounts the complicated history of this important area of the Theban Necropolis down to the Roman period. The graffiti illustrate how New Kingdom tombs were reused for the sacred animal cult in the Ptolemaic period. Francisco Bosch-Puche and Salima Ikram contribute a detailed chapter analyzing the archaeological context of the graffiti and the material evidence for the animal cult in the site. The volume, a holistic study of this area at the twilight of Pharaonic history, represents a true collaboration between archaeologists and philologists.