eBooks de Arqueología, página 9 de 26

In this book Michael Morris presents a detailed study of the prehistoric landscape in three regions of Crete. He examines the development, stability, and physio-chemical composition of selected soils near three archaeological sites: Karphi, a Late Minoan IIIC "refuge site"; Chrysokamino, a Final Neolithic to Late Minoan IIIB farmhouse; Vronda and Kastro near Kavousi, two Late Minoan IIIC to Geometric sites. Morris offers conclusions on the history of the Cretan landscape and its formation processes, and how those processes contribute to our understanding of the human use of the landscape. The book will interest anyone involved with the archaeology of Minoan Crete, as well as those who study the pedological history of other regions.

The excavations of the University of Pennsylvania Museum of Archaeology and Anthropology at Marsa Matruh on Batess Island, which is located on the seacoast at the north of Egypts western desert, uncovered a small site with a metalworking workshop and nearby houses. The pottery found in the excavations indicates that this small Late Bronze Age settlement had links to several cultures: Cyprus, the Aegean, Egypt, the coast of western Asia, and the local Marmarican people. The results of the excavations are published in two volumes. This volume provides an overview of the excavations at the site, the Late Bronze Age and historical period occupations, and an introduction to the environmental morphology and history of the island.

This volume of the report on the excavations at Marsa Matruh on Batess Island, which is located on the seacoast at the north of Egypts western desert, publishes the local and imported pottery, the crucibles and other evidence for metalworking, the organic finds (including ostrich egg shells), and the other discoveries made at the site. The pottery found in the excavations indicates that this small Late Bronze Age settlement had links to several cultures: Cyprus, the Aegean, Egypt, the coast of western Asia, and the local Marmarican people.

Ayioryitika, a large open-air settlement in Arcadia, in central Greece, was inhabited during the Neolithic and Early Bronze Age. It was excavated in 1928 by Carl Blegen under the auspices of the American School of Classical Studies at Athens, but the research was never published. The site is particularly important for its beautifully decorated Middle Neolithic pottery and for its figurines of human figures and animals. This volume gathers together the scattered and fragmentary evidence for the excavation and its finds. For the first time, the information from this large and important early town has been made available to scholars and students of prehistoric Greece.

The sixth edition of The Knossos Tablets brings for now to completion nearly 120 years of the study of the texts of the Linear B inscriptions from the preeminent Cretan palatial site of the late Minoan Bronze Age. Based on his career-long mastery of the many scholarly tools needed to interpret the contents and historical meaning of Mycenaean Greek clay tablet inscriptions, Jose L. Melena, with assistance on find-spots from Richard Firth and a check of the accuracy of each and every text by an editorial team of the Program in Aegean Scripts and Prehistory, offers here definitive readings of these archaeologically, linguistically and historically important records. The book presents accurate information on tablet joins, find-spots, assignments of texts to scribes, sets of texts identified by subject matter and administrative purpose, and conjectural readings of partially preserved texts. The systems of reference to tablets by inventory numbers and to coherent sets of tablets by alphabetic prefixes have been streamlined. Helpful appendices make clear the classification of series and sets, tablet find locations, and the history of reconstruction of tablets through fragment joins. The volume closes with an up-to-date overall ground plan and close-up sector plans of the Palace of Minos at Knossos keyed to tablet find-spots.

The wall paintings from the West House at Mycenae are discussed in relation to their context within the building. Their iconography and stylistic details are explored in relation to other Aegean Bronze Age wall paintings. The fragments are fully cataloged and illustrated with drawings and photos.

The goal of this book is to trace the development of elite Minoan architectural forms that arose during the late Protopalatial (Middle Minoan II) and early Neopalatial periods (Middle Minoan III). The study of this architectual development concentrates on the older, larger sites of Knossos, Malia, and Phaistos where those very forms seem to have originated. Other Minoan towns and palaces in Crete are referenced when appropriate.

This volume presents the first of several Late Hellenistic buildings that were uncovered on the island of Mochlos, located off the northeastern coast of Crete, during the Greek-American excavations of the last 25 years. It also provides an introduction to the Hellenistic settlement that flourished on the island for nearly a century before it was abandoned. The Hellenistic remains overlay much of the Late Minoan III and Neopalatial settlement. Due to the excavation of both the Bronze Age and later phases of the town, the publication of this Hellenistic building includes paleoenvironmental material (among all the other artifacts), which is often neglected in excavations of historical material. The role that Mochlos played in East Crete is discussed and conclusions are drawn about its relations with Hierapytna during the Late Hellenistic period.

The transport stirrup jar was a vessel type used extensively in the Late Bronze Age III Aegean world. Found in a variety of contexts, the type was used both to transport and to store liquid commodities in bulk. The peak of the production and exchange of this jar corresponded with the time of economic expansion on the Greek mainland. On Crete, stirrup jars appeared at most major centers on the island. Their presence in large numbers in storerooms indicates the movement of commodities and the centralized storage and control of goods. The broad distribution of stirrup jars at coastal sites in the eastern Mediterranean and their presence in the cargoes of the Uluburun, Gelidonya, and Iria shipwrecks clearly shows their role in the extensive exchange networks within the Aegean and beyond. Because they represent significant Aegean exchange, tracing their origins and movement provides information regarding production centers and trade routes. This study concentrates on determinating of provenance of the jars and the subsequent tracing of exchange routes. The fully integrated research design is an interdisciplinary, collaborative archaeological project that embraces typological, chemical, petrographic, and epigraphic approaches in order to shed light on the jars classification and origin. The results of the chemical and petrographic work constitute primary parts of the study. By establishing the origins and distribution of the jars, these vases are placed within their historical context. The identification of production centers and export routes is critical for a full understanding of the economic and political conditions in the Late Bronze Age Aegean and eastern Mediterranean.

Harry Falks "Kushan Histories" discusses new research concerning the Kushan dynasty and is based on a Symposium held from December 5-7th, 2013 in Berlin. The first part of the book introduces the literary sources. After naming the primary sources and translations a wide range of texts presented chronologically gives an overview of the Kushan history in its totality. In the second part of "Kushan Histories" five papers deal with different religious, military and cultural aspects of the Kushan dynasty: How were the expansion of Buddhism and the dynasty linked to each other and which role did Zoroastrianism play among the Kushans? How can new geographical perspectives prove the former existence of a military camp of the Kushans north of the Bactra oasis? Which historical data regarding Kanishkas conquest of India can be drawn from a Bactrian inscription and what did the female deity Nana mean to the Kushans? This volume is the 23rd in the series "Monographien zur indischen Archaologie, Kunst und Philologie".

This book traces the socioeconomic and political development of the Galatas area and its relations with other areas of Crete during the Neolithic-Ottoman periods. Two powerful rival centers in Crete, Knossos/Herakleion and Kastelli/Lyttos, brought the Galatas area under their control at various times in history. The changes in local socioeconomic and political conditions are documented as Galatas came under the direct control of states elsewhere in Crete and overseas.

This is the second of three planned volumes in the final report on the cleaning and excavations at the Late Bronze Age site of Vronda near Kavousi in eastern Crete. It describes the excavation, stratigraphy, and architecture of the buildings on the slopes of the Vronda ridge: Building Complexes E, I-O-N, and L-M, Building F, and the pottery kiln, as well as areas excavated on the periphery that did not belong to any of these buildings. It also presents lists, catalogs, and images of artifacts and ecofacts that were uncovered at the site.

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.