CAVES AND GEOPHYSICS: AN APPROXIMATION TO THE UNDERWORLD OF TEOTIHUACAN,MEXICO*

This article describes the result of a geophysical survey in the vicinity of the most important construction of the ancient Prehispanic urban centre of Teotihuacan, Mexico. The survey was intended to locate a system of tunnels under the city. It is proposed that the system was originally dug to obtain construction materials, but afterwards it was used for ideological needs.     

OBTAINING PROBABILISTIC ESTIMATES OF DISPLACEMENT ON A LANDSLIDE DURING FUTURE EARTHQUAKES

The assessment of earthquake triggered landslide hazard may be undertaken using both deterministic and probabilistic techniques. Probabilistic methods have been developed because much of the data can be considered as random variables where parameters such as the angle of internal friction and moisture content do not have a single fixed value but may assume any number of values across a range. This random variability can be modelled by a probability density function (PDF) which describes the relative likeli-hood that a random variable will assume a particular value. Instead of using just the average or expected value of an input parameter, the complete range of possible values can be used to estimate a range of possible outcomes. Thus the probability of a slope being unstable can be obtained rather than a single indicator of stability. Such proba-bilistic analyses allow for the incorporation of the likely variability of each parameter and therefore allow a more intimate assessment of slope stability to be derived. Utilising empirical relationships for calculating earthquake ground motions and associated slope displacement, an investigation was undertaken to identify the contribution that modern simulation techniques could make to the assessment of earthquake-triggered landslides. To achieve this, geotechnical and earthquake data obtained from a deep-seated landslide triggered during the M _w 7.0 Loma Prieta earthquake was used. By incorporating the variability of the geotechnical parameters and the uncertainty in earthquake location the model derived the probabilities associated with increasing amounts of slope displacement during future probable earthquakes. Analysis was undertaken for four of the principal fault segments in the San Francisco Bay area. These estimates were then combined with the occurrence probabilities of the earthquakes to provide temporal estimates of dis-placement for a 30 year period. Results indicated that a M _w 7.0 earthquake located on the Peninsula Segment of the San Andreas fault was most hazardous with a 11% chance of minor slope displacement (≥0.10 m) and a 6% chance of moderate slope displacement (≥0.30 m) within the next 30 years.     

IDENTIFICATION OF STONE BLOCKS USED FOR THE BUILDING OF THE THYSDRUS AND THAPSUS AMPHITHEATRES IN TUNISIA

In Tunisia, the largest amphitheatre (known as the Coliseum) at Thysdrus (El Djem), with some parts of the second amphitheatre, and the Thapsus amphitheatre have been built with squared stone blocks (opus quadratum). The petrographic and geotechnical analyses of the samples taken from the amphitheatre blocks show that these blocks belong to the Tyrrhenian and to the Mio‐Pliocene age. Ancient quarries have been found on the Tyrrhenian dune line between Hiboun and Al Alya, at a distance of 30 km from Thysdrus, from which the Tyrrhenian blocks have been extracted. Concerning the Mio‐Pliocene blocks, they have most likely been cut from just one ancient quarry found in the hill of Ksour Essaf. The height of almost all of the measured blocks from the Thysdrus Coliseum is equal to the Punic cubit used at Carthage (50 cm), and the height of the measured blocks from the Thapsus amphitheatre is also equal to the Punic cubit (50 cm), or very close to the Roman cubit (45 cm).     

ET SI C'ÉTAIT PAR LA FIN QUE TOUT COMMENÇAIT? PEN BEFORE PLOT,OR TRESCH ON POE'S REVERSALS

This brief comment offers some reflections on John Tresch's “Compositor's Reversal.” Contrasting his approach with Gaston Bachelard's, I situate Tresch in the tradition of reading Edgar A. Poe's Narrative of Arthur Gordon Pym as a riddle to be decoded. I suggest that Tresch's analytical emphasis on material composition practices rather than Pym's content opens up insightful ways of reading both Pym itself in terms of its composition, style, and narrative voice, and also Poe's well‐known programmatic Philosophy of Composition. The key achievement of Tresch's article beyond its engagement with Poe scholarship is its contribution to the study of writing practices and media studies more broadly. By demonstrating the tight connection Poe forged between natural theology and the material practice of typography, Tresch inserts the typesetting process as an important step in the historiographical trajectory between pen and typewriter. He shows that the mid‐nineteenth‐century context of natural theology marks a decisive difference in connotation between Poe's compositional play with questions of authorship and plausibility, of truth and appearance both described in and performed by his narrative, and later concerns with the apparatus and its potential for the production of an écriture automatique.     

PRE-COLUMBIAN METALLURGY: TECHNOLOGY,MANUFACTURE, AND MICROPROBE ANALYSES OF COPPER BELLS FROM THE GREATER SOUTHWEST*

Twenty-four cast copper crotals (commonly called bells), one 'spilled bell’, one tinkler bell and a number of minerals from locations throughout the Greater Southwest were analysed for their elemental composition by a PIXE nuclear microprobe at Los Alamos National Laboratory, New Mexico, USA. Sixteen bells contained minor and trace amounts of silver, antimony, arsenic, lead, and in some cases tin, strontium, and selenium. Nine bells contained little or no detectable amounts of these elements. This suggests that several workshops throughout the Greater Southwest and Mexico might have manufactured these bells.     

Performing gender in lay saints' Lives

Abstract

Taking as its point of departure Judith Butler's theory of gender performativity, this article shows how femininity and masculinity are performed in three lay saints' Lives from the middle Byzantine period: the Life of Philaretos the Merciful (820), the Life of Thomaïs of Lesbos (mid-tenth century) and the Life of Mary the Younger (eleventh century). The approach of these texts through gender performativity shows in the most graphic way the difference between male and female constructions of sanctity on the one hand, and the important role that gender plays in the construction of lay sanctity, on the other.     

This Is Not an Improvisation: Letitia Landon and the Slipperiness of Taxonomy

ABSTRACT

Writing in 2007, in The Wordsworth Circle, Jeffrey Robinson remarked on the “ephemerality” of improvisational poetry, its fundamental resistance to being “preserved.” Printed poetry is typically regarded as “fixed” and static: what any poem represents as improvisation is, at best, only a record, executed in a fixed medium, of a performance whose infinite variability is inherent in the nature of improvisation itself. Partly an homage to Rene Magritte’s This is Not a Pipe (1928–29) and to Michel Foucault’s 1973 essay on that painting, and using as a test case The Improvisatrice (1825), the long poem by Letitia Elizabeth Landon, herself a devotee of interdisciplinary and multimedia performance, this essay considers the physical, structural, and methodological challenges and limitations posed to printed “word art” by works that purport to be, or aspire to the condition of, “improvisations.” The improvisatrice who is the poem’s narrator claims to be both a painter and a songstress, but her “speech,” captured and rendered in printed words by Landon (who ventriloquizes that speech), can neither “be” nor even “represent” a work produced (“performed”) in visual art or vocal song. In her long poem Landon effectively creates a literary trompe l’oeil, an illusion that depends for its “completion” upon the reader’s implied participation in that performative act of completion. In the process, Landon’s poem reveals the fundamental incompatibility of improvisational literary production with the performative nature of improvisation.     

TESTING ASSUMPTIONS OF NEUTRON ACTIVATION ANALYSIS: COMMUNITIES,WORKSHOPS AND PASTE PREPARATION IN YUCATAN,MEXICO*

Contemporary pottery and raw materials (N= 170) from three workshops in Ticul, Yucatán, were analysed by neutron activation to test the hypothesis that individual workshops that used their own clay sources could be identified by their pottery. Although the data failed to confirm the hypothesis, the results reinforced previous conclusions about the relationship of local communities of potters to the chemical patterning of pottery made in these communities.     

France and its purgatory

This article compares the experiences migrants face in the banlieue of France to rites of passage in Papua New Guinea, where the author has performed long-term fieldwork. Seen from a Turnerian anthropological point of view, the banlieue resembles a rite of passage with its separation, liminality, reintegration and its ambiguous meanings. However, its liminality lacks a communitas characterized by equality, direct relations between its members and an absence of ownership.     

Building Monks Mound,Cahokia, Illinois,a.d. 800–1400

Abstract

Cahokia (a.d. 800–1400), located near the confluence of the Mississippi and Missouri rivers, was the largest settlement in ancient North America. Monks Mound occupies the center of Cahokia and provides both a modern and ancient focal point for the site. Past investigations of Monks Mound explored issues of mound chronology and use. Recent soil coring around the perimeter clarifies the geological context and degree of preparation necessary before the mound was built. The results suggest that the mound is not optimally positioned for stability and its location may ultimately accelerate deterioration. Moreover, evaluation of the mound features and fill indicates that maximization of the geotechnical potential of sediments was not a primary concern for the Cahokians. Although poorly engineered relative to modern standards, the suitability of the mound as a platform may have been secondary to other design choices made while building the largest single mound in ancient North America.     

Decadent Conservatism: Politics and Aesthetics in The Senate

Abstract: The relationship between late-Victorian Decadence and Aestheticism and politics has long been vexed. This article explores the hitherto under-explored confluence of conservatism and avant-garde literature in the period by introducing The Senate, a Tory-Decadent journal that ran from 1894-7. While Decadent authors occupied various political positions, this article argues that The Senate offers a crucial link between conservatism and Decadence The article presents the journal in its political and publishing context, outlining its editorial position on such issues as the Liberal Unionist-Conservative coalition governments, Britain's relationship with Europe and the threat of ‘State Socialism’, as well as its valorisation of Bollingbroke and eighteenth-century Toryism, and its relationship to, and difference from, key Decadent journals the Yellow Book and The Savoy. It then goes on to articulate its relationship to Decadence by focussing on the presence of Paul Verlaine in its pages and its vitriolic response to the press coverage of Oscar Wilde's trials. The article concludes by exploring the surprising wake of The Senate, briefly tracing the editors' influence in the development of Modernism and links with the journal BLAST.     

Life history of a mule (c. 160 AD) from the Roman fort Biriciana/Weißenburg (Upper Bavaria) as revealed by serial stable isotope analysis of dental tissues

The presence of the osseous remains of at least four mules in a garbage dump at the Roman fort of Biriciana near the town of Weißenburg, Upper Bavaria, dating to c. 160 AD, raised the question as to whether mule breeding was already performed to the north of the Alps during the Middle Roman Empire, or whether these animals still had to be imported from the Mediterranean. Serial analyses of the dental enamel and dentine of a lower fourth premolar and the surrounding alveolar bone of a mandible of a mule in terms of stable strontium isotopic ratios of the apatite, and stable carbon and oxygen isotope ratios of the structural carbonate, were carried out to test whether this individual moved long distances during its lifetime. Since isotopic ratios obtained by serial analysis can be correlated with consecutive ontogenetic stages, it can be assumed that this particular individual experienced significant changes in terms of diet and environmental parameters after its eighth year of life. These changes included a period of residence in a region of high altitude, most likely the Alps considering the location of the Roman fort where the mule was found. The isotopic data obtained do not contradict the assumption that this animal was bred and raised in northern Italy, to frequent later in its adult life the Alps and finally perish at Biriciana/Weißenburg. Copyright © 2008 John Wiley & Sons, Ltd.     

Sailors and Slaves: The ‘Poor Enslaved Tar’ in Naval Reform and Nautical Melodrama

This article explores the rhetorical comparison of naval sailors' exploitation to that of African slaves in pre- and early-Victorian discourses on naval reform. It is structured around an analysis of J.T. Haines's nautical melodrama My Poll and My Partner Joe (first performed 1835), in which the hero, having been press-ganged by the navy, risks his life freeing enslaved Africans on the Middle Passage even though he considers himself a slave to his nation. This plot was both timely and provocative: first performed in the immediate aftermath of the illegalization of slavery in Britain's colonies, it dramatizes an analogy between slaves and sailors that was contested by campaigners for naval reform and their opponents. Ultimately, My Poll and My Partner Joe palliates radical commentary on sailors' rights, in its second and third acts, as the sailor patriotically celebrates his freedom in antithesis to African slavery. Rather than read its denouement simply as romantic escapism, I argue that it proposes resolutions to conflicts that had arisen in British understandings of slavery and freedom, and racial and national identity, as a result of the debate on naval reform. To researchers of imperial, humanitarian, and working-class cultures and identities of the nineteenth century, this article reveals the underlying importance of ‘race’ and slavery to debates on maritime labour. It further highlights the complex, dialectical character of pre- and early-Victorian representations of sailors – on the stage and beyond it.     

Exposure: a postcolonial turn in urban ethnography

A diary kept during the development of Sugar, a commission of the Liverpool Capital of Culture Festival (2006–2007), was the occasion of an autoethnography. This essay reflects on the triangulation made between the architecture of slavery, contemporary discourses of ‘youth culture’ and the dissolution of the representational frame as thematics or topics liquefied into the repressed topology of the city; a direct analogy is made between the famous but inaccessible Williamson tunnels and the creative unconscious of a post-representationalist dramaturgical practice. The ghost volumetrics of this history are cathected into a movement form, assimilable to the kinetics of hip-hop culture; a new topologically identified community was felt to emerge that performed Sugar largely in the sense of channelling its concerns back into cultural traces continuously in informal production. The relationship between peripatetic dramaturg and peripherally located creative youth mapped an urban dérive quite different from that cultivated by the Situationists, a secret tracking or collaboration that linked urban ethnography to a decolonising dramaturgy.     

“SEEING” THE PAST: TEXT AND QUESTIONS OF HISTORY IN THE RĀJATARAṄGIṆĪ

Traditional scholarly opinion has regarded Kalha?a's Rājatara?gi?ī, the twelfth‐century Sanskrit chronicle of Kashmiri kings, as a work of history. This essay proposes a reinvestigation of the nature of the iconic text from outside the shadow of that label. It first closely critiques the positivist “history hypothesis,” exposing its internal contradictions over questions of chronology, causality, and objectivity as attributed to the text. It then argues that more than an empiricist historical account that modern historians like to believe it is—in the process bracketing out integral rhetorical, mythic, and didactic parts of the text—the Rājatara?gi?ī should be viewed in totality for the kāvya (epic poem) that it is, which is to say, as representing a specific language practice that sought to produce meaning and articulated the poet's vision of the land and its lineages. The essay thus urges momentarily reclaiming the text from the hegemonic but troubled understanding of it as history—only to restore it ultimately to a more cohesive notion of historicality that is consistent with its contents. Toward this end, it highlights the concrete claim to epistemic authority that is asserted both by the genre of Sanskrit kāvya generally and by the Rājatara?gi?ī in particular, and their conception of the poetic “production” of the past that bears a striking resonance with constructivist historiography. It then traces the intensely intertextual and value‐laden nature of the epistemology that frames the Rājatara?gi?ī into a narrative discourse on power and ethical governance. It is in its narrativity and discursivity—its meaningful representation of what constitutes “true” knowledge of time and human action—that the salience of the Rājatara?gi?ī may lie.     

Is Francesco Patrizi’s L’Amorosa Filosofia a heterodox reading of the Symposium?

ABSTRACT

This paper focuses on L’Amorosa Filosofia, perhaps the most compelling response to Ficino’s De Amore produced in the sixteenth century, as it is centered on the notion of love as philautia, based upon a naturalistic and psychological interpretation. The learned lady Tarquinia Molza, the most important interlocutor of Francesco Patrizi, affirms that love, from its beginnings in the inner self to its end, when reaching the divine, cannot but be a phenomenon that engages the sense of touch, showing a naturalistic attitude toward the body and an interest in the mediation between matter and spirit. Contrary to popular notions of self-love as selfish and callous, an honest man must necessarily love himself first in order to love others. In The Praise of Folly, Erasmus also tackles the concept, making Folly praise Philautia as a fundamental means for happiness. More relevant to Patrizi’s work, in Mario Equicola’s De Natura de Amore, there is a long digression on the virtues of self-love.     

Uneven Developments: From The Grundrisse To Capital

Abstract: Since its publication, Marxists have debated the relation between the Grundrisse and the first volume of Capital. This paper offers one entry point into this debate by comparing the way each text frames its “problematic of uneven development”, that is, the way that capitalism's inherently uneven development is thematized as a problem for explanation. In the Grundrisse the uneven nature of capitalism as development is explained by the emergence of capitalism from precapitalist relations. While this analysis is not entirely absent from Capital (cf the discussion of primitive accumulation), precapitalist formations are not treated as systematically in Capital. By contrast, uneven development enters Capital in the final section, particularly where Marx criticizes Wakefield. Reading these two texts together, I argue that the problematic of uneven development shifts from Grundrisse to Capital in a way that underscores Marx's growing stress on capital's imperial character. This shift has its roots in political events of the period when Marx rewrote Grundrisse into Capital.     

Darwin's Flinch: Sensation Theatre and Scientific Looking in 1872

This article explores the relationship between Darwin's The Expression of the Emotions in Man and Animals (London: Murray, 1872) and the debates surrounding audiences of sensation theatre. It takes as its starting point a flinch performed by Darwin in a self-experiment at London Zoological Gardens. Darwin's flinch combined the act of scientific observation with a self-consciously staged emotional gesture. In the 1860s and early 1870s, the passionate and demonstrative audiences of sensation plays were similarly understood to watch themselves feeling. In this economy of emotional surfaces, actors and audience were caught up in unsettling relations between outwards expression and the remote landscape of interior feeling. Entangled in this theatrical instability, Darwin's scientific observation reflected broader cultural concerns about the reliability of the emotional body. Thus the article offers Darwin's Expression as an unusual but nonetheless suggestive artefact of theatrical spectatorship in 1872, while also contributing to recent debates about the history of objectivity and its supposedly unemotional and restrained scientific observer. It argues that the technique of self-conscious emotional spectatorship, shared by Darwin and theatre audiences, constituted a distinctive model of late Victorian emotion and visuality, in which communities of spectators were also spectators of themselves.     

Home thoughts of abroad: Ohthere’s Voyage in its Anglo‐Saxon context

The Old English text known as Ohthere’s Voyage is regarded as a key source for Norwegian history. Consequently, the context of its composition and inclusion in the Old English Orosius has often been overlooked. This article demonstrates that the text cannot be separated from the processes that shaped it during its early transmission. Continental geographical traditions of the peoples of the north governed the preconceptions of Ohthere’s audience. Furthermore, the individual who included the account in the Orosius edited the latter text to anticipate it and tailored the sailor’s account to support the West Saxon ideological underpinnings of its new context.     

Deutsche Literatur an der Indianergrenze

The thirteenth-century Spanish poem Libro de Apolonio (LA) shares many features with other works of the cuaderna vía; among them is the frequency with which the personified figure of sin makes its appearance. One finds the word pecado in the opening scene of the LA, where the narrator says that sin, always restless, manages to stir up desire in King Antioco and makes him turn his gaze on his own daughter (6). Soon again, in reference to the same incestuous king, the narrator writes that “metiólo en locura la muebda del pecado” (26). With two early references in the LA to sinful impulses, the narrator suggests that pecado is the root cause of Byzantine-like adventures that take Apolonio across the Mediterranean world. To further underscore its importance, the author uses the word pecado in a variety of contexts a minimum of thirty-one times. Given its near omnipresence, it is essential that one consider the nature and role of sin when interpreting the work. As a window through which to view sin, this essay focuses on the hero’s status as king. If Apolonio is referred to as pilgrim on occasion, it is no less significant that the main character is referred to as king no less than thirty-five times in the work. It could be that the author wants us to bear in mind that we are not dealing with “everyman,” but with a king. By viewing Apolonio in this light, one can proceed to examine his royal performance to assess to what degree his shortcomings might be considered pecado.