动物考古学与复杂社会——动物群分析在贸易、社会地位和族属研究中的某些应用

自20世纪60年代后期以来,动物考古学成为考古学研究中发展最为迅速的分支学科之一,利用动物骨骼遗存研究复杂社会显示出动物考古学的特殊魅力。本文利用旧大陆西部和新大陆的动物考古学研究案例,首先讨论了动物和动物产品在贸易和交换中的作用,接下来又探讨了动物遗存的差异在多大程度上可以用来重建社会不平等,最后,则批判地考察了动物遗存在辨认史前和历史时代早期族群差异方面的作用。不仅如此,作者还讨论了从事复杂社会研究的动物考古学家所使用的方法,以及这些方法的局限性。作者认为,动物群分析可以作为研究复杂社会经济基础的一个有效方法。动物考古学除了为饮食和生存活动提供有价值的信息之外,动物骨骼分析还可以用于重建过去的交换系统,辨识人们的社会地位和族属。但要做到这一点,动物考古学家必须把分析建立在大量精心收集且出自合适的考古学遗迹单位的动物遗存之上。这意味着动物考古学家必须首先是考古学家,他们应当少花一些时间担心最小个体数、可鉴定标本数以及其他计算生物分类单元丰度的方式的优劣上,而应把更多的时间放在考虑怎样能把动物资料与其他考古学和历史学证据整合起来。因为只有把动物群资料和其他证据结合起来,我们才能理解复杂社会的经济基础。     

Essential Threats to the Security of the GCC Countries in the Post Arab Spring Era

The so called Arab Spring has brought more challenges to the security of the Arabian Gulf states members of the Gulf Cooperative Council (GCC). This article aims to reach a better understanding of the main threats facing the GCC states in the post Arab Spring era. It argues that the conservative system of the GCC states, originated in the paternalistic conservatism, is facing an essential threat from three very important elements that are instigated by the eruption of the so called Arab Spring: political liberal ideas, political Islamic movement, and sectarianism. The article investigates the impact of these elements on the GCC states.     

The Education of Natives,Creole Clerics,and the Mexican Enlightenment

In this article, I explore the parallel responses of two groups of colonial subjects who were confronted with the institutional changes that occurred in the context of Enlightenment ideas in eighteenth-century Mexico: creole clerics headed by the Jesuit Francisco Javier Clavijero; and native religious men who petitioned to colonial authorities and the Crown for additional spaces for the education of indigenous men. I explore some of the interactions between creole clerics—often referred to as creole patriots—and native elites in the schools of central Mexico, and efforts by indigenous noble men to broaden the opportunities for natives to join the ranks of the Church and to receive a higher education. To this end, I build on the scholarship that has made evident how the hegemonic program of Bourbon reforms, which was inspired by the Enlightenment, was not a top-down plan implemented successfully and equally across the continent but rather a series of contested interpretations. This article contributes to the recent shift in the scholarship on the Enlightenment that acknowledges cross-cultural global exchanges by arguing that certain groups of natives in central Mexico, and a particular group of American-born clerics, participated actively in building a pragmatic version of the Enlightenment that responded to their local realities and contributed to a globalized understanding of enlightened ideas.     

Out of The Shadow of Vasari: Towards A New Model of The ‘Artist’ in Colonial Latin America

Within shifts affecting colonial studies, a ‘life-work model’ employed in colonial art history has been left unexamined. Developed by a contemporary of Michelangelo, Giorgio Vasari (Italy, 1511–1574), this methodology was grounded in particular European social conditions that allowed the creation of the ‘artist’ whose ‘artwork’ was the inalienable product of a single mind and hand. Following the art historical paths laid by Vasari in the viceroyalties leads to dead ends: indigenous artists who efface their individuality; painters who exist with little social or historical context; and artworks whose conservation denies finding the traces of the hands that made them. Because artworks were and are the connective tissue of complex social networks, reconfiguring concepts of ‘artist’ and ‘artwork’ and recasting them in accordance with social practices within Latin America, gains us purchase on how colonial subjects, in their engagement with their material worlds, came to be constructed.

Resemblance to European prototypes is an essential historical reality of colonial artworks: much artwork, particularly the painting, of colonial Latin America ‘looks’ like that of early modern Europe and thus has generated a foundational expectation, laid out in purest form by Manuel Toussaint (Mexico, 1890–1955), that Latin American art history might also look like Europe's. We argue that a mismatch with Europe and its methodologies means that certain, foundational historiographic assumptions about writing art history for Latin America need to be reassessed, in particular the ‘artist’ and ‘artwork.’