Archaeometric study of natural hydraulic mortars: the case of the Late Roman Villa dell’Oratorio (Florence,Italy)

This paper shows the results of a multidisciplinary study carried out on the mortars from the Late Roman Villa dell’Oratorio (fourth-sixth ad), an aristocratic mansion built in the lower Valdarno (Florence, Italy). Thirty-one bedding mortar and plaster samples were analysed through optical microscopy, thermogravimetric analysis, X-ray powder diffraction and scanning electron microscopy with energy-dispersive X-ray spectroscopy for determining the chemical, mineralogical and petrographic characteristics, while their main physical properties were measured by geotechnical procedures. The collected data indicates that the analysed mortars are made up of very fine to coarse river sand aggregate mixed with white to yellowish-white natural hydraulic lime binder mainly consisting of mixtures of prevailing calcite and hydraulic compounds. With regard to the origin of the raw materials, the aggregates were recognized to be selected Arno river sands, and the binders are the burning product of a local marly limestone (ex Alberese). Therefore, the mortars of the Late Roman Villa dell’Oratorio are one of the first uses of natural hydraulic lime in the lower Valdarno.     

Expectations of scatter in equivalent-dose distributions when using multi-grain aliquots for OSL dating

In the OSL dating of sediment, the scatter in equivalent dose (D _e) between grains is almost always larger than would be expected due to counting statistics alone. Some scatter may be caused by insufficient (partial) bleaching of some of the grains prior to deposition. In order to date partially bleached sediment, it is essential to estimate the amount of scatter caused by other processes (e.g. grain-to-grain variability in the natural dose rate). Measurements of such scatter are performed at the single-grain level; by contrast, most OSL dating is performed on multi-grain subsamples, for which grain-to-grain scatter is reduced through averaging.     

Transformative Transportation: The Early Twentieth-Century Railroad on the Southwest Florida Frontier

The Venice Train Depot is a case study for an archaeology of transportation, an examination of new places and more rapid travels over the modern period. The goal of this approach is to capture the dynamics of landscapes, agency, and movement. There have been productive discussions of transportation networks and national integration; methodological discussions have noted the need to account of the movement of things in the analysis of the material record. The case study exposes the dynamics of change for the Florida frontier in the twentieth century focused on the construction of a railroad line and station in Venice, Florida.     

Historical and Dialectical Perspectives on the Archaeology of Complexity in the Siin-Saalum (Senegal): Back to the Future?

Drawing on recent critiques of evolutionism, this article reviews the history of Iron Age studies in Siin-Saalum (Senegal) to examine the construction of African archaeological knowledge. From the 19th century to the 1980’s, analyses of complexity in Senegal have been animated by developmentalist views that have portrayed the regional past as a stagnant backwater. In the past 25 years, however, archaeological research has sought to redress these inaccuracies by exploring the diversity and idiosyncracy of African histories, and the processes behind sociopolitical change. These critical agendas can help us exploit the analytic potential of material culture to reincorporate African societies into the stream of world history, and to use the African past to reevaluate current scenarios of complexity and their applicability to various regions of the globe. To achieve these goals, however, and develop a fully self-reflexive archaeology in Senegal, researchers must eschew moral celebrations of African distinctness and strive instead to document how local pasts owe their particular qualities to complex political-economic articulations with other world societies. Concurrently, we must also attend to the dynamics of historical production in and out of guild circles, and consider our entanglement in the making of contemporary ‘culture wars.’ Because it is ideally suited to probe the historical and material depth of cultural differences and inequalities, archaeology must take a leading role in dispelling essentialist readings of Africa and promoting democratic knowledges about the continent.     

Teaching with intent: The archaeology of gender

Este ensayo discute la relación de instruir sobre la expresión política, especialmente el papel de la crítica feminista en el desarrollo de la arqueología y el lugar de esta crítica en la clase.

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Résumé Ce papier aborde la relation de l'enseignement et de l'expression politique, en particulier le r?le de la critique féministe dans le développement de l'archéologie et de la place de cette critique dans les salles de classe.

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Every teacher must learn to stop teaching when it is time. That is a difficult art. Very few are able to let reality take over at the right time. Very few know when they are done teaching. However, it is difficult to watch how a pupil will make the same mistake that one has made oneself after one has tried to save him from making these very same mistakes. As hard as it can be not to receive any advice, it is as hard not to be allowed to give any such advice. (Brecht 1967:475)     

Revisiting the Parietal Art of Wonderwerk Cave,South Africa

Seen by all who visit Wonderwerk Cave, the rock paintings that adorn its walls have attracted less attention than many other aspects of the site. The paper gives a brief account of their history and significance and of factors that have constrained their study. Graffiti damage and restoration added layers through which researchers would need to delve in order to understand them archaeologically. Pointing to directions for future work, the paper concludes with discussion on a currently debated category of southern African rock art, the “non-entoptic” geometric rock art tradition, to which the Wonderwerk Cave rock paintings would belong. A shift in theoretical focus is advocated for comprehending local contingencies in the formation of rock art “traditions” rather than simply assuming the prior existence of such constructs.