Evaluating the use of IKONOS satellite imagery in lowland Maya settlement archaeology

This article presents an extensive evaluation, in several contiguous or near-contiguous areas, of the viability of IKONOS satellite imagery in detecting sub-canopy Maya settlement in Peten, Guatemala. Initial research in and around San Bartolo, Guatemala, led to the conclusion that IKONOS imagery could be highly effective in detecting and predicting Maya settlement of the Preclassic and Classic periods, in zones of dense occupation near swampy lowlands known as bajos. The pioneering methods at San Bartolo are applied here to other regions in the Maya lowlands, but with mixed or unpromising results. Preliminary evaluation indicates that local climate, geology, hydrology, topography, pedology, and vegetation differ dramatically in these other regions, with consequences for wider application of the settlement signature discerned at San Bartolo. Possible reasons for these difficulties are offered in this paper, along with ways to strengthen the use of multispectral imagery in archaeological survey of tropical forests.     

A Feminist Generation in Iran?

Numerous observers have noted that a feminist generation of educated young women appears to be emerging in Iran, despite the anti-feminist discourse of the Iranian government. Evidence from three surveys conducted in 2000–2003 confirms and complicates these observations. Educated young women are significantly more likely to espouse feminist attitudes of various sorts than other Iranians, including educated young men. In addition, educated young women are significantly more likely to work outside the home, marry later, give birth later, have fewer children, and have more egalitarian marriages than other Iranian women. However, surprising proportions of older Iranians also espouse feminist attitudes, and a majority of respondents in one nationally representative sample of urban Iranians identify themselves as proponents of women's rights.     

La Découverte de L’Amérique

This article examines the significance accorded to the discovery of America in the period between 1492 and the publication of Alexander von Humboldt’s Kosmos in 1855. It argues that, the « discovery » of America was perceived as the « uncovering » of not merely a place, but of an epistemological challenge which both transformed, Europe’s intellectual dependence on Antiquity, and shaped its evolving perception of both space and time. It argues that, after the discovery, human history came to be seen, in terms of as series of inventions all of them related to human movement, which were projected, as more and more of the globe was « discovered » into an unpredictable future.     

Culture <Emphasis Type="Italic">Versus</Emphasis> Civilisation la Genèse D’une Opposition

Closely linked to the concept of history, the notion of culture becomes a collective singular during the last third of the xviii ^th century. The German idea of culture did not immediately come into opposition with the notion of civilization and both terms were for a long time almost identical in meaning. What does the polemical orientation of the German notion of culture reveal from 1880–1890? First, the crumbling of the idealistic neo-kantian pattern of self-determined cultivated person as an end in itself (the so-called Selbstbildung); second, the growing moral condemnation of the empty spirit of the time. This double process reaches its apogee full of hatred during World War I.     

Le Médium Technique: Objet et <Emphasis Type="Italic">A Priori</Emphasis>

In his fragment on music, Max Weber reduces the empirically describable musical object to the «technical medium» utilized by each culture on condition that its analysis remains heterogeneous in the face of aesthetic valorisations. Weber emphasises that the phonographic reproduction of sound constitutes the condition of possibility of an empirical analysis of the musical material, the point of departure of a modern comparative musicology. The empirical approach and cultural comparison thus appear linked in an «empirico-transcendental» crossover which makes both an object and an a priori out of the technical medium. The article explains this methodological choice and its consequences for a comparative sociology of art.