Emergence of the American manufacturing belt: an interpretation

This study proposes that the American manufacturing belt emerged during the antebellum years as a replicated set of regional industrial systems. A broad-based set of demands spurred the growth of regional manufactures, including the pivotal producer durables sector. Eastern regions industrialized first, and they were followed by frontier regions in the Midwest. The relative importance of regional market manufactures declined over time and multiregional/national market manufactures increased. Regional industrial systems became increasingly specialized; the result was higher levels of interregional trade in industrial specialties. The decline of regional market manufactures eroded the bases for the emergence of regional industrial systems by the 1860s. The westward spread of the manufacturing belt ended, and internal differentiation and structural change within the belt were characteristics of late nineteenth century industrialization. The South failed to join the manufacturing belt during the antebellum years because regional demands for manufactures were insufficient to support important regional industrial systems. It lacked the bases to participate significantly in late nineteenth century industrialization.     

Evidence of amputation as medical treatment in ancient Egypt

The use of surgical techniques in ancient Egyptian medicine has only been suggested indirectly through ancient medical texts and iconography, and there is no evidence of amputation as a means of therapeutic medical treatment. This paper presents four cases of amputation from the archaeological site of Dayr al‐Barshā, Egypt. Two of the cases (dated to the First Intermediate and Middle Kingdom periods, respectively) are from individuals that display bilateral amputations of the feet, one through the metatarso‐phalangeal joints, the other a transmetatarsal amputation. The exact reason for the amputation, perhaps from trauma or disease, is unknown. The particular healing patterns of the distal ends of the amputations suggest these individuals used foot binding or prosthetic devices. Another case represents a healed amputation of the left ulna near the elbow, dated to the Old Kingdom. The final case represents a perimortem amputation of the distal end of the right humerus. The exact date of this individual is unknown, but most likely pertains to the Old Kingdom or First Intermediate period. This individual seems to have suffered a traumatic incident shortly before death, sustaining many fractures, including a butterfly fracture on the right humerus. Several cut marks were identified on top of the butterfly fracture, indicating amputation of the arm at this point. All four cases support the hypothesis that the ancient Egyptians did use amputation as a therapeutic medical treatment for particular diseases or trauma. Copyright © 2009 John Wiley & Sons, Ltd.     

Ungendering Europe: critical engagements with key objects in feminism

Abstract

This introduction presents the points of departure for the themed section ‘Ungendering Europe: Critical Engagements with Key Objects in Feminism’ and introduces the eight articles included in the collection.     

A Roman Egyptian Painting Workshop: Technical Investigation of the Portraits from Tebtunis,Egypt

Roman‐period mummy portraits are considered to be ancient antecedents of modern portraiture. However, the techniques and materials used in their manufacture are not thoroughly understood. Analytical study of the pigments as well as the binding materials helps to address questions on what aspects of the painting practices originate from Pharaonic and/or Graeco‐Roman traditions, and can aid in determining the provenance of the raw materials from potential locations across the ancient Mediterranean and European worlds. Here, one of the largest assemblages of mummy portraits to remain intact since their excavation from the site of Tebtunis in Egypt was examined using multiple analytical techniques to address how they were made. The archaeological evidence suggests that these portraits were products of a single workshop and, correspondingly, they are found to be made using similar techniques and materials: wax‐based and lead white–rich paint combined with a variety of iron‐based pigments (including hematite, goethite and jarosite), as well as Egyptian blue, minium, indigo and madder lake to create subtle variations and tones.