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Investigations of prehistoric cave art have long neglected the surrounding context: space, archaeological objects, and imprints.
As a result, an integrative structural approach that analyzes cave art as part of an anthropomorphized landscape has not been
available. This article draws on urban planning and the physiology of the human eye to provide an innovative archaeospatial
analysis of cave sites. A set of relevant features from the caves of Bédeilhac, Fontanet, and Le Portel was selected and defined
(light zone, chamber type, path network, mode of movement, and available space). An analysis of the prehistoric remains in
the caves allows the reconstruction of different concentrations of human activities (cave art, archaeological objects, and
imprints). The projection of these concentrations onto the structured map of the caves results in four types of locations:
drawing location, supply location, drawing location with substantial activities, and drawing location with consumption activities.
This approach opens new avenues for the archaeological perception of caves and their inhabitants: Upper Paleolithic humans
were very familiar with caves and probably followed a master plan during their stay in the dark. 相似文献
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Frédéric Vengeon 《Revue de synthèse / Centre international de synthèse》2009,130(1):177-180
Sans résumé
Ses recherches portent sur les liens entre métaphysique et technique à la Renaissance et, de manière plus récente, sur la
philosophie de la machine. Il travaille acutellement à une anthropologie philosophique du recours aux automatismes. Il a notamment
publi’e ?Mathématiques, création et humanisme chez Nicolas de Cues ? (Revue d’histoire des sciences, t. 59, no 2, 2006); ? L’homme à l’image de Dieu, Ma?tre Eckart, Nicolas de Cues, Descartes ? (dans L’Image, Paris, Vrin, 2007). 相似文献
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