Trade and Power in Ancient Egypt: Middle Egypt in the Late Third/Early Second Millennium BC

Middle Egypt provides a unique insight into the organization of power, politics, economy, and culture at the turn of the third millennium BC. The apparently easy integration of this region into the reunified monarchy of king Mentuhotep II (2055–2004 BC) was possible because the interests and the local lineages of potentates were preserved. Trade and access and/or control of international exchange networks were important sources of wealth and power then. And Middle Egypt appears as a crossroads of diverse populations, as a hub of political and economic power, as a crucial node of exchanges through the Nile Valley, and as a power center whose rulers provided support to the monarchy in exchange of local autonomy and considerable political influence at the Court. In the new conditions of early second millennium, potentates from Middle Egypt succeeded in occupying a unique advantageous position, not matched elsewhere in Egypt, because of the concentration of wealth, trade routes, new technologies, political power, and autonomy in the territories they ruled.     

社区居家养老服务条件与质量:基于成都市的调查数据

本文针对成都市的相关数据,建立评价指标体系,对成都市社区居家养老服务条件和质量问题进行了评价。分析表明,该市社区居家养老服务机构的政府资助力度在逐渐扩大,但经营成本、养老服务功能的健全程度、与老年人的精神文化生活的实际需求是否吻合等一些问题,依然是影响这类地区社区居家养老服务质量提高的重要因素。     

The Anthropogenic Use of Firewood During the European Middle Pleistocene: Charcoal Evidence from Levels XIII and XI of Bolomor Cave,Eastern Iberia (230–160 ka)

Human control of fire is a widely debated issue in the field of Palaeolithic archaeology, since it involved significant technological innovations for human subsistence. Although fire evidence has been the subject of intense debate regarding its natural or anthropogenic nature, most authors agree that combustion structures represent the most direct evidence of human control of fire. Wood charcoal fragments from these contexts represent the fuel remains that result from humans’ collection of firewood, which means they can reveal significant behavioural and palaeoenvironmental information relevant to our understanding of Middle Palaeolithic societies. In this work, we present anthracological data derived from combustion structure 2 (level XIII, ca. 230?ka, MIS 7) and combustion structure 4 (level XI, ca. 160?ka, MIS 6) from Bolomor Cave, which are chronologically among the earliest combustion structures found in Europe. The present work discusses how the presence of black pine and / or scots pine in both levels sheds light on the characterisation of the local landscape. Additional analyses focussing on the pre- and post-depositional processes affecting charcoal preservation point to biodegradation patterns. The aim of this work is to provide the first discussion concerning the anthracological data derived from Bolomor Cave in order to contribute to the general debate regarding the use of fire during the European Middle Pleistocene.     

La resignificación de los márgenes del teatro independiente: Oratorio,del Teatro Estudio Lebrijano

Abstract

Oratorio, by Alfonso Jiménez Romero and Teatro Estudio Lebrijano, is arguably among the most representative plays of 1970s Spain’s independent theater. This play experienced many changes and adjustments before it was staged in the Festival Mondial de Théâtre de Nancy in 1971. These changes were tested in performances in Andalusia before audiences with little exposure to theater but sympathizing with the play. By studying a production that developed for three years, this article challenges the claims that support a history of theater as a catalogue of finished products. This article aims at considering the creative process that emerges from the direct contact with audiences in performing spaces. Independent theater archives have limitations, but they are made up with oral histories from troupe members. This article studies both the incorporation of theatrical devices associated with ritual participation of the audience and the use of flamenco reassessed as protest music. The latter included in the play as an artistic device since the tour in Andalusia. This play made explicit references to the Spanish Civil War, which prompted physical reactions from the audience in towns where the repression was fierce.