Cohabitants,Captives, or Trade: The Early Late Woodland Non-Weaver Ceramic Assemblage at the Marseton #2 Weaver Village in Mercer County,Illinois

The Marseton #2 site is a Weaver ring midden in the Mississippi Valley of Mercer County, Illinois, that was buried by a catastrophic flood event a few centuries after the site had been abandoned. Analysis of the more than 740,000 ceramic items from the village provides insights as to Weaver interactions with other non-Weaver early Late Woodland groups of the region. While the presence of non-Weaver ceramics at the village might represent trade items, or vessels manufactured by potters peacefully or forcibly brought to the site, it is suggested that a non-Weaver household producing Levsen-like ceramics was coexisting at Marseton #2 alongside multiple Weaver households.     

Refining Woodland Period Chronology and Interactions in Northeastern Missouri: Contributions from the Avenue of the Saints Project

The recently completed Avenue of Saints (AOS) highway project in the Mississippi Valley of northeastern Missouri resulted in the documentation of Woodland period sites ranging from approximately 200 cal BC to AD 1200. This article updates the existing Woodland chronology for this locality based on new information collected during the project. Data pertaining to Early, Middle, and Late Woodland sites are presented. The approximately 1,400-year occupation span provided researchers an opportunity to view diachronic trends in tool manufacture, subsistence economy, and landscape use. Based on regional comparisons of ceramic and lithic technologies and vessel decoration, the Woodland sequence in northeastern Missouri was influenced by population movements originating from east of the Mississippi River and from southern sources in the Salt River valley.     

Patronage,gentility, and “base degree”: Edmund Spenser and Lord Burghley

This essay examines the social asymmetry of Early Modern patronage by focussing on Edmund Spenser’s complex relationship with Lord Burghley. Both were anxious to validate their social credentials, the one as novus homo, and other as novus poeta. Burghley sought to offset criticism of his rise by consolidating a reputation for public service with claims of illustrious ancestry, and scores of dedicators obliged. Spenser was anxious to claim the status of gentleman through talent despite his obscure origins. In appending a dedicatory sonnet to Burghley in the 1590 Faerie Queene he endorses his public image in the hope of reciprocal acknowledgement. Apparently disappointed, he responds in Complaints (1591) by presenting Burghley as a mercenary parvenu, while for the first time claiming kinship to the “ancient” house of the Spencers of Althorp, thereby reversing the social hierarchy but problematizing his own criteria for gentility.     

An iconographic exploration of the “rattlesnake” gorgets of eastern Tennessee

ABSTRACT

Compared to other gorget styles and themes made during the Mississippian period, the so-called rattlesnake gorgets of eastern Tennessee have been found in fairly large numbers. Stylistically, Muller assigned these gorgets to the temporally related Lick Creek and Citico styles, while Crawford’s recent work has argued for substyles within. While their style has been studied extensively, the idea that these gorgets depict rattlesnakes generally has been accepted without further consideration. In this paper, we present the results of a systematic iconographic study of rattlesnake gorgets. Ultimately, we conclude that the image’s original referent is not just a snake but instead is intended to be a model of the cosmos at night.