Influence of climate change on carbon and oxygen isotope fractionation factors between glucose and α-cellulose of pine wood

We present the first analysis of the influence of climate change on carbon and oxygen isotope fractionation factors for two saccharides (glucose and α-cellulose) of pine wood. The conifers grew in the Niepo?omice Forest in Poland and the annual rings covered a time span from 1935 to 2000 AD. Glucose samples from acid hydrolysis of α-cellulose were extracted from annual tree rings. The carbon and oxygen isotope fractionation factors between glucose and α-cellulose were not stable over time. The mean value for the carbon isotope fractionation factors between glucose and α-cellulose was greater than unity. The mean value for the oxygen isotope fractionation factors between glucose and α-cellulose was lower than unity. We established, with respect to climate change, the significance of the interannual and intraannual variation in the carbon and oxygen isotope fractionation factors between both saccharides. We used moving interval correlation results for May of the previous year through September of the current year using a base length of 48 years. The relationship with summer temperature is the main climate signal in the carbon isotope fractionation factor between glucose and α-cellulose. The relationship with autumn sunshine is the main climate signal in the oxygen isotope fractionation factor between glucose and α-cellulose for the tree ring chronology.     

Holocene sediments of the Ustka Cliff (Northern Poland) in view of radiometric dating

The cliff in Ustka is an active one. The area is one of the most eroded sea shores of the Polish coast. The Ustka Cliff mainly consists of Holocene sandy deposits, but its basis is built of glacial till and clay. Field search allowed to recognize the structure and sedimentary conditions of Holocene deposits exposed in the cliff. A comparison of dating results obtained for fossil soils and peat as well as aeolian deposits, using ¹⁴C and TL methods, respectively, with available literature records is presented. The evaluation of results obtained allowed to define three main dune-forming phases for the first time for this part of the Polish coast. During the research studies new data on the processes and environmental conditions was gained and the development of structure of the area during the last 10 thousand years was reconstructed. The analysis of available data from other sections of the southern Baltic coast shows that results obtained are age similar to those determined for the ?eba Spit. The research is part of a project concerning the geomorphology of the Ustka Bay.     

Prehistoric iron production technologies in the Upper Thai-Malay Peninsula: metallography and slag inclusion analyses of iron artefacts from Khao Sam Kaeo and Phu Khao Thong

This article presents a preliminary attempt to characterise Upper Thai-Malay Peninsula prehistoric iron technologies based on assemblages from two recently excavated coastal sites: Khao Sam Kaeo and Phu Khao Thong. These are the earliest known sites involved in the early trans-Asian exchange that connected the eastern Indian Ocean to the South China Sea from the mid-first millennium bc. It is from this period that iron assemblages start appearing at both continental and insular Southeast Asian sites. Three models have been offered confronting an indigenous vs. Chinese or South Asian impetus for the introduction of iron metallurgy in Southeast Asia. These models are discussed in the light of the metallographic and compositional analyses of iron and slag assemblages from these two sites using optical microscopy, scanning electron microscopy with energy dispersive spectrometry, energy dispersive X-ray fluorescence and slag inclusion analysis techniques, together with other production materials from these and other contemporaneous Southeast Asian sites.     

Representations of the Outbreak of World War II in Polish Film, 1945–67: From Partial Recognition to a Component of National Memory

In September 1939, Poland was invaded by Nazi Germany and the Soviet Union, starting World War II. The war’s end in 1945 marked not the true liberation of the country, but the beginning of a period of Soviet domination that ended only in 1989. As a result, for forty-five years of Polish history, the alliance made by the Hitler with Stalin in 1939 and its tragic consequences for Poland were taboo across society. Polish filmmakers presenting the beginning of World War II were constrained by realities of the Communist state and its own historical narratives. These films reflect what happened to their country in 1939 and highlight the political changes that occurred within Poland under Communist rule, as well as the impact of shifts in the regime itself. The most significant period in this regard was 1945–67, when the outbreak of war was first presented following the end of Stalinism, emerging as a component of national memory both generally and for the Communist authorities.     

Compression and digestion as agents of vertebral deformation in Sciaenidae,Merlucidae and Gadidae remains: an experimental study to interpret archaeological assemblages

Journal of Archaeological Method and Theory - Fish taphonomy from archaeological sites provides considerable useful information about human behaviours and environmental contexts as potential food...     

The (Jean) Nouvel Other: Primitivism and the Musée du Quai Branly

The Musée du Quai Branly, located beside the Eiffel Tower in Paris, opened in June 2006. Constructed to house France's important collection of non-western art, the museum has been promoted as ‘decidedly post-colonial’ and a place of ‘reconciliation and sharing’. Historians have situated the creation of the museum within political debates over the restructuring of several of France's museums and, more broadly, the country's position in a post-colonial world, while focusing little critical attention on the building itself. The author argues that Jean Nouvel's architectural program for the Musée du Quai Branly—a ‘primitive shelter’ surrounded by a ‘sacred wood’—gives physical form to a primitivist aesthetic. The unproblematised binaries of self versus other and culture versus nature evident in Nouvel's design reveal a surprisingly unsophisticated theoretical standpoint. As a frame in which to view and understand the objects on display, the Musée du Quai Branly invites a primitivist—and colonial—reading of its collection.