Lapita subsistence strategies and food consumption patterns in the community of Teouma (Efate,Vanuatu)

The subsistence strategies of the Lapita populations (3100–2800 BP), the first colonisers of the pristine environments of the islands of Eastern Melanesia and Western Polynesia, have been a matter of ongoing debate for decades. Opinions have ranged between the two extremes of Lapita colonisers being either characterised as highly mobile foragers to fully horticultural communities. To further address the question, this paper presents stable carbon and nitrogen isotopic data obtained from analyses of human and animal collagen samples from the site of Teouma (Efate, Vanuatu) dated to between c. 3000–2500 BP. The isotopic signatures obtained from 28 samples (23 human and 5 animal), interpreted in combination with isotopic information from several coastal and insular environments, suggest a diet primarily made up of terrestrially derived animal protein with lesser contributions from vegetable produce and inshore marine species. Comparisons linking the isotopic data gleaned from the Teouma individuals and Lapita subsistence patterns reconstructed through archaeozoological and archaeobotanical remains support the hypothesis of a mixed economy, that included terrestrial foraging, inshore marine exploitation and a low level of food production for at least some of the earliest Lapita colonists in Vanuatu.     

调查希腊和罗马的彩绘石刻雕塑

本文目的介绍了哥本哈根彩绘网络（CPN）各学科间的结构,成立于2004年,调查和记录哥本哈根纽约嘉士伯希腊和罗马大型和重要的彩绘雕塑收集。2004年至2008年,哥本哈根彩绘网络实施了小规模的试验计划。本文介绍了一个试点项目的研究,是关于一个阁楼古典女性的大理石头像。所采用的方法解释了一些细节,主要是关于2008至2011年哥本哈根彩绘网络之后的项目。获得的数据可以从保护科学、自然科学和古典考古学的角度解释。这篇文章接着介绍了哥本哈根彩绘网络主要项目,概述其目标、方法和组织。工作空间中描述了建立画廊可视检查方法。这个空间变得活跃,并在2009年1月的文章中提出了一个第一次初步研究报告,570B．C．E阁楼陈旧的石灰岩狮身人面像。     

Funding the ‘nation’ in the national theatre of Scotland

The National Theatre of Scotland (NTS) is a an innovative and ground‐breaking, non‐building‐based, commissioning and producing cultural institution, established in the wake of the devolution of the Scottish Parliament. This article sketches the contours of this new model of a national theatre, exploring the complex dialectic between various economic, political, social and artistic choices, forces and factors that have influenced, and continue to influence, the formative years of the NTS. The article charts changes to the company during these early years and, most significantly, notes the potential effect that the change from arm’s length to direct government funding might have on the company’s long‐term development. It is argued that direct funding aligns the arts too closely to political agendas rather than supporting artistic freedom and expression.     

Lidar mapping and surface survey of the Izapa state on the tropical piedmont of Chiapas,Mexico

Recent lidar and pedestrian surface surveys have remapped the well-known Mesoamerican site of Izapa and the surrounding Soconusco piedmont. These data document: 1) occupation from the surrounding piedmont environment, 2) significantly larger estimates of the site's size during both the Formative and Classic periods as well as 3) new architectural features from the monumental site core. Methodological issues are outlined for combining high precision lidar mapping with ground truthing and pedestrian survey that focuses on surface collection of temporally diagnostic artifacts. Results are presented for 670 mounds documented in an area of 43.1 sq km in and around the ancient capital of Izapa.     

Birdmen, cemís and duhos: material studies and AMS C dating of Pre-Hispanic Caribbean wood sculptures in the British Museum

This paper presents 19 AMS radiocarbon dates from nine pre-Hispanic Caribbean (Taíno/Lucayan) wooden sculptures in the British Museum collections, provenanced to Jamaica, Hispaniola and the Bahamas. Together with strontium isotope results and wood and resin identifications, these data build a material and chronological context for some of the most recognised examples of Taíno art – from duhos (ceremonial seats) and cemís (free standing depictions of deities, ancestors and spirits) to canopied stands used to hold hallucinogenic drugs during the cohoba ceremony. Each sculpture widens our understanding of Caribbean carving traditions, stylistic variation, chronologies and material resource utilisation. A group of three sculptures recovered from Carpenters Mountains, Jamaica, carved by AD 1300 and brought together as a ceremonial ‘set’, each appear to have had their inlays renewed over a century later, suggesting long-term use. Three key examples of the main Caribbean duho categories (high-back, low-back and extended), provide insights into the diversity of styles present in the region post-AD 1100. The British Museum's corpus enables an exploration of regional styles, and potentially the work of individual artists.