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Richard L. Fishel 《Midcontinental journal of archaeology, MCJA》2018,43(3):257-280
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. 相似文献
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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. 相似文献
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Adam King Samuel Forst Ashley Lewis-Lavin Richard McBurnett Justin Rauch Don Rosick 《Southeastern Archaeology》2018,37(2):138-148
ABSTRACTCompared 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. 相似文献