锶同位素分析技术在考古学中的应用研究

在考古化学这个新领域内,考古学家们经过努力,成功地将锶同位素分析技术运用于考古学领域,通过对遗址中人类骨骼的锶同位素分析来对古代人类的迁移情况进行研究。由于考古材料间存在着差别,各个实验室所采用的方法和实验步骤间也存在一些差异,因此还没有统一的分析方法和步骤,至今仍处于进一步的探索之中。在我国的考古学研究中,这项技术还处于起步阶段,迄今为止还未见到相关的研究成果。本文主要对这项技术在考古学上应用的原理及研究中注意事项进行了较为详细的论述,并且计划今后进行这方面的实验研究,希望能为国内同仁进行这方面的研究时提供些许借鉴。     

Forbidden Images: Rock Paintings and the Nyau Secret Society of Central Malaŵi and Eastern Zambia

This paper examines the rock art of the nyau secret society of eastern Zambia and central Malai. The art dates principally from the nineteenth and early twentieth centuries. It has been known to researchers since the 1970s but has given up few of its secrets. I examine the questions of why the art was made and why the tradition ceased. Key to answering these is the realization that the art belonged to a specific historical and geographic context: the era and area where nyau was forced to become an underground movement because of its suppression by Ngoni invaders, missions, and the later colonial government. The art provides us with detailed insights into the way nyau has served in the process of overcoming and manipulating the traumatic social changes faced by Chea society in the last few centuries.Cet article examine l'art rupestre de la société secrète de nyau au est du Zambia et Malai centrale. L'art date principalement aux dix-neuvième et bas vingtième siècles. Recherchers ont su l'art depuis les années soixante-dix, mais ils ont appris peu de ses secrets. J'examine les questions de pourquoi l'art était fabriquer et pourquoi la tradition a cessé. Pour résoudre ces questions c'est important à réaliser que l'art était à sa place dans un milieu spécifique d'histoire et géographie: au temps et place où nyau était forcer à devenir un mouvement clandestin à cause de sa répression par les envahisseurs Ngoni, les missions et, plus tard, le gouvernement colonial. L'art nous donne les aperçus détaillé sur comment nyau a servi dans le procès à surmonter et manipuler les changements traumatiques que la société Chea a bravé dans les siècles récents.     

Identification of Green Pigment Used in Persian Wall Paintings (ad 1501–1736) Using PLM,FT–IR,SEM/EDX and GC–MS Techniques

The technique of oil painting was introduced to Iran via a cultural exchange with Europe in the Safavid period (ad 1501–1736). Since the first attempt at scientific conservation of wall paintings in Iran in the 1960s, the nature of green pigment used in Persian wall paintings has not been clear, although work on contemporary miniature paintings has identified malachite and verdigris. PLM, FT–IR, SEM/EDX, GC–MS and the study of contemporary historical treatises of the Safavid period were the main tools used in the present study to identify the green pigments in Persian (oil‐based) wall paintings. Eight samples taken from the two famous Safavid buildings, Chehel Sotoon Palace and the Sukias House in Isfahan, were analysed. Here, the identification of copper‐based pigment and of verdigris in oil as oleate amends the existing knowledge of the green pigment used in these paintings. It also suggests that oleate was introduced to Persian artists via the European influence on Persian painting as a result of cultural exchange in the Safavid period, when the technique of Persian painting changed from tempera to oil painting. However, as verdigris in oil and resin can appear as oleate over time, it is unknown whether the Persian artists did this deliberately or accidentally.     

The provenance and distribution of Early Bronze ceramics in the Kolyaei Plain,central Zagros,Iran

Within Iran, there is little archaeological evidence for relationships between newly arrived Early Trans-Caucasian (ETC) or Kura-Araxes settlers and earlier inhabitants and contact with neighbouring cultures, or for their apparently abrupt end. Based on the evidence, the Iranian Kura-Araxes was not a simple ‘copy' of the Caucasian Kura-Araxes package. Ceramic traditions show local peculiarities, and all are elements suggesting that the Kura-Araxes traditions went through processes of adaptation, change and re-elaboration according to local tastes and technologies. In this study, an archaeometric approach to ceramics in the Kolyaei Plain of central Zagros contributes to the discussion of contact and exchange between indigenous communities and several cultural spheres of influence on the Early Bronze Age (beginning in the fourth millennium bce ). Morphological data, as well as the mineralogical and chemical composition of ceramics, were applied to determine the major and trace elements of the pottery shards. Based on the trace element profiles, it can be suggested that all the pottery shards are in the same group and they strongly are local products. The ceramic provenance indicates the same patterns of material interactions during the ETC or Kura-Araxes in all the sites within the Kolyaei Plain.     

The bourgeoisification of the Green-Line: The new Israeli middle-class and the Suburban Settlement

This paper focuses on Kochav-Yair and Oranit, two localities that exemplify the Israeli Suburban Settlement phenomenon. With the first being developed by a selective group of families and the latter by a single private entrepreneur, yet both with the full support of the state, they represent the selective privatisation of the national settlement project during the 1980s. Examining the geopolitical, social and economic interests that accompanied their development, this paper illustrates how both projects incorporated the upper-middle-class bourgeoisie in the national territorial effort along the border with the occupied West-Bank (the Green-Line). Analysing the planning and construction process of both case studies, as well as their spatial characteristics, this paper explains how the upwardly middle-class and its contractors were granted substantial planning rights. Consequently, enabling them to influence the production of space while promoting a new local suburban typology that is based on better living standards, private family life and a distinctive isolated community. Therefore, this paper illustrates the Suburban Settlement typology as an outcome of the bourgeoisification of the Green-Line, which domesticated the former frontier area and enabled its inclusion in the greater national consensus.     

成都博物馆藏东汉陶仙山插座初探

成都及周边地区东汉晚期墓葬中出土有一种明显为仙山造型的陶质插座,倾向于为摇钱树的树座。其整体的三山、平台、洞穴造型及其上较为丰富的人物、羽人、伏羲、女娲、西王母形象应是当时观念中以昆仑、西王母为中心的神仙信仰的表现。将其制作为专门的丧葬用品,一方面反映了当时丧葬文化中的神仙信仰成分和超越死亡的升仙愿望,另一方面也再次印证了西南地区流行的摇钱树的主要内涵应与升仙有关。     

红外光谱在传统年画红蓝色料分析中的应用研究

年画是中国特有的民间艺术形式。本研究介绍了传统年画印制所用红蓝色料的发展历史,选取15种中国古代与近现代常用红蓝色料进行红外光谱分析,并归纳总结了标准样品的化学结构与红外谱图特征。在此基础上,利用衰减全反射傅里叶变换红外光谱仪对三幅清末民初时期的传统年画开展无损检测。结果显示三幅年画的红蓝色料均为合成颜料或染料,包括酸性大红G、酸性墨水蓝G、普鲁士蓝等。本研究扩展了红外光谱在书画文物分析检测中的应用范围,为传统年画色料的无损鉴定提供科学依据。     

Zionist identity and the British Mandate: Palestine's internment camps and the making of the Western native

This paper examines the relationship between British police officers, Jewish guards, and German internees in Palestine's internment camps during World War II. Using the reports of the Jewish guards, the paper investigates the role of Western‐identified actors in the Zionist identity‐making project. The reports evince a surprising rapport between the British and their German prisoners and the mistreatment of the Jewish guards by their British superiors. The paper analyses these Jewish accounts in the context of identity‐ and ethnic boundary‐making and argues that they illustrate Zionism's intent to construct itself as a Western but noncolonial movement and Zionists in Palestine as natives but not “Orientals.” The reports also reveal a breach between the formal hierarchy—British officers, Jewish guards, German internees—and the ethnic order, which situated British and Germans at the apex and the Jews at the bottom. The paper highlights the utility of researching group‐making interactions in different contexts to develop a more nuanced understanding of identity‐making processes.     

Turkish nationalism and the evolutionary idea (1923–1938)

This paper sheds light on the role of evolutionary ideas in the making of Turkish nationalism during the Kemalist era (1923–1938). By so doing, it aims to challenge some of the dominant historiographical viewpoints as to the nature of Turkish nationalism. One is related to the Kemalist elites' predisposition towards the so‐called “scientism” seen as one of the bases for nationalism. We intend to turn upside–down the relation between the Kemalists' use of science and Turkish nationalism. Second, we problematize the “culturalist” origins of Turkish nationalism arguing that the seemingly “culturalist” reflections of the time were, indeed, materialist formulations based on the science of the times. We discuss in this respect the Kemalist elites' use of evolutionary ideas. By synthesizing the ways in which these elites employed evolutionary ideas in the fields of history, language, geography, anthropology, biology, eugenics, and pedagogy, we aim to understand the specific nature of Turkish nationalism before 1945. This secular nationalism conceived culture as having materialist bases and differed fundamentally from the culturalist varieties of Turkish nationalism coloured by Islam in the post‐1945 era. Furthermore, the paper empirically enriches the complex and entangled story of evolutionary ideas in the early Turkish Republic.     

Celebrity humanitarianism and the popular geopolitics of hope along the Thai-Burma border

In June of 2014 Angelina Jolie, actress and United Nations High Commissioner for Refugees (UNHCR) Goodwill Ambassador, visited camps—home to 130,000 Burmese exiles—along the Thai-Burma border to draw international attention to one of the most protracted displacement situations in the world. Her fourth trip to the border since 2002, Jolie's day-long visit was widely commended in popular media. I draw on ethnographic research among Burmese exiles in northern Thailand to argue that the popular geopolitics of hope she engendered is constituted through contradictory impulses of, on one hand, her signification of global capital and the concurrent widespread geoeconomic hope around Burma's deepening integration into global capitalism, and on the other, the far-reaching geopolitics of fear that has materialized around the threat of repatriation resulting from rapid political-economic change in Burma. Thus, this paper builds on recent work in popular geopolitics and geographies of emotion and affect to offer a grounded illustration of the micro-macro linkages between popular culture and everyday geopolitical experience, as well as the often politically nuanced role of celebrities in humanitarian interventions. This paper contributes to ongoing conversations around the relationship between celebrity humanitarians from the global North and the political-economic implications of the affective enrollment of their intended benefactors from the global South.