Glass from the Archaeological Museum of Adria (North-East Italy): new insights into Early Roman production technologies

In the present study, the first archaeometric data on an ample selection of intentionally coloured (or decoloured) Early Roman glass (1st–2nd centuries AD) from the Archaeological Museum of Adria (Rovigo, Italy) are reported. The analysed samples are 61 in total, both transparent and opaque, and were characterised from the textural (SEM-EDS), mineralogical (XRPD) and chemical (XRF, EPMA, LA-ICP-MS) points of view. This combined approach allowed us to identify the raw materials and production technologies employed in the manufacture of glassware. Results for the transparent samples show that they are all silica-soda-lime glasses. Most of them, independently of colour, have compositions close to those of typical Roman glass, produced with natron as flux. No relationships were identified among chemical compositions, types or production techniques, but a dependence on bulk composition was identified for some particular colours, revealing the careful and intentional selection of raw materials. This is the case of Sb-colourless glass, produced with sand of high purity, a group of intensely coloured objects, mainly emerald green and black, produced with soda ash as flux, and some blue examples produced with various sources of sand or soda ash as flux. Two main types of opacifiers were identified for the opaque samples: calcium antimonate for white, mauve and blue glasses, and lead antimonate for the yellow ones; in one case, a yellow lead-tin antimonate was also identified. As regards the opaque glasses, most of the samples opacified with calcium antimonate are silica-soda-lime in composition, similar to the typical Roman glass. Instead, samples opacified with lead and/or lead-tin antimonates are lead glasses, suggesting different production technologies.     

‘Working out’ for two: performances of ‘fitness’ and femininity in Australian prenatal aerobics classes

In this article, I consider the distinctly classed places/spaces in which affluent Australian pregnant women physically maintain their bodies through aerobics. The case study described is drawn from data obtained between 2006 and 2008 in a longitudinal study examining feelings about body image and ‘fatness’ in a sample of pregnant women in Melbourne, Australia. The ways in which pregnant bodies are disciplined within gym spaces are discussed through a case study of a prenatal fitness centre, FitForTwo, and drawing on narrative data of pregnant informants. FitForTwo is described as a primary site for the performance of ‘fit’ pregnancy and underscored by bodies that can be shaped, trained, moulded and modified. This case study is analysed against a backdrop of a growing Australian moral panics about ‘fighting’ maternal obesity. It adds to a body of feminist geographical and qualitative studies of pregnancy, bringing both a more sustained, longitudinal analysis than previously offered, and an Australian context that offers rich comparative material.     

A qualitative comparison of South Africa's geomatics professional body's academic model against industry's understanding of SDI knowledge and skills requirements

The South African Spatial Data Infrastructure (SASDI) was established in 2003.Registration of geographical information science (GISc) practitioners by the South African geomatics professional body followed in 2004 and accreditation of university GISc programmes in 2012. In 2010, the Committee for Spatial Information identified inadequate knowledge and skills of GISc practitioners as a challenge for the implementation and maintenance of SASDI. In response, SDI knowledge and skills requirements for GISc professionals were specified by GISc industry representatives and the professional body's academic model was qualitatively compared against these requirements. Results are discussed and improvements recommended.     

Sharing public space across difference: attunement and the contested burdens of choreographing encounter

This paper concerns how claims to public space are negotiated between differently embodied subjects, and how forms of bodily articulation shape capacities for sharing space. Drawing on a study of outdoor access practices, entailing mobile video ethnographies with walkers and cyclists, it explores the corporeal mechanisms through which the entitlements of differently mobile subjects are asserted, resisted, circumscribed or accepted in the time-spaces of bodily encounter. How the signalling of ‘responsible’ and ‘irresponsible’ conduct influences how bodies are allowed to move in relation to other bodies is the focus. Mobilisations of speed, affective and sensory attunement, and techniques of bodily articulation, were found to be a key in the disciplining of cycling and walking bodies. This paper highlights the central role of attunement to, and concession of, hybrid subjectivity in the choreography of encounters, and, moreover, how related burdens of orchestrating coexistence are shared and struggled over amongst different publics. It demonstrates that whilst greater attunement can enable differently mobile subjects to develop a reciprocal choreography, expectations of such attunement can also undermine the ability to share space if not met. This paper thus raises the dilemma of when to accept or extend the limits of attunement in facilitating coexistence in public space.     

The Disappearing Body

Although Chile was the first country in Latin America to report cases of anorexia nervosa in 1982, the issue had already gained notoriety during the 1970s, the decade when North American policies and the United States capitalist economy began to infiltrate Chilean society. The category of eating disorders, which may be manifested in a variety of diseases (such as anorexia, bulimia, and compulsory overeating), has only recently become the focus of Chilean literature and, in turn, literary criticism, which has primarily focused on the metaphorical interpretations of these illnesses. One novel that treats the multifaceted manifestations of eating disorders, not merely the metaphorical representations, is Marcela Serrano's Antigua vida mía (1995). The societal demands of unhealthy body images have been the concern of feminist criticism such as Susan Bordo's Unbearable Weight: Feminism, Western Culture, and the Body (1993). In Marcela Serrano's novel the treatment of eating disorders reflects the evolving expectations on women in contemporary Chilean culture. Through the application of Bordo's analysis of the cultural pressures and significances of body expectations, this article delves into the various manifestations of unhealthy eating practices in Serrano's Antigua vida mía and reveals the self-destructive and self-isolating consequences of an often-occulted illness while also recognizing that by treating body image and illness, the author engages in a cultural discourse regarding the expectations and repercussions of cultural demands.     

Body as weapon: the archaeology of a war victim’s narrative

ABSTRACT

The soldier's body is the most important subject of violence and destruction in war. Humans live primarily through their body in the material world, and when the body is destroyed, their whole existence is affected, both physically and non-physically. Therefore, the first locus on which we can observe the effects of war and violence is the human body, mainly soldiers. In modern wars, the soldier’s body is combined with weapons and machines of war, but is also the first target of killing whether in attack or defence. On the one hand it is targeted and killed, but on the other hand the body itself targets and kills. In warfare, bodies are trained to be the mechanism of killing and they are employed on battlefields according to the political objectives of their sovereign power. Thus, the soldier’s body becomes a weapon separated from the individual human body by the political authority.     

一件刻纹玉饰的辨识

1987年在安徽省含山县凌家滩墓地第四号墓中曾出土一件刻纹玉饰,现收藏于故宫博物院。以往关于这件刻纹玉饰的放置方式及刻纹内容,很少提及。本文率先探讨了这件刻纹玉饰的用途,认定其为梳背饰;在明确了其摆放方式的基础之上经仔细审视,提出这件刻纹玉饰上所琢刻的应是一条单首双身的龙形图案。