Beauty,Bath and Beyond: Framing Bathsheba as a Royal Fantasy in 2 Sam 11,1-5

This paper investigates the function of beauty in David and Bathsheba’s encounter in 2 Sam 11,1-5. It argues that the female bather’s pleasant appearance, rather than simply kindling king David’s desire, focalizes the woman as sexually available (and vulnerable) and wraps the whole episode in a royal fantasy of shared intimacy. The focus on Bathsheba’s beautiful body—her wash, her motion towards the king, her self-sanctification and her pregnancy—frames the episode in a very erotic way, suggesting adultery. It conceals the sexual violence committed by the king who sends, takes and sleeps with the woman. David’s violent entitlement to Bathsheba reveals the beauty politics at play in his royal House.     

King Davidʼs Exposure while Dancing: A Queer Reading of 2 Samuel 6

According to the Hebrew version of the transport of the ark to Jerusalem in 2 Samuel 6, King David is so scantily dressed that he publicly exposes himself while dancing before G*d (????). David?s wild, gay and possibly sexual conduct can evoke associations with the behavior of gay persons of today. Queer readers may identify with David and like him turn their backs on dominant rulers—like the members of Saul?s dynasty—if they are not respected because of their queer way of life, but persecuted—as David was persecuted by King Saul. Such an interpretation implies that G*d (????) is on the side of persons like King David, who—from the point of view of other people as well as of David?s wife Michal—behave in a strange fashion, thus act queerly.     

Godot’s Shakespeare

While the connection between Samuel Beckett’s Waiting for Godot and King Lear has become something of a critical commonplace, references to other Shakespeare plays can also be found throughout. This essay traces Godot’s debt to two plays in particular. First it argues how Godot not only draws on Hamlet’s graveyard scene for macabre imagery, but how it also construes an extended meta-theatrical parody of Hamlet’s soliloquies about the contrast between acting and talking/thinking. The second half of the essay proposes a number of connections with The Tempest, and specifically with its “salvage and deformed slave” Caliban. It argues how the figure of Caliban not merely functions as a model for a colonial power-dynamic that can be seen to operate here and elsewhere in Beckett, but how Caliban is equally significant as a lyrical figure whose great speech about sleeping, waking, and dreaming informs Beckett’s play in a number of ways.     

Raspadita: a new lithic tool from the Isthmus of Rivas,Nicaragua

A new lithic tool type was discovered at the Pacific Nicaraguan archaeological site of Santa Isabel (AD 800–1350) and named raspadita (small scraper). Thousands of these small tools (1–2 cm in length) were found. They have a rounded proximal edge and a pointed distal end. In this study, the raspaditas are proved to be a coherent tool class with minimal variation in size, shape, material type and usewear. They were manufactured from white chert bladelet cores using soft hammer percussion and pressure flaking unifacial retouch. Usewear points to a composite tool form and a scraping function for the raspaditas. Scanning electron microscopy determined a ventral leading, dorsal following, unidirectional scraping motion for the raspadita proximal end. The material that was scraped has still to be definitely determined but phytoliths visible in the SEM images suggest that the composite tool was used for plant processing.     

《增校清朝进士题名碑录·附引得》进士籍贯刊误述论

文章以列表的方式,论述了《增校清朝进士题名碑录.附引得》中存在的6种进士籍贯刊误现象,即:省际进士籍贯刊载互误、省内进士县际籍贯互误、进士籍贯标注字误、以俗名标注进士籍贯、以府名标注进士籍贯及以府、县二级标注进士籍贯。文章并较细致地探讨了该书出现这些刊误的原因。     

浙江省平湖庄桥坟遗址出土石犁的保护修复

浙江平湖庄桥坟遗址出土的石犁是史前考古的新发现,属于痕迹文物。出土时木构件痕迹饱水,为暗褐色、开裂严重、整体呈腐蚀状,非常脆弱。针对器物的保存状况,因地制宜地制定一系列保护方法:木构件痕迹的脱水保护、底托的加固制作、木构件粘贴复原等,使文物得以长期保存。     

The Taphonomy of the Final Middle Stone Age Fauna from Sibudu Cave,South Africa

This study applies a taphonomic analysis to the final Middle Stone Age faunal assemblage from Sibudu Cave, South Africa, by assessing bone surface modifications, breakage patterns and skeletal element abundances. Cut marks, percussion marks, severe fragmentation and the high frequency of burned bone combine to demonstrate that human behaviour was the principal agent in the assemblage's formation. These results are consistent with previous research on earlier occupations of Sibudu during the Middle Stone Age. Moreover, this assemblage is proposed to reflect regular site maintenance and cleaning. This conclusion is consistent with previous research that demonstrates systematic site maintenance during the Middle Stone Age at Sibudu and emphasises this behaviour as being a consistent activity for Middle Stone Age foragers. Copyright © 2013 John Wiley & Sons, Ltd.     

北魏河南石雕三尊像

本文集中北魏时代以河南北部为中心制作的石雕三尊像诸例,在指出其特色的同时试图作出编年,阐明造像具有的独特绘画性和地方色彩。并对其与龙门石窟,即所谓的“中央样式”的关系,以及与这一样式初期阶段河北造像的关系作以探讨。     

Who Lived in Mauermanshoek Shelter, Korannaberg, South Africa?

Mauermanshoek Shelter, in the Korannaberg of the eastern Free State, has traditional San hunter–gatherer rock art together with white finger-painted horsemen of uncertain authorship. The excavated material dates to between 3500 bp and approximately 200 bp. The lithic assemblages show little change throughout, but ceramics, glass beads, and domesticated animal remains appear in the uppermost levels. The issue of most interest is that of the shelter's occupancy in the last few hundred years. Historical records show that the ethnic composition of the eastern Free State was complex during this time and that there were both aggressive and cooperative interactions between the various groups. Kora pastoralists were notorious stock raiders and the secure identification of other people on the landscape was complicated by a tendency for early writers to call all raiders Kora. A combination of archaeological and historical evidence suggests that San occupied the shelter for most of its history but that Kora herders may have been responsible for the finger-painted horsemen somewhere between 1837 and 1851 when a Wesleyan Mission Station, Merumetsu, served the Kora of Korannaberg.La grotte de Mauermanshoek, située dans le Korannaberg, à l'est de la province du Free State, contient des peintres rupestres de tradition San, réalisées par des chasseurs/bergers, ainsi que des cavaliers blancs, peint avec le doigt, d'une origine incertaine. Le matériel qu'on a trouvé dans les fouilles daté d'une période entre 3500 bp et approximativement 200 bp. L'industrie lithique est très homogène sur l'ensemble du site, mais des céramiques, des perles de verre et des restes d'animaux domestiques sont présents aux niveaux supérieurs. L'occupation de l'abri pendant les quelques centaines d'années passées est d'un inérêt tout particulier. Selon les archives historiques, la composition ethnique de la partie est du Free State était, à l'époque, complexe et il y avait les interactions à la fois agressifs et coopératifs entre les groupes différents. Les pasteurs Kora sont bien connus pour leur réputation d'attaquer les troupeaux mais l'identification certaine des autres peuplades est compliquée par le fait que les premiers écrivains rapportaient tous les aggresseurs comme des Kora. Une combinaison d'indices archeologiques et historiques suggère que les San occupèrent cette grotte pour la plus grande partie de son histoire mais que des bergers Kora pourraient être à l'origine des cavaliers peints avec le doigt, probablement entre 1837–1851, la période durant laquelle une mission Wesleyan servait le Kora de la région du Korannaberg.     

Psalm 55 Interpreted in View of its Textual,Metatextual and Intertextual Connections

Psalms 52-55 constitute a cluster of psalms with significant links to one another, to Proverbs, and also to the history of David. Psalms 52 and 55 were both also influenced by motifs from Jer 9. These features point to their having been composed (Ps 52) or edited (Ps 55) with a specific focus in mind. This article attempts to read Psalm 55 on its own, but also within the context of the cluster and in its relationship to Jer 9 as well as David’s history in order to refine our knowledge of the problems, values, hopes and expectations of the Persian period editors who compiled and edited the cluster.