Although the copper axes with central shaft-hole from south-eastern Europe have a long history of research, they have not been studied on a transnational basis since the 1960s. What has also been missing, is trying to use as many methods as possible to better understand their production, use and context.
Communicating the Climate Crisis puts communication at the center of the change we need, providing concrete strategies that help break the inertia that blocks social and cultural transformation. Reimagining “earth” not just as the ground we walk upon but as the atmosphere we breathe—Eairth—this book examines our consumption-based identities in fossil fuel culture and the necessity of structural change to address the climate crisis. Strategies for overcoming obstacles start with facing the emotional challenges and mental health tolls of the crisis that lead to climate silence. Breaking that silence through personal climate conversations elevates the importance of the problem, finds common ground, and eases “climate anxiety.” Climate justice and faith-based worldviews help articulate our moral responsibility to take drastic action to protect all humans and the living world. This book tells a new story of hope through action—not as isolated, “guilty” consumers but as social actors who engage hearts, hands, and minds to envision and create a desired future.
When other nations are forced to rethink their agricultural and food security strategies in light of the post-peak oil debate, they only have one living example to draw from: that of Cuba in the 1990s. Based on the first and - up till now - only systematic and empirical study to come out of Cuba on this topic, this book examines how the nation successfully headed off its own food crisis after the dissolution of the Soviet Bloc in the early 1990s. The author identifies the policies and practices required for such an achievement under conditions of petroleum-scarcity and in doing so, challenges the mainstream globalized and privatized food systems and food security strategies being driven through in both industrialized and more vulnerable developing regions. Paradoxically, the book dispels the myth that Cuba turned to organic farming nationwide, a myth founded on the success of Cuba's urban organic production systems which visitors to the country are most commonly exposed to. In rural regions, where the author had unique access, industrialized high-input and integrated agriculture is aspired to for the majority of domestic production, despite the ongoing fluctuations in availability of agrochemicals and fuel. By identifying the challenges faced by Cuban institutions and individuals in de-industrializing their food and farming systems, this book provides crucial learning material for the current fledgling attempts at developing energy descent plans and at mainstreaming more organic food systems in industrialized nations. It also informs international policy on sustainable agriculture and food security for less-industrialized countries.
This volume explores the cultural meaning of ochre among the societies of the Late Epipalaeolithic/Mesolithic and the Early Neolithic from the Levant to the Carpathian Basin.
Although the copper axes with central shaft-hole from south-eastern Europe have a long history of research, they have not been studied on a transnational basis since the 1960s. What has also been missing, is trying to use as many methods as possible to better understand their production, use and context.
Although the copper axes with central shaft-hole from south-eastern Europe have a long history of research, they have not been studied on a transnational basis since the 1960s. What has also been missing, is trying to use as many methods as possible to better understand their production, use and context. A database was compiled to find answers to questions regarding patterns of distribution, context, fragmentation and deformation. Aspects of production were considered through experimental archaeology, metallographic analysis and a re-discovered axe blank with missing shaft-hole. The typology was re-evaluated and modified to ensure comparability across modern national boundaries. The integration of these approaches yielded some interesting results. The great variability in shape clearly shows that a variety of production techniques were used, but it is difficult to relate these to specific geographic areas. In fact the typology as well as the practice of marking the axes indicate that traditional archaeological 'cultures' rarely correspond to axe types and marking practices. Instead there were different spheres of influence, some more localised and others much larger than specific ceramic traditions. These different levels of belonging show that it was a period of complex cultural patterns and interactions. The axes were part of these networks of daily life on many different levels from the utilitarian to the ritualised placement in burial contexts.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Thomas se leva d’un bond et la saisit par les poignets. - Tu es capable de tout, Julia. De jouer la comédie, d’assommer un homme d’une manchette et d’un tas d’autres choses aussi rocambolesques. Mais qui es-tu, bon sang ?
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