The Social Context of Technology explores non-ferrous metalworking in Britain and Ireland during the Bronze and Iron Ages (c. 2500 BC to 1st century AD). Bronze-working dominates the evidence, though the crafting of other non-ferrous metals – including gold, silver, tin and lead – is also considered. Metalwork has long played a central role in accounts of European later prehistory. Metals were important for making functional tools, and elaborate decorated objects that were symbols of prestige. Metalwork could be treated in special or ritualised ways, by being accumulated in large hoards or placed in rivers or bogs. But who made these objects? Prehistoric smiths have been portrayed by some as prosaic technicians, and by others as mystical figures akin to magicians. They have been seen both as independent, travelling ‘entrepreneurs’, and as the dependents of elite patrons. Hitherto, these competing models have not been tested through a comprehensive assessment of the archaeological evidence for metalworking. This volume fills that gap, with analysis focused on metalworking tools and waste, such as crucibles, moulds, casting debris and smithing implements. The find contexts of these objects are examined, both to identify places where metalworking occurred, and to investigate the cultural practices behind the deposition of metalworking debris. The key questions are: what was the social context of this craft, and what was its ideological significance? How did this vary regionally and change over time? As well as elucidating a key aspect of later prehistoric life in Britain and Ireland, this important examination by leading scholars contributes to broader debates on material culture and the social role of craft.
The Later Prehistory of North-West Europe provides a unique, up-to-date, and easily accessible synthesis of the later prehistoric archaeology of north-west Europe, transcending political and language barriers that can hinder understanding. By surveying changes in social forms, landscape organization, monument types, and ritual practices over six millennia, the volume reassesses the prehistory of north-west Europe from the late Mesolithic to the end of the pre-Roman Iron Age. It explores how far common patterns of social development are apparent across north-west Europe, and whether there were periods when local differences were emphasized instead. In relation to this, it also examines changes through time in the main axes of contact between the various regions of continental Europe, Britain, and Ireland. Key to the volume's broad scope is its focus on the vast mass of new evidence provided by recent development-led excavations. The authors collate data that has been gathered on thousands of sites across Britain, Ireland, northern France, the Low Countries, western Germany, and Denmark, using sources including unpublished 'grey literature' reports. The results challenge many aspects of previous narratives of later prehistory, allowing the volume to present a distinctively fresh perspective.
Sean Logan's mother was butchered by a gang that did not take kindly to her. His father was jailed for the murder of her assailant. Sean's birth coincides with his mother's death. Brought up by his aunt on the family farm near Tullis on the east coast of Scotland, Sean is a boy of immense intelligence. He understands guns, ammunition, explosives. Yet, he was born dumb; and whilst he has no words to speak, still he has one burning thought on his mind: REVENGE. REVENGE. REVENGE. This is the tale of a young boy's memory, his struggle to come to terms and ultimately his need to settle scores and lay to rest the ghosts of his mother's killers. However, the desire for revenge belongs to us all and sometimes the hunter becomes the hunted.
A comprehensive review of the yeast cell envelope has not appeared previously and therefore this book is timely. The title of this volume was chosen to reflect the three major areas of contribution to our current understanding of the cell envelope, but we have not attempted to group chapters into subdivisions. The approach was to describe phenomena, to review the literature and to illuminate outstanding problems. It was also attempted to generate working hypotheses which may stimulate further studies. The some of these ideas be of germinal value is of more concern to us than that all of the hypotheses should stand the test of further experimentation.
Author Leo Kennedy is the great-grandson of Sergeant Michael Kennedy. Raised in the shadow of his great-grandfather's murder, Leo witnessed the deep psychological wounds inflicted on successive generations of his family - and the families of other victims - as the Ned Kelly myth grew around them and the sacrifice of their loved ones was forgotten. Leo himself was nicknamed 'Red Ned' at school and taunted for being on the wrong side of Australian history. Now, for the first time, and in brilliant prose that brings these historical episodes to life, Black Snake challenges the legend of Ned Kelly. Instead of celebrating an heroic man of the people, it gives voice to the victims of a merciless gang of outlaws. This is a captivating true story, gleaned from meticulous research and family history, of two men from similar backgrounds whose legacies were distorted by history.
Throughout the conflicts of the 20th Century, two families are inexorably linked by a compelling, and possibly disastrous destiny. After the Franco-Prussian wars of 1870, the European empires are once again plunged into war, as the assassination of the Crown Prince of Austria breaks an uneasy peace. The Steinman family of Austria are rich and powerful and have rubbed shoulders with kings and emperors for generations. Manfred, Klaus, and Heinrich Steinman are dedicated to industrialised warfare and now, at the pinnacle of their influence, they will lead the armies of the Central Powers to victory. In a small English village, young Colin and Joe Travis use every trick their father showed them before his death, to keep food on the table. Imprisoned for wrongdoing, the brothers are only released after their enlistment into the army. Despite their age, they are sent to France to fight alongside the veterans of the Wiltshire Regiment, where they use their natural instincts to survive the war. Seemingly unrelated, the Steinman and Travis families are about to converge in a David and Goliathstyle battle during some of Europe’s darkest days.
Captain Jack White DSO (1879 1946) is a fascinating yet neglected figure in Irish history. Son of Field Marshal Sir George White V.C., he became a Boer war hero, and crucially was the first Commandant of the Irish Citizen Army. One of the few notable figures in Ireland to declare himself an anarchist, he led a remarkable life of action, and was a most unsystematic thinker. This is a long overdue assessment of his life and times. Leo Keohane vividly brings to life the contradictory worlds and glamour of this mercurial figure, who knew Lord Kitchener, was a dinner companion of King Edward and the Kaiser, who corresponded with H.G. Wells, D.H. Lawrence and Tolstoy, and shared a platform with G.B. Shaw, Conan Doyle, Roger Casement and Alice Stopford Green. The founder of the Irish Citizen Army along with James Connolly, White marched (and argued) with James Larkin during the 1913 Lockout, worked with Sean O Casey, liaised with Constance Markievicz and socialised with most of the Irish activists and literati of the early twentieth century. A man who lived many lives, White was the ultimate outsider beset by divided loyalties with an alternative philosophy and an inability to conform.
The Later Prehistory of North-West Europe provides a unique, up-to-date, and easily accessible synthesis of the later prehistoric archaeology of north-west Europe, transcending political and language barriers that can hinder understanding. By surveying changes in social forms, landscape organization, monument types, and ritual practices over six millennia, the volume reassesses the prehistory of north-west Europe from the late Mesolithic to the end of the pre-Roman Iron Age. It explores how far common patterns of social development are apparent across north-west Europe, and whether there were periods when local differences were emphasized instead. In relation to this, it also examines changes through time in the main axes of contact between the various regions of continental Europe, Britain, and Ireland. Key to the volume's broad scope is its focus on the vast mass of new evidence provided by recent development-led excavations. The authors collate data that has been gathered on thousands of sites across Britain, Ireland, northern France, the Low Countries, western Germany, and Denmark, using sources including unpublished 'grey literature' reports. The results challenge many aspects of previous narratives of later prehistory, allowing the volume to present a distinctively fresh perspective.
The Social Context of Technology explores non-ferrous metalworking in Britain and Ireland during the Bronze and Iron Ages (c. 2500 BC to 1st century AD). Bronze-working dominates the evidence, though the crafting of other non-ferrous metals – including gold, silver, tin and lead – is also considered. Metalwork has long played a central role in accounts of European later prehistory. Metals were important for making functional tools, and elaborate decorated objects that were symbols of prestige. Metalwork could be treated in special or ritualised ways, by being accumulated in large hoards or placed in rivers or bogs. But who made these objects? Prehistoric smiths have been portrayed by some as prosaic technicians, and by others as mystical figures akin to magicians. They have been seen both as independent, travelling ‘entrepreneurs’, and as the dependents of elite patrons. Hitherto, these competing models have not been tested through a comprehensive assessment of the archaeological evidence for metalworking. This volume fills that gap, with analysis focused on metalworking tools and waste, such as crucibles, moulds, casting debris and smithing implements. The find contexts of these objects are examined, both to identify places where metalworking occurred, and to investigate the cultural practices behind the deposition of metalworking debris. The key questions are: what was the social context of this craft, and what was its ideological significance? How did this vary regionally and change over time? As well as elucidating a key aspect of later prehistoric life in Britain and Ireland, this important examination by leading scholars contributes to broader debates on material culture and the social role of craft.
The Social Context of Technology explores non-ferrous metalworking in Britain and Ireland during the Bronze and Iron Ages (c. 2500 BC to 1st century AD). Bronze-working dominates the evidence, though the crafting of other non-ferrous metals - including gold, silver, tin and lead - is also considered. Metalwork has long played a central role in accounts of European later prehistory. Metals were important for making functional tools, and elaborate decorated objects that were symbols of prestige. Metalwork could be treated in special or ritualised ways, by being accumulated in large hoards or placed in rivers or bogs. But who made these objects? Prehistoric smiths have been portrayed by some as prosaic technicians, and by others as mystical figures akin to magicians. They have been seen both as independent, travelling 'entrepreneurs', and as the dependents of elite patrons. Hitherto, these competing models have not been tested through a comprehensive assessment of the archaeological evidence for metalworking. This volume fills that gap, with analysis focused on metalworking tools and waste, such as crucibles, moulds, casting debris and smithing implements. The find contexts of these objects are examined, both to identify places where metalworking occurred, and to investigate the cultural practices behind the deposition of metalworking debris. The key questions are: what was the social context of this craft, and what was its ideological significance? How did this vary regionally and change over time? As well as elucidating a key aspect of later prehistoric life in Britain and Ireland, this important examination by leading scholars contributes to broader debates on material culture and the social role of craft.
The excavations at Fairfield Park revealed a later Bronze Age hilltop enclosure and an extensive early Iron Age settlement. As one of the first large-scale excavations of an early Iron Age settlement in eastern England, the site makes a significant contribution to our understanding of the later prehistory of the region. In particular, the evidence sheds much light on issues of the organisation of settlement space and practices of ritual deposition. The settlement dates to around the 5th-4th centuries BC, and incorporated enclosures, roundhouses and numerous storage pits. The large artefact assemblages included high status metalwork, pottery with unique forms of decoration, and a set of 49 bone weaving tools from a single pit. Human remains and animal burials had been placed in several other pits. Good environmental evidence was also obtained.
In the mid-1970s Leo Kenney was at the height of his celebrity. Influenced by Surrealism as well as by Northwest painters Morris Graves and Mark Tobey, Kenney captivated audiences with his meticulous gouache technique, luminous colour, and imagery that uniquely reflected the times. Kenney quit high school in 1943, on his 18th birthday, to devote himself to painting. Just two years later, the Seattle Art Museum bought its first painting by Kenney for the permanent collection. The gifted young painter rapidly developed into one of the Northwest's premiere artists. However, constrained by ill health and snail-like work pace, Kenney was unable to meet the demands of his growing fame. After his Seattle Art Museum retrospective in 1973, his output dwindled. After the 1970s Kenney had no gallery exhibitions. Now for the first time, the full range of Kenney's extraordinary oeuvre is revealed. Spanning nearly 50 yeas, the paintings illustrated show the systematic, disciplined progression of an artist whose work developed in synchronicity with the spirit of the times and, in the end, transcended it. From his dark early paintings executed under the sway of Andre Breton's theory of "psychic automatism" to the radiant mandala paintings of the 1960s to the final series of shimmering "geometrics", the works strike variations on a theme. Kenney paints the dualities of human nature, the vastness of the universe, and the microcosm of life on earth--in a spectrum of dazzling colour. Leo Kenney, a retrospective contains a foreword by Museum of Northwest Art curator Barbara Straker James and a comprehensive essay by poet and art critic Sheila Farr.
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