Between 1999-2006 Addyman Archaeology carried out extensive archaeological excavations on the peninsular site of Kirk Ness, North Berwick, during the building, landscaping and extension of the Scottish Seabird Centre. This book presents the results of these works but its scope is much broader. Against the background of important new discoveries made at the site it brings together and re-examines all the evidence for early North Berwick – archaeological, historical, documentary, pictorial and cartographic – and includes much previously unpublished material. An essential new resource, it opens a fascinating window on the history of the ancient burgh. Kirk Ness is well known as the site of the medieval church of the parish and later royal burgh of North Berwick but it has long been suggested that it was also a centre of early Christian activity. The dedication of the church to St Andrew was speculatively linked to the translation of the Saint's relics to St Andrews in Fife in the 8th century. An early medieval component of the site was indeed confirmed by the excavation, with structural remains, individual finds and an important new series of radiocarbon dates. Occupation of a domestic character may possibly reflect a monastic community associated with an early church. Individual finds included stone tools, lead objects, ceramic material and a faunal assemblage that included bones of butchered seals, fish and seabirds such as the now-extinct Great Auk. The site continued in use as the medieval and early post-medieval parish and burgh church of St Andrew. In this period Kirk Ness and its harbour was an important staging point for pilgrims on route to the shrine of St Andrew in Fife. Domestic occupation discovered in the excavations is likely to be associated with a pilgrims’ hospice, also suggested in historical sources. This publication also provides a new analysis of the church ruin and an account of the major unpublished excavation of the site carried out in 1951-52 by the scholar and antiquary Dr James Richardson, Scotland's first Inspector of Ancient Monuments and resident of North Berwick. The excavations also revealed areas of the cemetery associated with the church, dating to the 12th–17th centuries, where inhumations presented notable contrasts in burial practice. Osteological study shed much light upon the health and demographics of North Berwick’s early population and identified one individual who met with a particularly violent death.
An urban archaeologist working anywhere in the world can imagine this scenario: armed with a small digging tool and a soft brush, the archaeologist stands at a freshly cut trench facing off a construction crew driving bulldozers. At stake is the past—the discovery and preservation of our history. Across the gap is the future—progress and new buildings for a modern world. A battle ensues. It happened in Dublin in the early 1960s. While investigating and salvage-excavating the site for a new municipal office complex, archaeologists made one of the most important and exciting discoveries in Ireland’s history. Buried beneath the present-day city of Dublin was the original Viking settlement from the ninth or tenth century, in an extraordinary state of preservation: houses, undecayed wood, domestic furniture, jewelry, toys, tools, works of art, coins, plots, paths, a veritable map of the medieval town. Because of its impressive size and state of preservation, the site known as Wood Quay was not an “ordinary” kind of archaeological discovery, nor was the battle that followed typical. What made Wood Quay unique was that its defender was not the archaeological authority—the National Museum of Ireland—as is usually the case, but rather a spontaneously formed movement of thousands of Dubliners. While the museum was ready to turn the site over to the city’s developers after routine salvage work had been done, a group of prominent literary and political figures seized Wood Quay, holding it for almost a month and preventing bulldozers from moving in. Realizing the significance of the find, the people of Dublin took charge and kept the builders at bay for eight years. At the same time, they were able to press the museum to return to its archaeological work there. Archaeologists ultimately were able to complete good maps of a large portion of the site and recover between one and two million artifacts. Today, the completed Dublin civic office complex stands on the Wood Quay site, fully landscaped and without a trace of the archaeological gold mine that once lay buried below. What does remain, however, is the memory of the powerful impact the citizens of Dublin had in demanding and establishing the connection through Wood Quay to their medieval roots. Of interest to archaeologists, historic preservationists, and city planners alike, this fascinating and beautifully written account will also engage the general reader.
Deadbeat Kevin Jones finds himself kidnapped to an alternative reality where Wales is the single global superpower. Abducted from his mundane existence by the mysterious Gwen, she tells him there are forces seeking his destruction – he has to run or die. It turns out Kevin’s story holds the key to why all worlds but ours turn out the way they do – Pax Cambria. Featuring a host of mysterious characters, cheese-on-toast based fast food, alt-right druids and the deadly all-knowing Taffia, Anthracite begins the battle to address the woeful lack of Welsh themed comedy cyberpunk. The fearsome Jones-Corporation might run the world but they have a dirty little secret they don't want to get out. Swansea has never looked more like near-future LA. It's already got the rain.
The whole problem of our time is the problem of love. How are we going to recover the ability to love ourselves and to love one another? We cannot be at peace with others because we are not at peace with ourselves, and we cannot be at peace with ourselves because we are not at peace with God. There is a distinction between a contrite sense of sin and a feeling of guilt. The former is a true and healthy thing, the latter tends to be false and pathological. The man who suffers from a sense of guilt does not want to feel guilty, but at the same time he does not want to be innocent. He wants to do what he thinks he must not do, without the pain of worrying about the consequences. The history of our time has been made by dictators whose characters, often transparently easy to read, have been full of repressed guilt. They have managed to enlist the support of masses of men moved by the same repressed drives as themselves. Modern dictatorships display everywhere a deliberate and calculated hatred for human nature as such. The technique of degradation used in concentration camps and in staged trials are all too familiar in our time. They have one purpose: to defile the human person.
Although King John is remembered for his political and military failures, he also resided over a magnificent court. Power and Pleasure reconstructs life at the court of King John and explores how his court produced both pleasure and soft power. Much work exists on courts of the late medieval and early modern periods, but the jump in record keeping under John allows a detailed reconstruction of court life for an earlier period. Power and Pleasure: Court Life under King John, 1199-1216 examines the many facets of John's court, exploring hunting, feasting, castles, landscapes, material luxury, chivalry, sexual coercion, and religious activities. It explains how John mishandled his use of soft power, just as he failed to exploit his financial and military advantages, and why he received so little political benefit from his magnificent court. John's court is viewed in comparison to other courts of the time, and in previous and subsequent centuries.
This book is the first substantial study of the presence and relationship with the concepts of apocalypse, eschatology, and millennium in modern British art from 1914 to 1945, addressing how and why practitioners in both religious and secular spheres turned to the subjects. The volume examines British art and visual culture’s relationship with the then-contemporary anxieties and hopes regarding the orientation of society and culture, arguing that there is an acute relationship to the particular forms of cultural discourse of eschatology, apocalypse, and millennium. Chapters identify the continued relevance of religion and religious themes in British art during the period, and demonstrate that eschatology, apocalypse, and millennium were thriving and surprisingly mainstream concepts in the period that remained vital in early to mid-twentieth-century society and culture. This book is a research monograph aimed at an audience of scholars and graduate students already familiar with the core focus of modern British art and cultural histories, especially those working on the late nineteenth and early twentieth centuries, or the concepts of apocalypse, eschatology, and millennium in Theology, Sociology, or other disciplinary settings. It will also be of interest to scholars and students working on war and visual culture, or histories of imperialism. It will benefit scholars of early twentieth-century British art, demonstrating the intersection of art and religion in the modern era, and critically qualifies the standard secular canon and narrative of modern British art, and the general neglect of religion in existing art-historical literature.
In 1905 Lawrence Peter Hollis went to Springfield, Massachusetts, before beginning his job as the secretary of the YMCA at Monaghan Mill in Greenville, South Carolina. While there, he met James Naismith, the inventor of basketball, and learned of the fledgling game. Armed with Dr. Naismith's rules of the game and a basketball he bought in New York, Hollis returned to the mill and changed the face of athletics in South Carolina. Lawrence Peter Hollis was one of the first to introduce basketball south of the Mason-Dixon line, and the game quickly gained popularity in the textile mill villages throughout South Carolina. In 1921 Hollis and others organized a tournament to determine the best mill team, and thus the southern Textile Basketball Tournament was born. Over the years, some of the south's top cage talent played in the tourney, including "Smokey" Barbare, Lucille Foster Thomas, Bert Hill, Earl Wooten, Billy Cunningham, Pete Maravich, Sue Vickers and Tree Rollins. Decade-by-decade, the history of one of the longest running basketball tournaments is provided, along with profiles of many prominent participants. Full rosters for all teams in all tournaments are given in the appendices, along with all-tournament selections and members of the Southern Textile Athletic Hall of Fame.
The Genealogy Annual is a comprehensive bibliography of the year's genealogies, handbooks, and source materials. It is divided into three main sections. FAMILY HISTORIES-cites American and international single and multifamily genealogies, listed alphabetically by major surnames included in each book. GUIDES AND HANDBOOKS-includes reference and how-to books for doing research on specific record groups or areas of the U.S. or the world. GENEALOGICAL SOURCES BY STATE-consists of entries for genealogical data, organized alphabetically by state and then by city or county. The Genealogy Annual, the core reference book of published local histories and genealogies, makes finding the latest information easy. Because the information is compiled annually, it is always up to date. No other book offers as many citations as The Genealogy Annual; all works are included. You can be assured that fees were not required to be listed.
Reprint. Originally published: London: E. & F. Spon, 1890, under the title: TheEngineer's sketch-book of mechanical movements, devices, appliances, contrivances, and details.
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