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A highly fragrant comestible: the cartilaginous fish (Chondrichthyes) in pre-European Māori New Zealand 一种非常芳香的可食用食物:前欧洲Māori新西兰的软骨鱼(软骨鱼科)
IF 0.9 3区 历史学 Q2 ANTHROPOLOGY Pub Date : 2021-10-05 DOI: 10.1002/arco.5248
Matthew Campbell, Lara Shepherd, Melissa Kellett, Robert Brassey

A count of 6235 Chondrichthyes vertebrae was recovered from the 17th to 18th century AD NRD site (R11/859) on the Manukau Harbour, Auckland, New Zealand. These have been identified by aDNA analysis as mostly rig (Mustelus lenticulatus). To provide context for this unusual assemblage we briefly review the archaeological record of Chondrichthyes fishing in Oceania and New Zealand, and more extensively review the 19th and early 20th century ethnography of Māori shark fishing in New Zealand along with the archaeological record. Chondrichthyes were of economic, social and spiritual importance to pre-European Māori. A variety of species were caught by a variety of techniques, including mass harvest, and could be dried for storage. Our initial reading of the ethnographic record led us to expect that the assemblage would be dominated by school shark (Galeorhinus galeus), but a closer analysis of the record showed that Māori sharking practice was diverse. The NRD assemblage encapsulates this variation.

在新西兰奥克兰Manukau港的17至18世纪NRD遗址(R11/859)中发现了6235块软骨鱼椎骨。通过aDNA分析,这些植物大多为rig (Mustelus lenticulatus)。为了提供这种不寻常的组合的背景,我们简要回顾了大洋洲和新西兰捕捞软骨鱼的考古记录,并更广泛地回顾了19世纪和20世纪初新西兰Māori鲨鱼捕捞的人种志以及考古记录。软骨鱼在经济、社会和精神上对前欧洲人都很重要Māori。各种各样的物种通过各种技术捕获,包括大规模收获,并且可以干燥储存。我们对人种学记录的初步阅读使我们预计鱼群将以校鲨(Galeorhinus galeus)为主,但对记录的进一步分析表明Māori鲨鱼的行为是多种多样的。NRD集合封装了这种变体。
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引用次数: 0
Rock art on excavated monolithic statues (moai), Rano Raraku statue quarry, Rapa Nui (Easter Island): context, chronology and the crescent motif 在拉帕努伊岛(复活节岛)出土的巨石雕像(摩埃)上的岩石艺术:背景,年代和新月主题
IF 0.9 3区 历史学 Q2 ANTHROPOLOGY Pub Date : 2021-09-20 DOI: 10.1002/arco.5253
JO ANNE VAN TILBURG

Monolithic statues (moai) of Rapa Nui (Easter Island) are three-dimensional objects and unique to the ancient public art of Eastern Polynesia. The primary purpose here is to summarize the specific landscape and statue production contexts of moai 156 and moai 157 in Rano Raraku, the statue quarry, demonstrating that they are embellished with rock art applied post-production (sixteenth to seventeenth centuries) and after they were upright and partially buried by colluvium in a named quarry chamber. Secondly, motif analysis reveals that crescents are present on moai 156 and 157 and incorporated into other motif types at 'Orongo, Rano Kau. The crescent is the central motif in a diagrammatic schema of Rapa Nui design development. Thirdly, iconographic norms allow controlled comparison with other moai for applied rock art. Although Hoa Hakananai'a differs in material, size, and situation from all others, the motifs on it are within the conventions of the iconographic corpus. Rano Raraku and Rano Kau are validated as ritual places on the dualistic, regionalized Rapa Nui landscape. The internal affinities and overall continuity of Rapanui cultural expression is established within an evolving anthropogenic environment during the sixteenth and seventeenth centuries.

Rapa Nui(复活节岛)的巨石雕像(moai)是三维物体,是东波利尼西亚古代公共艺术的独特之处。这里的主要目的是总结摩埃156和摩埃157在雕像采石场Rano Raraku的具体景观和雕像制作背景,证明它们在后期制作(16至17世纪)以及在它们直立并部分被colluvium埋在一个命名的采石场室内之后,用岩石艺术进行了装饰。其次,基序分析表明,摩埃156和157上均存在新月,并与其他基序类型相融合。新月是拉帕努伊设计发展的图解图式的中心主题。第三,图像规范允许与应用岩石艺术的其他摩埃石像进行可控的比较。尽管Hoa Hakananai'a在材料、大小和情况上与其他所有作品不同,但其主题都符合图像语料库的惯例。Rano Raraku和Rano Kau是拉帕努伊岛二元、区别化景观中的仪式场所。拉帕努伊文化表达的内在亲和力和整体连续性是在16世纪和17世纪不断发展的人类环境中建立起来的。
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引用次数: 0
A review of the rock art of Palau, Micronesia in local and regional contexts 密克罗尼西亚帕劳的岩石艺术在地方和区域背景下的回顾
IF 0.9 3区 历史学 Q2 ANTHROPOLOGY Pub Date : 2021-09-16 DOI: 10.1002/arco.5254
JOLIE LISTON, RACHEL HOERMAN, MACSTYL O. SASAO, SYLVIA KLOULUBAK

The style and iconography of the ten rock art sites known so far in Palau, Micronesia, including two newly discovered rock painting sites, are described and linked to their geographic locations, archaeological associations, oral traditions and local iconographies. Following a brief review of rock art in Micronesia and parts of Island Southeast Asia and New Guinea, Palau's eight rock painting sites and two rock engraving sites are regionally contextualized. We found no apparent relationships with rock art elsewhere in Micronesia but stylistic similarities with eastern Indonesia and West Papua painting traditions are clear. This may suggest the Palau paintings were created early in the archipelago's cultural sequence. Palau's rock paintings are clearly within the Austronesian painting tradition while the single well-recorded carving site does not conform with the Austronesian engraving style. Palau's rock art is also closely aligned to the Oceanic Rock Art Tradition.

密克罗尼西亚帕劳迄今已知的10个岩石艺术遗址,包括两个新发现的岩石绘画遗址,其风格和图像被描述并与它们的地理位置、考古协会、口头传统和当地图像联系起来。在对密克罗尼西亚、东南亚岛屿和新几内亚部分地区的岩石艺术进行简要回顾之后,帕劳的八个岩石绘画遗址和两个岩石雕刻遗址进行了区域背景分析。我们发现密克罗尼西亚其他地方的岩石艺术没有明显的关系,但与印度尼西亚东部和西巴布亚绘画传统的风格相似性是明显的。这可能表明,帕劳绘画创作于该群岛文化序列的早期。帕劳的岩画显然属于南岛人的绘画传统,而唯一一个记录完好的雕刻地点却不符合南岛人的雕刻风格。帕劳的岩石艺术也与大洋岩石艺术传统密切相关。
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引用次数: 0
Voyagers: The Settlement of the Pacific. By Nicholas Thomas. Basic Books, New York, 2021. ISBN: 9781541619838. Pp. 224. US$25. 航海家:太平洋的定居。尼古拉斯·托马斯著。Basic Books,纽约,2021年。ISBN: 9781541619838。224页。25美元。
IF 0.9 3区 历史学 Q2 ANTHROPOLOGY Pub Date : 2021-09-15 DOI: 10.1002/arco.5255
ETHAN E. COCHRANE
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引用次数: 0
Aboriginal serrated and perforated shell artefacts from the Murray River, South Australia 来自南澳大利亚默里河的土著锯齿和穿孔贝壳工艺品
IF 0.9 3区 历史学 Q2 ANTHROPOLOGY Pub Date : 2021-09-15 DOI: 10.1002/arco.5250
AMY ROBERTS, CRAIG WESTELL, CHRISTOPHER WILSON, MICHELLE C. LANGLEY, RIVER MURRAY AND MALLEE ABORIGINAL CORPORATION, NGARRINDJERI ABORIGINAL CORPORATION

This article describes three freshwater mussel shell artefacts recently documented for the Murray River in South Australia. These finds more than double the known examples of such artefacts from this region. Two of the modified shells are perforated, with the other serrated. The finely serrated item is a rare artefact and we have not located any similar published examples in Australia, although international correlates exist. The function/s and cultural significance of the objects are also considered in this paper. Hypotheses for the perforated finds include ornamentation, tool stringing and fibre scraping. Ornamentation, idle tinkering and food utensil use are considered as possible intended functions for the serrated artefact. Given the age range of the objects reported here (c. 6181–517 cal BP), together with other finds in the Murray Darling Basin, we tentatively suggest that shells have been a material resource used continually in this region for a range of purposes. However, as argued by other researchers, we concur that there has probably been infrequent identification and reporting of such shell artefacts. This is considered particularly likely given that our finds were recovered from relatively small scale excavation/coring and surface sampling efforts. As such, this paper attempts to raise awareness of this form of material culture in archaeological sequences.

这篇文章描述了最近在南澳大利亚默里河记录的三件淡水贻贝制品。这些发现是该地区已知此类文物的两倍多。其中两个改进的外壳是穿孔的,另一个是锯齿状的。精细锯齿项目是一个罕见的人工制品,我们没有找到任何类似的出版例子在澳大利亚,尽管国际相关存在。本文还对文物的功能和文化意义进行了探讨。穿孔的假设包括装饰,工具串和纤维刮擦。装饰,空闲的修补和食品器具的使用被认为是锯齿形人工制品可能的预期功能。考虑到这里报告的对象的年龄范围(约6181-517 cal BP),以及在墨累达令盆地的其他发现,我们初步认为贝壳在该地区一直是一种用于一系列目的的材料资源。然而,正如其他研究人员所争论的那样,我们同意可能很少有这样的贝壳文物的识别和报告。考虑到我们的发现是通过相对小规模的挖掘/取芯和地表采样工作恢复的,这一点被认为特别有可能。因此,本文试图在考古序列中提高对这种物质文化形式的认识。
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引用次数: 2
The Dogs of Remote Oceania: an archaeological and ethnohistorical view of domestic dog introduction and loss in the South Pacific 遥远的大洋洲的狗:从考古和民族历史的角度看南太平洋的家狗的引进和损失
IF 0.9 3区 历史学 Q2 ANTHROPOLOGY Pub Date : 2021-09-14 DOI: 10.1002/arco.5252
Justin Cramb

Domestic dogs were transported by voyagers to the islands of Remote Oceania. However, the distribution of these, and other domesticates, varies by location. By the time of European contact, dogs were extirpated from many islands, but the cause of their disappearance remains unknown. Archaeological reports and ethnohistoric text analysed for 35 islands and island groups in Remote Oceania reveal regional patterns of dog introduction and loss that shed light on their disappearance. The findings of this survey indicate that people introduced dogs to most island groups in Remote Oceania and that pre-European extirpation rates were high. The highest localized extinction rates occurred on low islands suggesting that low-island vulnerabilities and spatial constraints on population size affect survivorship. The dogs of Remote Oceania have a complex history in which introduction to new islands was common, but long-term persistence was difficult.

家狗被航海者带到遥远的大洋洲的岛屿上。然而,这些和其他驯化品种的分布因地而异。到欧洲人接触时,狗已经从许多岛屿上灭绝了,但它们消失的原因仍然未知。对遥远的大洋洲35个岛屿和岛群的考古报告和民族历史文本进行分析,揭示了犬类引入和消失的区域模式,从而揭示了犬类消失的原因。这项调查的结果表明,在遥远的大洋洲,人们把狗引入了大多数岛屿群,而且在欧洲之前,狗的灭绝率很高。最高的局部灭绝率发生在低岛屿,这表明低岛屿的脆弱性和种群规模的空间限制影响了生存。遥远的大洋洲的狗有一个复杂的历史,在这个历史中,被引入新岛屿是很常见的,但长期坚持是困难的。
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引用次数: 1
A review of Philippine rock art and its regional context 回顾菲律宾岩画及其地域背景
IF 0.9 3区 历史学 Q2 ANTHROPOLOGY Pub Date : 2021-09-13 DOI: 10.1002/arco.5251
Andrea Jalandoni

This paper provides a complete overview of all the known rock art sites to demonstrate the variation in motifs and techniques used in the Philippines, outline the indigenous associations, and highlight issues for conservation. In addition, new findings are introduced that include a second rock art site in Alab and previously unnoticed styles of rock art in Peñablanca. In recent years, the study of Philippine rock art has also yielded valuable contributions for archaeology both in methods and theory. Recording the rock art in challenging contexts necessitated the development of several pioneering digital methods, some low-cost, to see obfuscated rock art and expedite inventories that can be used worldwide. After reviewing the rock art in the Philippines, it is clear that the much-debated Austronesian rock art theories do not apply to these sites. A comparison of similar motifs and their contexts found in Southeast Asia and Micronesia is a starting point for developing new rock art theories in the region.

本文提供了所有已知岩石艺术遗址的完整概述,以展示菲律宾使用的图案和技术的变化,概述了土著协会,并强调了保护问题。此外,还介绍了新的发现,包括在Alab的第二个岩石艺术遗址和以前未被注意到的Peñablanca岩石艺术风格。近年来,对菲律宾岩画的研究也在方法和理论上为考古学做出了宝贵的贡献。为了在具有挑战性的环境中记录岩石艺术,需要开发几种开创性的数字方法,其中一些成本较低,以查看模糊的岩石艺术,并加快可在全球范围内使用的库存。在回顾了菲律宾的岩石艺术之后,很明显,备受争议的南岛岩石艺术理论并不适用于这些遗址。在东南亚和密克罗尼西亚发现的类似图案及其背景的比较是在该地区发展新的岩石艺术理论的起点。
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引用次数: 1
Resistance and remembering through rock art: Contact-period rock art in Wardaman country, Northern Australia 岩石艺术中的抵抗与记忆:澳大利亚北部瓦尔达曼地区接触时期的岩石艺术
IF 0.9 3区 历史学 Q2 ANTHROPOLOGY Pub Date : 2021-09-06 DOI: 10.1002/arco.5246
Madeleine A. Kelly, Wardaman Indigenous Protected Area

Although notions of resistance are not new in rock art research concerning cross-cultural colonial encounters, this study shows how multiple dimensions of Indigenous resistance can be explored through a multidisciplinary analysis of rock art in northern Australia. The study explores the intersections between introduced “Western” and pre-existing “traditional” motifs in rock art near Yingalarri waterhole in Wardaman Country, Northern Territory, analysing the visual conventions and superimpositions with an eye towards Wardaman epistemological engagements with rock art and experiences of colonial occupation. These intersections reveal further dimensions of Wardaman responses to colonial occupation, including the negotiation of shifting inter-regional relationships and engagements with Country as well as the continued emphasis on inherited artistic practices. The study also explores the continuing role that rock art, and its interpretation, plays in Indigenous colonial resistance. Wardaman discussions of introduced motifs documented during the 1988–1991 Earthwatch project brought the paintings out of the past, giving them contemporary significance via kinship connections and narratives of survival that challenge colonial efforts to erase Indigenous experiences of early colonial contact and occupation. The paper contributes to archaeological understandings of inter-regional connections between northern Australian rock art regions and rock art production and discussion as a means for Aboriginal resistance and remembrance after the arrival of Europeans.

尽管在涉及跨文化殖民遭遇的岩石艺术研究中,抵抗的概念并不新鲜,但本研究表明,通过对澳大利亚北部岩石艺术的多学科分析,可以探索土著抵抗的多个维度。本研究探讨了北领地Wardaman Country英加拉里水坑附近岩石艺术中引入的“西方”和已有的“传统”主题之间的交集,分析了视觉惯例和叠加,着眼于Wardaman与岩石艺术的认识论接触和殖民占领经验。这些交集揭示了沃达曼对殖民占领的回应的进一步维度,包括改变区域间关系的谈判和与国家的接触,以及对继承艺术实践的持续强调。该研究还探讨了岩石艺术及其解释在土著殖民抵抗中所起的持续作用。Wardaman讨论了在1988-1991年地球观察项目中记录的引入主题,将这些绘画带出了过去,通过亲属关系和生存叙事赋予它们当代意义,这些叙事挑战了殖民主义抹掉早期殖民接触和占领的土著经历的努力。这篇论文有助于考古学对澳大利亚北部岩石艺术地区之间的区域间联系的理解,以及作为欧洲人到来后土著抵抗和纪念手段的岩石艺术生产和讨论。
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引用次数: 1
An Archaeology of Innovation: Approaching Social and Technological Change in Human Society By Catherine J. Frieman. Manchester University Press, Manchester, 2021. ISBN 978-1-5261-3264-2 (hardback). Pp. 238. £80.00 (approx. AUD$150). 《创新考古:走近人类社会的社会和技术变革》,Catherine J.Frieman,曼彻斯特大学出版社,2021年,ISBN 978‐1‐5261‐3264‐2(精装本)。第238页。80.00英镑(约150澳元)。
IF 0.9 3区 历史学 Q2 ANTHROPOLOGY Pub Date : 2021-08-24 DOI: 10.1002/arco.5249
JAMES L. FLEXNER
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引用次数: 4
Rock engravings and occupation sites in the Mount Bosavi Region, Papua New Guinea: Implications for our understanding of the human presence in the Southern Highlands 巴布亚新几内亚博萨维山地区的岩石雕刻和占领地点:对我们理解人类在南部高地存在的影响
IF 0.9 3区 历史学 Q2 ANTHROPOLOGY Pub Date : 2021-08-13 DOI: 10.1002/arco.5247
LARA LAMB, BRYCE BARKER, MATTHEW LEAVESLEY, MAXIME AUBERT, ANDREW FAIRBAIRN, TIINA MANNE

An extensive body of engraved rock art on the Great Papuan Plateau is documented here for the first time, along with the first dates for occupation. Consisting largely of deeply abraded or pecked barred ovals and cupules, the rock art of this region does not fit comfortably into any regional models for rock art previously described. It does, however, exhibit some similarity to art in regions to the east and the west of the plateau. Subject to further archaeological testing, we present a number of exploratory hypotheses with which to explain the presence of the engravings; as part of the ethnographic and contemporary Kasua's cultural suite; as part of a relatively recent (late Holocene) migration of peoples from the Gulf to the plateau; or as part of an earlier movement of people from the west, possibly as part of the movement of people into the Sahul continent in the Late Pleistocene. We conclude that the Great Papuan Plateau is not a late and marginally occupied ‘backwater’ but rather part of a possible corridor of human movement across northern Sahul and a region that could allow us to better understand modern humans as they reached the Sahul continent.

在大巴布亚高原上,大量的岩石雕刻艺术首次被记录下来,同时也记录了占领的第一个日期。该地区的岩石艺术主要由深度磨损或啄痕的条纹椭圆形和凹形组成,不适合先前描述的任何区域岩石艺术模式。然而,它确实与高原东部和西部地区的艺术有一些相似之处。根据进一步的考古测试,我们提出了一些探索性的假设来解释雕刻的存在;作为民族志和当代卡苏阿文化套件的一部分;作为相对较近的(全新世晚期)人类从海湾向高原迁移的一部分;或者作为早期来自西方的人类迁徙的一部分,可能是晚更新世进入萨胡尔大陆的人类迁徙的一部分。我们得出的结论是,大巴布亚高原不是一个晚期的、被边缘化的“死水”,而是人类穿越萨胡尔北部的一个可能的走廊的一部分,这个地区可以让我们更好地了解现代人类到达萨胡尔大陆时的情况。
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引用次数: 3
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Archaeology in Oceania
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