Pub Date : 2023-03-20DOI: 10.1017/S0959774323000033
Marta Lorenzon
This article analyses the development of Neolithic earthen architecture in the Eastern Mediterranean as a concrete example of ‘communities of practice’. Recent studies on earthen architecture have highlighted its adaptability to different climates, architectural forms and craftmanship levels, focusing on the technological aspects of earthen construction. This paper explores the anthropological significance of earth as a building material. It provides evidence on the development of earthen building techniques, interactions between different communities regarding building practices and an understanding of the dynamics of chaîne opératoire in relation to various materials. A review of archaeological case studies provides compelling preliminary evidence for the existence of early specialized architecture in Neolithic Aegean contexts.
{"title":"Earthen Architecture as a Community of Practice: A Case Study of Neolithic Earthen Production in the Eastern Mediterranean","authors":"Marta Lorenzon","doi":"10.1017/S0959774323000033","DOIUrl":"https://doi.org/10.1017/S0959774323000033","url":null,"abstract":"This article analyses the development of Neolithic earthen architecture in the Eastern Mediterranean as a concrete example of ‘communities of practice’. Recent studies on earthen architecture have highlighted its adaptability to different climates, architectural forms and craftmanship levels, focusing on the technological aspects of earthen construction. This paper explores the anthropological significance of earth as a building material. It provides evidence on the development of earthen building techniques, interactions between different communities regarding building practices and an understanding of the dynamics of chaîne opératoire in relation to various materials. A review of archaeological case studies provides compelling preliminary evidence for the existence of early specialized architecture in Neolithic Aegean contexts.","PeriodicalId":47164,"journal":{"name":"CAMBRIDGE ARCHAEOLOGICAL JOURNAL","volume":"33 1","pages":"601 - 618"},"PeriodicalIF":1.2,"publicationDate":"2023-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47086031","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-15DOI: 10.1017/S0959774323000057
I. Davidson
Early representational art seems to tell a story all of its own, but in reality, it depended on the oral stories that accompanied its production. The art system has four parts: the producer, the subject of the story, the images of that subject, and the seer. Through the stories of the producer and the seers, this system implicated members of society in ways that were not limited to the images produced. By tying those stories to particular places, rock art influenced society more broadly through foraging choices and ritual. Because the persisting marks of rock art necessarily required storytelling, the stories penetrated the mental lives of people in the society. Interwoven with these considerations is the observation that for archaeologists, the producer, the stories and the original seers are gone and all that is left is the material of the rock art and the archaeologist. Writing archaeohistory from these materials requires interpretation in light of the archaeological evidence distributed across both space and time. One way of interpreting archaeohistory suggests that rock art played a significant role in cognitive evolution through its engagement in ritual.
{"title":"Humans Making History through Continuities and Discontinuities in Art","authors":"I. Davidson","doi":"10.1017/S0959774323000057","DOIUrl":"https://doi.org/10.1017/S0959774323000057","url":null,"abstract":"Early representational art seems to tell a story all of its own, but in reality, it depended on the oral stories that accompanied its production. The art system has four parts: the producer, the subject of the story, the images of that subject, and the seer. Through the stories of the producer and the seers, this system implicated members of society in ways that were not limited to the images produced. By tying those stories to particular places, rock art influenced society more broadly through foraging choices and ritual. Because the persisting marks of rock art necessarily required storytelling, the stories penetrated the mental lives of people in the society. Interwoven with these considerations is the observation that for archaeologists, the producer, the stories and the original seers are gone and all that is left is the material of the rock art and the archaeologist. Writing archaeohistory from these materials requires interpretation in light of the archaeological evidence distributed across both space and time. One way of interpreting archaeohistory suggests that rock art played a significant role in cognitive evolution through its engagement in ritual.","PeriodicalId":47164,"journal":{"name":"CAMBRIDGE ARCHAEOLOGICAL JOURNAL","volume":"33 1","pages":"637 - 654"},"PeriodicalIF":1.2,"publicationDate":"2023-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47844538","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-13DOI: 10.1017/s0959774323000045
D. Witelson
European ideas about unicorns spread across the world in the colonial era. In South Africa, hunts for that creature, and indigenous rock paintings of it, were commonplace. The aim was proof from ‘terra incognita’, often with the possibility of claiming a reward. There has, however, been little consideration of the independent, local creature onto which the unicorn was transposed. During cross-cultural engagements, foreign beliefs in the mythical unicorn and a desire for evidence of its natural history intermixed to an extraordinary degree with local beliefs in a one-horned animal. For over two centuries, colonists and researchers alike failed to realize that the local creature, by chance, resembled the European unicorn. A new synthesis of southern African ethnography, history and the writings of early travellers, missionaries and colonial politicians provides unambiguous evidence that one-horned creatures obtained in local beliefs before the arrival of colonists. Moreover, it shows that these creatures are depicted in South African rock art, and that they are a manifestation of San (Bushman) rain-animals. By ignoring relevant beliefs and images, previous scholars have failed to acknowledge that the South African unicorn was, apart from its four legs and single horn, a creature wholly different from the European one.
{"title":"Revisiting the South African Unicorn: Rock Art, Natural History and Colonial Misunderstandings of Indigenous Realities","authors":"D. Witelson","doi":"10.1017/s0959774323000045","DOIUrl":"https://doi.org/10.1017/s0959774323000045","url":null,"abstract":"European ideas about unicorns spread across the world in the colonial era. In South Africa, hunts for that creature, and indigenous rock paintings of it, were commonplace. The aim was proof from ‘terra incognita’, often with the possibility of claiming a reward. There has, however, been little consideration of the independent, local creature onto which the unicorn was transposed. During cross-cultural engagements, foreign beliefs in the mythical unicorn and a desire for evidence of its natural history intermixed to an extraordinary degree with local beliefs in a one-horned animal. For over two centuries, colonists and researchers alike failed to realize that the local creature, by chance, resembled the European unicorn. A new synthesis of southern African ethnography, history and the writings of early travellers, missionaries and colonial politicians provides unambiguous evidence that one-horned creatures obtained in local beliefs before the arrival of colonists. Moreover, it shows that these creatures are depicted in South African rock art, and that they are a manifestation of San (Bushman) rain-animals. By ignoring relevant beliefs and images, previous scholars have failed to acknowledge that the South African unicorn was, apart from its four legs and single horn, a creature wholly different from the European one.","PeriodicalId":47164,"journal":{"name":"CAMBRIDGE ARCHAEOLOGICAL JOURNAL","volume":"1 1","pages":""},"PeriodicalIF":1.2,"publicationDate":"2023-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41356742","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-09DOI: 10.1017/S0959774323000021
Stephen A. Dueppen, Daphne E. Gallagher
Tell sites are central to archaeological interpretation in many world regions due to their lengthy sequences of stratified deposits. However, the cultural choices that create architectural remnants and associated materials are more poorly understood, as are the ways that previous layers situate the living community above. This article calls for agentive understandings of tell-formation processes through examination of archaeological sites in Burkina Faso, West Africa. We argue that tells here formed through strong cultural beliefs of co-residence between the living and ancestral communities. Drawing on data from excavation and cross-section profiles exposed by road construction, we provide evidence that architectural remnants were actively created and preserved in rituals related to the making and veneration of ancestors. Particular places in tells were used for new construction (often with foundation ritual deposits) only after the active memory of the individual faded from the living community, resulting in a slow (at least 80–100 years) stratification process. Through variations on these core ritual processes, dynamic multi-temporal social groups reinvented themselves over 1500 years through eras of inequity, egalitarian revolution and the Black Death pandemic.
{"title":"Understanding Archaeological Tells: Circulating Memories and Engaging with Ancestors through Material Attachments","authors":"Stephen A. Dueppen, Daphne E. Gallagher","doi":"10.1017/S0959774323000021","DOIUrl":"https://doi.org/10.1017/S0959774323000021","url":null,"abstract":"Tell sites are central to archaeological interpretation in many world regions due to their lengthy sequences of stratified deposits. However, the cultural choices that create architectural remnants and associated materials are more poorly understood, as are the ways that previous layers situate the living community above. This article calls for agentive understandings of tell-formation processes through examination of archaeological sites in Burkina Faso, West Africa. We argue that tells here formed through strong cultural beliefs of co-residence between the living and ancestral communities. Drawing on data from excavation and cross-section profiles exposed by road construction, we provide evidence that architectural remnants were actively created and preserved in rituals related to the making and veneration of ancestors. Particular places in tells were used for new construction (often with foundation ritual deposits) only after the active memory of the individual faded from the living community, resulting in a slow (at least 80–100 years) stratification process. Through variations on these core ritual processes, dynamic multi-temporal social groups reinvented themselves over 1500 years through eras of inequity, egalitarian revolution and the Black Death pandemic.","PeriodicalId":47164,"journal":{"name":"CAMBRIDGE ARCHAEOLOGICAL JOURNAL","volume":"33 1","pages":"575 - 600"},"PeriodicalIF":1.2,"publicationDate":"2023-03-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42666714","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-02DOI: 10.1017/S095977432300001X
S. Souvatzi
The paper explores and compares the ways in which Neolithic heritage in Greece and Turkey—two archaeologically and historically influential cases—has been used at the level of the state and the diverse meanings, values and histories ascribed to it by local communities and public discourse. Using four very representative examples as case studies, including the World Heritage sites of Çatalhöyük and Göbekli Tepe in Turkey as well as Dimini and Dispilio in Greece, the paper demonstrates how Neolithic spaces are used by different agents to install a certain image of history and to form a collective memory, but also to emphasize difference and discontinuity. The main aim is to explore the relationship between heritage, space and history. Special emphasis is placed on the politics of history or historiography and identity at all levels and on the placement of the debates into a larger historical and discursive context.
{"title":"Neolithic Cultural Heritage in Greece and Turkey and the Politics of Land and History","authors":"S. Souvatzi","doi":"10.1017/S095977432300001X","DOIUrl":"https://doi.org/10.1017/S095977432300001X","url":null,"abstract":"The paper explores and compares the ways in which Neolithic heritage in Greece and Turkey—two archaeologically and historically influential cases—has been used at the level of the state and the diverse meanings, values and histories ascribed to it by local communities and public discourse. Using four very representative examples as case studies, including the World Heritage sites of Çatalhöyük and Göbekli Tepe in Turkey as well as Dimini and Dispilio in Greece, the paper demonstrates how Neolithic spaces are used by different agents to install a certain image of history and to form a collective memory, but also to emphasize difference and discontinuity. The main aim is to explore the relationship between heritage, space and history. Special emphasis is placed on the politics of history or historiography and identity at all levels and on the placement of the debates into a larger historical and discursive context.","PeriodicalId":47164,"journal":{"name":"CAMBRIDGE ARCHAEOLOGICAL JOURNAL","volume":"33 1","pages":"555 - 573"},"PeriodicalIF":1.2,"publicationDate":"2023-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47058524","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-15DOI: 10.1017/S0959774322000403
A. Navarro
This work aims to apply the theories of new materialities to the study of the material culture of the Formoso stilt village, a pre-colonial settlement from the ninth–tenth centuries ad, located in the Baixada Maranhense. Appliqués of the pottery bowls at this archaeological site present cosmological information regarding the transformation or metamorphosis of bodies, aspects that are fertile for the discussion of shamanism in the lowlands of South America, especially the Amazon. Classic concepts of anthropological ethnography applied to archaeology are used, contributing to the discussion on the diversity of ways to manufacture the body in the Amazon in its easternmost portion, such as that of the Master of Animals, a supernatural entity metamorphosed by the shaman and who could also have been part of the cosmology of the lake peoples of Maranhão, Brazil. Two artifacts depicting beings that have their feet turned backwards may be associated with the Curupira, thus evidencing a long-lasting history of this supernatural being that was recorded both in colonial documentation and in indigenous ethnography.
{"title":"Ancestral Waters: Material Culture, Notion of Transformation and Shamanism in the Stilt Villages in Eastern Amazonia","authors":"A. Navarro","doi":"10.1017/S0959774322000403","DOIUrl":"https://doi.org/10.1017/S0959774322000403","url":null,"abstract":"This work aims to apply the theories of new materialities to the study of the material culture of the Formoso stilt village, a pre-colonial settlement from the ninth–tenth centuries ad, located in the Baixada Maranhense. Appliqués of the pottery bowls at this archaeological site present cosmological information regarding the transformation or metamorphosis of bodies, aspects that are fertile for the discussion of shamanism in the lowlands of South America, especially the Amazon. Classic concepts of anthropological ethnography applied to archaeology are used, contributing to the discussion on the diversity of ways to manufacture the body in the Amazon in its easternmost portion, such as that of the Master of Animals, a supernatural entity metamorphosed by the shaman and who could also have been part of the cosmology of the lake peoples of Maranhão, Brazil. Two artifacts depicting beings that have their feet turned backwards may be associated with the Curupira, thus evidencing a long-lasting history of this supernatural being that was recorded both in colonial documentation and in indigenous ethnography.","PeriodicalId":47164,"journal":{"name":"CAMBRIDGE ARCHAEOLOGICAL JOURNAL","volume":"33 1","pages":"537 - 554"},"PeriodicalIF":1.2,"publicationDate":"2023-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44181979","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-23DOI: 10.1017/S0959774322000440
Néhémie Strupler
This paper provides a framework to highlight the entanglement of discovery and historiography based on the example of the rock-relief figure of Karabel (Turkey), a pivotal monument to recognize the Hittites and the biblical past. I lay out the common narrative of the re-discovery's story that resemble a hagiography, and I put it into perspective with critiques from post-colonial studies. Due to the ongoing damage at the figure of Karabel, I hypothesize that the one-sided role of the monument in the story of the re-discovery of the Hittites by western scholars is insufficient to avoid the radical rejection of the Karabel relief by some people. This article is theory-in-practice: it highlights some pitfalls and tells a story with more diversity, open thought, and considerations beyond traditional narratives of power in passéist oriental archaeology.
{"title":"‘Vandalizing’ Father Hittite. Karabel, Orientalism and Historiographies","authors":"Néhémie Strupler","doi":"10.1017/S0959774322000440","DOIUrl":"https://doi.org/10.1017/S0959774322000440","url":null,"abstract":"This paper provides a framework to highlight the entanglement of discovery and historiography based on the example of the rock-relief figure of Karabel (Turkey), a pivotal monument to recognize the Hittites and the biblical past. I lay out the common narrative of the re-discovery's story that resemble a hagiography, and I put it into perspective with critiques from post-colonial studies. Due to the ongoing damage at the figure of Karabel, I hypothesize that the one-sided role of the monument in the story of the re-discovery of the Hittites by western scholars is insufficient to avoid the radical rejection of the Karabel relief by some people. This article is theory-in-practice: it highlights some pitfalls and tells a story with more diversity, open thought, and considerations beyond traditional narratives of power in passéist oriental archaeology.","PeriodicalId":47164,"journal":{"name":"CAMBRIDGE ARCHAEOLOGICAL JOURNAL","volume":"33 1","pages":"477 - 497"},"PeriodicalIF":1.2,"publicationDate":"2023-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42097734","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-17DOI: 10.1017/S0959774322000452
Luiza Osorio G. Silva
Architectural reuse was common in ancient Egypt. Modern interpretations of this practice, particularly in royal contexts, usually ascribe it either a practical or ideological function, only rarely considering it possible that different motivations were involved. This type of approach is particularly true for the reuse of Old Kingdom blocks by the Middle Kingdom king Amenemhat I in his pyramid at Lisht, a case often classified as solely utilitarian. However, an approach that prioritizes not only the ancient Egyptian worldview and royal ideology, but also how this case of reuse fits into cross-cultural considerations of monumentality, demonstrates the necessity to look at this practice more holistically. This study focuses in particular on the possibility that the transportation of reused materials by Amenemhat I was a spectacle of construction used to showcase the king's legitimacy and authority at the start of a new dynasty.
{"title":"Out of Ruins: Contextualizing an Ancient Egyptian Spectacle of Architectural Reuse","authors":"Luiza Osorio G. Silva","doi":"10.1017/S0959774322000452","DOIUrl":"https://doi.org/10.1017/S0959774322000452","url":null,"abstract":"Architectural reuse was common in ancient Egypt. Modern interpretations of this practice, particularly in royal contexts, usually ascribe it either a practical or ideological function, only rarely considering it possible that different motivations were involved. This type of approach is particularly true for the reuse of Old Kingdom blocks by the Middle Kingdom king Amenemhat I in his pyramid at Lisht, a case often classified as solely utilitarian. However, an approach that prioritizes not only the ancient Egyptian worldview and royal ideology, but also how this case of reuse fits into cross-cultural considerations of monumentality, demonstrates the necessity to look at this practice more holistically. This study focuses in particular on the possibility that the transportation of reused materials by Amenemhat I was a spectacle of construction used to showcase the king's legitimacy and authority at the start of a new dynasty.","PeriodicalId":47164,"journal":{"name":"CAMBRIDGE ARCHAEOLOGICAL JOURNAL","volume":"33 1","pages":"521 - 536"},"PeriodicalIF":1.2,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44793786","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-12DOI: 10.1017/S0959774322000427
Evita Kalogiropoulou, D. Kloukinas, K. Kotsakis
This paper describes the chaîne opératoire of earthen architecture relating to buildings and thermal structures at the Neolithic site of Kleitos 2 in Kozani. It provides a material-based approach to the variable processes involved in construction as a practice of community involvement. The chaîne opératoire, adapted based on a refined concept of technology, is employed here as a key analytical tool. This paper tackles questions relating to the social scale of the construction processes concerned, specialization in construction, and the participation and collaboration of the builders. By choosing to focus on a local-scale analysis of a single site, we were able to develop a detailed framework that includes all the steps involved in manufacturing the earthen features, from the decision-making processes to questions of spatial allocation, the acquisition and processing of materials and construction practices, together with their subsequent use and end-life. The aim of this paper is to recognize construction processes as a social event involving cooperation and social performativity, which fosters and reaffirms social interactions, obligations and entanglements, shedding light on the dynamics of the society in question.
本文描述了在Kozani的Kleitos 2新石器时代遗址中与建筑物和热结构有关的土制建筑的cha ne opsamatire。它提供了一种基于材料的方法，作为社区参与的实践，涉及到建设的可变过程。cha ne opsamatoire基于一种改进的技术概念，在这里被用作一种关键的分析工具。本文讨论了有关建设过程的社会规模、建设专业化以及建设者的参与和协作等问题。通过选择专注于单个场地的局部尺度分析，我们能够开发一个详细的框架，其中包括制造土质特征所涉及的所有步骤，从决策过程到空间分配问题，材料的获取和处理以及建筑实践，以及它们随后的使用和最终使用寿命。本文的目的是认识到建设过程是一个涉及合作和社会表演的社会事件，它促进并重申了社会互动、义务和纠缠，揭示了有关社会的动态。
{"title":"Socializing the Materiality of Earthen Structures: The Chaîne Opératoire of Construction Practices at the Neolithic Site of Kleitos 2, Greece","authors":"Evita Kalogiropoulou, D. Kloukinas, K. Kotsakis","doi":"10.1017/S0959774322000427","DOIUrl":"https://doi.org/10.1017/S0959774322000427","url":null,"abstract":"This paper describes the chaîne opératoire of earthen architecture relating to buildings and thermal structures at the Neolithic site of Kleitos 2 in Kozani. It provides a material-based approach to the variable processes involved in construction as a practice of community involvement. The chaîne opératoire, adapted based on a refined concept of technology, is employed here as a key analytical tool. This paper tackles questions relating to the social scale of the construction processes concerned, specialization in construction, and the participation and collaboration of the builders. By choosing to focus on a local-scale analysis of a single site, we were able to develop a detailed framework that includes all the steps involved in manufacturing the earthen features, from the decision-making processes to questions of spatial allocation, the acquisition and processing of materials and construction practices, together with their subsequent use and end-life. The aim of this paper is to recognize construction processes as a social event involving cooperation and social performativity, which fosters and reaffirms social interactions, obligations and entanglements, shedding light on the dynamics of the society in question.","PeriodicalId":47164,"journal":{"name":"CAMBRIDGE ARCHAEOLOGICAL JOURNAL","volume":"33 1","pages":"449 - 475"},"PeriodicalIF":1.2,"publicationDate":"2023-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48596348","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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