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:The Life and Death of Ancient Cities: A Natural History :《古代城市的生与死》:一部自然史
IF 1.2 1区 历史学 0 ARCHAEOLOGY Pub Date : 2024-01-09 DOI: 10.1086/729155
Manuel Fernández-Gotz
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引用次数: 0
:Male Nudity in the Greek Iron Age: Representation and Ritual Context in Aegean Societies 希腊铁器时代的男性裸体:爱琴海社会的表象和仪式背景
IF 1.2 1区 历史学 0 ARCHAEOLOGY Pub Date : 2024-01-09 DOI: 10.1086/729156
Stefanos Gimatzidis
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引用次数: 0
:Roman Funerary Rituals in Mutina (Modena, Italy): A Multidisciplinary Approach 穆蒂纳(意大利摩德纳)的古罗马丧葬仪式:多学科方法
IF 1.2 1区 历史学 0 ARCHAEOLOGY Pub Date : 2024-01-09 DOI: 10.1086/729154
Alessandro Sebastiani
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引用次数: 0
Kızıldağ, Karadağ, and Sacred Peak Sites in Central Anatolia During the Late Bronze and Iron Ages 青铜时代晚期和铁器时代安纳托利亚中部的克孜勒达格、卡拉达格和圣峰遗址
IF 1.2 1区 历史学 0 ARCHAEOLOGY Pub Date : 2024-01-01 DOI: 10.1086/727315
Michele Massa, James Osborne
Mountain peaks and rocky outcrops have long been recognized to have been crucial components of the religious beliefs of people in Anatolia during the Late Bronze and Iron Ages. Archaeologically, however, sanctuaries that are associated with these features are much less understood. This article considers what is known about Anatolian peak sites textually and archaeologically for the second and first millennia BCE. While Late Bronze Age textual accounts of rituals and built features on peaks are abundant, archaeological data is comparatively scarce. The converse is true during the Iron Age, from which there are several archaeologically attested kinds of monuments associated with rocky outcrops and peaks, including stelae and step monuments, but a limited textual record. Assessing the evidence for continuity and innovation in peak-site usage across the two periods sheds new light on the Bronze to Iron Age transition, contributing additional nuance to what is increasingly recognized to have been a highly variable and localized phenomenon. In particular, the Iron Age peak sanctuaries of Kızıldağ and Karadağ and the associated settlement of Türkmen-Karahöyük serve as a useful case study for the ways in which Late Bronze Age precedents were consciously adapted into new forms in the Iron Age.1
长期以来,人们一直认为山峰和岩石露头是青铜时代晚期和铁器时代安纳托利亚人宗教信仰的重要组成部分。然而,从考古学角度来看,人们对与这些地貌相关的圣所的了解要少得多。本文探讨了公元前二千年和公元前一千年安纳托利亚山顶遗址的文字和考古情况。虽然青铜时代晚期关于祭祀和山顶建筑特征的文字记载非常丰富,但考古数据却相对稀少。铁器时代的情况则恰恰相反,考古发现了几种与岩石露头和山峰相关的纪念碑,包括石碑和阶梯碑,但文字记录却很有限。评估这两个时期山顶遗址使用的连续性和创新性的证据,为青铜时代向铁器时代的过渡提供了新的线索,使人们越来越认识到这是一个高度多变和局部化的现象。特别是,铁器时代的 Kızıldağ 和 Karadağ 山顶圣地以及相关的 Türkmen-Karahöyük 聚居地是一个有用的案例研究,说明青铜时代晚期的先例在铁器时代如何被有意识地改造成新的形式。
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引用次数: 0
Ecocriticism on the Wall: Roman Landscapes at the San Antonio Museum of Art 墙上的生态批评:圣安东尼奥艺术博物馆的罗马景观
IF 1.2 1区 历史学 0 ARCHAEOLOGY Pub Date : 2024-01-01 DOI: 10.1086/728419
Sophie Crawford-Brown
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引用次数: 0
The Extramural Settlement at Vindolanda in the Early Second Century CE: Defining a Glocalized Environment on the Romano-British Frontier 公元二世纪早期文多兰达的村外定居点:定义罗马-英国边境的本土化环境
IF 1.2 1区 历史学 0 ARCHAEOLOGY Pub Date : 2024-01-01 DOI: 10.1086/727259
Elizabeth M. Greene, A. Birley
Examining the Roman military settlement at Vindolanda, this article explores the archaeology of the northern frontier of the Roman empire in a glocalization framework, investigating the site during a specific occupation period to understand how the material culture found there operated within its particular local context. The soldiers and the extended military communities of auxiliary settlements that dominated the imperial frontiers make a complicated and intriguing case study because of their origins as subaltern and conquered subjects of imperial rule, followed by incorporation into the Roman army. A close examination of the extramural settlement outside the fort at Vindolanda in the site’s Period 4 (ca. 105–120 CE) allows the opportunity to apply a glocal lens to the architecture, foodways, literacy, and dress preserved in the material record. We are presented with a picture of adoption, adaptation, and retention that ultimately can be understood only as the result of ongoing change and creation in a multilayered imperial context. These spaces and their material culture are fully analyzed here, with careful consideration of the community present at Vindolanda, in order to tease out the unique and novel outcomes that this population created in their local context.1
本文通过考察文多兰达(Vindolanda)的罗马军事定居点,在 "全域化"(glocalization)框架下探索罗马帝国北部边疆的考古学,调查该遗址在特定占领时期的情况,以了解在那里发现的物质文化如何在其特定的地方背景下运作。在帝国边疆占主导地位的士兵和辅助定居点的扩展军事社区是一个复杂而有趣的案例研究,因为他们起源于帝国统治的次等和被征服的臣民,随后被编入罗马军队。通过对文多兰达要塞外第四时期(约公元 105-120 年)的城外居住区进行仔细研究,我们有机会从地方视角来观察保存在材料记录中的建筑、饮食习惯、文化和服饰。我们看到的是一幅采纳、适应和保留的图景,最终只能理解为在多层次的帝国背景下不断变化和创造的结果。本文对这些空间及其物质文化进行了全面分析,并对文多兰达的社区进行了仔细考量,以揭示这些人在当地环境中创造的独特而新颖的成果1。
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引用次数: 0
Heroics of Dress: Exekias and Ornament in Greek Vase Painting 服饰的英雄主义:希腊花瓶绘画中的埃克塞基亚斯和装饰品
IF 1.2 1区 历史学 0 ARCHAEOLOGY Pub Date : 2024-01-01 DOI: 10.1086/727314
Anthony F. Mangieri
The Athenian vase painter Exekias, on his gaming amphora in the Vatican (Musei Vaticani 16757), embellishes the cloaks of Achilles and Ajax with stars, rosettes, swastikas, and other motifs. Although long admired, these historiated textiles have been overlooked by scholars as merely decorative rather than iconographic. But analysis of Exekias’ textile decoration yields new insights on a well-known vase and offers a case study for a poetics of dress in vase painting that transforms our understanding of ornament and storytelling in Greek art. Mapping the place of the cloaks’ adornment within the genealogy and context of such imagery in epic poetry, elite traditions, magical practices, and Near Eastern and Italian art reveals how Exekias’ decorative idiom conveys meaning and enhances his portrait of the two heroes. This article explores how Exekias’ fictive dress ornament evokes epic traditions, appropriates the authority of Near Eastern luxury arts, reflects knowledge of textile traditions in Italy, activates knowledge of the cosmos, and conjures magical associations. Ultimately, Exekias employs the decoration of dress to expound on the characters and fates of Achilles and Ajax and to offer an exegesis on the nature of the hero.1
雅典花瓶画家埃克塞基阿斯(Exekias)在其收藏于梵蒂冈(梵蒂冈博物馆,16757 年)的游戏双耳瓶上,为阿喀琉斯和阿贾克斯的斗篷点缀了星星、玫瑰花瓣、卐和其他图案。尽管长期以来这些纺织品一直备受推崇,但学者们却忽视了它们的历史意义,认为它们只是装饰而非图腾。但对埃克塞基阿斯织物装饰的分析为我们了解一个著名的花瓶提供了新的视角,并为花瓶绘画中的服饰诗学提供了一个案例研究,改变了我们对希腊艺术中装饰和故事的理解。在史诗、精英传统、魔法实践以及近东和意大利艺术中的此类意象的谱系和背景下,绘制斗篷装饰的位置,揭示了埃克塞基阿斯的装饰成语如何传达意义并增强他对两位英雄的描绘。本文探讨了埃克塞基阿斯虚构的服饰装饰是如何唤起史诗传统、挪用近东奢华艺术的权威、反映意大利纺织传统知识、激活宇宙知识并引发魔法联想的。最终,埃克塞基阿斯利用服饰装饰来阐释阿基里斯和阿贾克斯的性格和命运,并对英雄的本质进行了诠释1。
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引用次数: 0
Comparative proteomic analysis of tail regeneration in the green anole lizard, Anolis carolinensis. 绿踝蜥(Anolis carolinensis)尾部再生的比较蛋白质组分析。
1区 历史学 0 ARCHAEOLOGY Pub Date : 2024-01-01 Epub Date: 2023-08-17 DOI: 10.1002/ntls.20210421
Cindy Xu, Elizabeth D Hutchins, Walter Eckalbar, Ken Pendarvis, Derek M Benson, Douglas F Lake, Fiona M McCarthy, Kenro Kusumi

As amniote vertebrates, lizards are the most closely related organisms to humans capable of appendage regeneration. Lizards can autotomize, or release their tails as a means of predator evasion, and subsequently regenerate a functional replacement. Green anoles (Anolis carolinensis) can regenerate their tails through a process that involves differential expression of hundreds of genes, which has previously been analyzed by transcriptomic and microRNA analysis. To investigate protein expression in regenerating tissue, we performed whole proteomic analysis of regenerating tail tip and base. This is the first proteomic data set available for any anole lizard. We identified a total of 2,646 proteins - 976 proteins only in the regenerating tail base, 796 only in the tail tip, and 874 in both tip and base. For over 90% of these proteins in these tissues, we were able to assign a clear orthology to gene models in either the Ensembl or NCBI databases. For 13 proteins in the tail base, 9 proteins in the tail tip, and 10 proteins in both regions, the gene model in Ensembl and NCBI matched an uncharacterized protein, confirming that these predictions are present in the proteome. Ontology and pathways analysis of proteins expressed in the regenerating tail base identified categories including actin filament-based process, ncRNA metabolism, regulation of phosphatase activity, small GTPase mediated signal transduction, and cellular component organization or biogenesis. Analysis of proteins expressed in the tail tip identified categories including regulation of organelle organization, regulation of protein localization, ubiquitin-dependent protein catabolism, small GTPase mediated signal transduction, morphogenesis of epithelium, and regulation of biological quality. These proteomic findings confirm pathways and gene families activated in tail regeneration in the green anole as well as identify uncharacterized proteins whose role in regrowth remains to be revealed. This study demonstrates the insights that are possible from the integration of proteomic and transcriptomic data in tail regrowth in the green anole, with potentially broader application to studies in other regenerative models.

作为羊膜脊椎动物,蜥蜴是与人类关系最密切的能够进行附肢再生的生物。蜥蜴可以自动切除或释放尾巴,作为躲避捕食者的一种手段,然后再生出具有功能的替代品。绿鼹鼠(Anolis carolinensis)可以通过涉及数百个基因差异表达的过程使尾巴再生,以前曾通过转录组和 microRNA 分析对这一过程进行过分析。为了研究再生组织中的蛋白质表达,我们对再生尾尖和基部进行了全蛋白质组分析。这是第一套针对无尾蜥的蛋白质组数据。我们共鉴定出 2646 个蛋白质,其中 976 个只存在于再生尾基部,796 个只存在于尾尖,874 个同时存在于尾尖和基部。对于这些组织中超过 90% 的蛋白质,我们都能在 Ensembl 或 NCBI 数据库中找到明确的同源基因模型。对于尾基中的 13 个蛋白质、尾尖中的 9 个蛋白质以及两个区域中的 10 个蛋白质,Ensembl 和 NCBI 中的基因模型与未表征的蛋白质相匹配,证实了这些预测存在于蛋白质组中。对再生尾基部表达的蛋白质进行的本体和通路分析确定了包括基于肌动蛋白丝过程、ncRNA 代谢、磷酸酶活性调控、小 GTP 酶介导的信号转导和细胞成分组织或生物生成等类别。对尾端表达的蛋白质进行分析后发现,其类别包括细胞器组织调控、蛋白质定位调控、泛素依赖性蛋白质分解、小 GTP 酶介导的信号转导、上皮细胞形态发生和生物质量调控。这些蛋白质组学发现证实了绿鬣蜥尾部再生过程中激活的通路和基因家族,同时也发现了一些尚未定性的蛋白质,它们在再生过程中的作用仍有待揭示。这项研究展示了蛋白质组和转录组数据在绿鼹鼠尾部再生过程中的整合可能带来的启示,并有可能更广泛地应用于其他再生模型的研究。
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引用次数: 0
A Possible Amphora Second at Sikyon, Greece 希腊锡基永可能的第二座安福拉石棺
IF 1.2 1区 历史学 0 ARCHAEOLOGY Pub Date : 2024-01-01 DOI: 10.1086/727261
Scott Gallimore
This article examines the role of quality control during the manufacturing process of Roman pottery. The criteria used by ancient potters to determine whether a finished vessel was suitable for sale and use or instead should be discarded as a waster has seen limited attention. Additional focus on this topic provides a means of studying behaviors associated with ancient pottery production and decision-making behind different steps of the process. Of particular interest for addressing the topic is a locally manufactured amphora recovered at the site of Sikyon, Greece, from a late fourth- to early fifth-century CE destruction deposit. This amphora was recovered from a use context but has several evident production defects and an X-shaped graffito incised on one of the handles, and it may have been designated as a second in antiquity. Along with a detailed analysis of the amphora, the discussion examines available archaeological, epigraphic, and paleographic evidence for quality control in Roman pottery production and attempts to shed additional light on potential ancient practices of designating vessels as seconds.1
本文探讨了质量控制在罗马陶器制造过程中的作用。古代陶工在决定一件成品器皿是适合销售和使用,还是应该作为废品丢弃时所使用的标准,受到的关注很有限。对这一主题的更多关注为研究与古代陶器生产相关的行为以及该过程不同步骤背后的决策提供了一种手段。希腊锡基永遗址从公元四世纪末至五世纪初的破坏性沉积物中发掘出的一个当地制造的双耳陶罐对研究该主题具有特别意义。这个双耳瓶是从使用环境中发掘出来的,但有几个明显的生产缺陷,其中一个手柄上还刻有 X 形涂鸦,因此在古代可能被指定为次品。在对该双耳陶罐进行详细分析的同时,讨论还研究了罗马陶器生产质量控制方面现有的考古、书信和古文字学证据,并试图进一步揭示古代将器皿指定为次品的潜在做法。
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引用次数: 0
Figural Imagery and Society in the Postpalatial Aegean: Mycenaean Pictorial Pottery from Perati in Its Chronological and Regional Context 后宫殿时代爱琴海的人物图像与社会:从年代和地区背景看佩拉蒂的迈锡尼画像陶器
IF 1.2 1区 历史学 0 ARCHAEOLOGY Pub Date : 2024-01-01 DOI: 10.1086/727463
Sarah C. Murray, Bartłomiej Lis
The assemblage of artifacts from the Late Helladic IIIC Mycenaean cemetery at Perati includes a considerable quantity of figure-decorated pottery and figural representations in other media, including figurines and seals. Advances in scholarship since these artifacts were discovered and published encourage a reconsideration of their meaning and significance. This study reviews the corpus of figural art from Perati and considers its potential significance for interpreting several aspects of Bronze Age society following the palatial collapse in the central and eastern Aegean regions. Discussion begins with a brief background on the site of Perati and a review of relevant scholarship regarding art and society in the Postpalatial period. It then turns to description of the figural art from Perati and places this material in its contemporary regional and cultural context, emphasizing comparisons and connections with the nearby sites of Lefkandi (Euboea) and Grotta (Naxos). Finally, the article reflects on these discussions to generate new conclusions about the likely mixed nature of all three communities, the logic underpinning their iconographical choices, and the origin of ideas driving some social change in the postpalatial Aegean.1
佩拉蒂希腊二世纪后期迈锡尼墓地出土的文物包括大量的人物装饰陶器和其他媒介的人物雕像,包括雕像和印章。自这些文物被发现和出版以来,学术研究取得了进展,这促使人们重新思考它们的意义和重要性。本研究回顾了佩拉蒂出土的雕像艺术品,并探讨了它们对于解释爱琴海中部和东部地区宫殿崩溃后青铜时代社会的多个方面的潜在意义。讨论首先简要介绍了佩拉蒂遗址的背景,并回顾了与后宫殿时期艺术和社会相关的学术研究。然后,文章介绍了佩拉蒂的雕像艺术,并将这些材料置于当代的地区和文化背景中,强调了与附近的莱夫坎迪(欧博亚)和格罗塔(纳克索斯)遗址的比较和联系。最后,文章对这些讨论进行了反思,得出了新的结论,即这三个社区可能是混合性质的,其图标选择的逻辑依据,以及推动后宫殿时代爱琴海某些社会变革的思想起源。
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引用次数: 0
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American Journal of Archaeology
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