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Urban Diaspora
This is a book on the rise and fall of diasporic communities in Early Modern urban centers in Denmark and Sweden. It contains 17 chapters written by archaeologists, historians and scientists, ranging from in-depth studies of artefacts, biofacts and archaeological features to large-scale analyses of community formation among natives and migrants of multiple origins. The plethora of sources and approaches afforded by the numerous disciplines involved enables a significant new insight into the creation and recreation of migrant communities in these Early Modern towns.
Watermarks 1450–1850
Watermarks 1450–1850 offers a concise history of the production of paper in Western Europe from the Middle Ages to the nineteenth century. The research is based on watermarks collected from various sources in combination with other elements from the trade, such as decorated paper and ream wrappers. This book includes reproductions of ca. seven hundred watermarks. Frans and Theo Laurentius have published two more books on the topic in this same book series: Italian Watermarks 1750–1860 (2016), and Watermarks in Paper from the South-West of France, 1560–1860 (2018). In 2007/2008 they published Watermarks (1600–1650) Found in the Zeeland Archives and Watermarks (1650–1700) Found in the Zeeland Archives.
Gli orci di Montelupo e le terrecotte vascolari nell’area fiorentina: la produzione grezza e smaltata
Le indagini archeologiche, e in particolare le ricerche subacquee, hanno evidenziato sin dagli anni ’70 la presenza di contenitori fittili (orci), poi riconosciuti come prodotti a Montelupo, in un ambito territoriale globale. Oltre al commercio internazionale dell’olio d’oliva toscano, questa eccezionale diffusione dipende anche dall’uso che la Royal Navy fece degli orci montelupini quale dotazione di cambusa per i suoi navigli tra il XVII (seconda metà) ed il XVIII secolo. I contributi di Hugo Blake, Gaëlle Dieulefet e Nina Linda Jaspers sono dedicati alla diffusione di questi contenitori lungo le vie marittime, in Inghilterra, Francia, Olanda e Canada, sino all’Indonesia e all’Australia, mentre Fausto Berti colloca la fabbricazione degli orci nelle vicende produttive delle ceramiche grezze in Toscana e nell’area di Montelupo. L’insieme dei saggi contenuti in questo volume rappresenta, dunque, un esempio dell’apporto che l’archeologia può offrire alla ricostruzione di vicende storiche complesse.
Alle origini dell’archeologia medievale italiana. Dalla ceramologia archeologica all’archeologia della produzione. Per Hugo Blake
Erano anni di profondi cambiamenti della società italiana, come di quella inglese, quando dal 1969 il giovane Hugo approdò in Italia per una tesi di dottorato sulla ceramica medievale nell’Italia centro-settentrionale, una ricerca che lo portò a entrare subito in rapporto con i maggiori studiosi del tempo di archeologia e di ceramica medievale, come David Whitehouse, Michelangelo Cagiano de Azevedo, Tiziano Mannoni, Ezio e Liana Tongiorgi, Ottone d’Assia, John Ward Perkins, Galeazzo Cora, John Mallet, Riccardo Francovich, Sergio Nepoti, Lanfredo Castelletti e molti altri. Molti altri fondamentali contatti Hugo poté stabilire grazie a Tiziano Mannoni, che lo portò ai Convegni Interna...
APM – Archeologia Postmedievale, 15, 2011
Dopo due numeri dedicati in buona parte alla Conflict Archaeology, la Rivista ritorna su temi “tradizionali” dell’agenda dell’archeologia postmedievale italiana, quali l’archeologia del commercio e della produzione, con vari saggi che spaziano dal XVI al XIX secolo. La prima sezione del volume approfondisce il commercio delle ceramiche italiane nei Paesi Bassi, lo studio dell’inventario di un mercante romano di ceramiche, Antonio Tassi da Gallese (1572), fino ai bottoni “vandeani”, di produzione francese, ritrovati in Calabria. La sezione dedicata all’archeologia della produzione si muove dall’archeologia mineraria dei territori di Reggio Calabria e di Motta San Giovanni ...
Envisioning Socialism
The first examination in English of East German television during the early Cold War
Bashō's Haiku
2005 CHOICE Outstanding Academic Title Basho's Haiku offers the most comprehensive translation yet of the poetry of Japanese writer Matsuo Bashō (1644–1694), who is credited with perfecting and popularizing the haiku form of poetry. One of the most widely read Japanese writers, both within his own country and worldwide, Bashō is especially beloved by those who appreciate nature and those who practice Zen Buddhism. Born into the samurai class, Bashō rejected that world after the death of his master and became a wandering poet and teacher. During his travels across Japan, he became a lay Zen monk and studied history and classical poetry. His poems contained a mystical quality and expresse...
Handbook on Sustainability Transition and Sustainable Peace
In this book 60 authors from many disciplines and from 18 countries on five continents examine in ten parts: Moving towards Sustainability Transition; Aiming at Sustainable Peace; Meeting Challenges of the 21st Century: Demographic Imbalances, Temperature Rise and the Climate–Conflict Nexus; Initiating Research on Global Environmental Change, Limits to Growth, Decoupling of Growth and Resource Needs; Developing Theoretical Approaches on Sustainability and Transitions; Analysing National Debates on Sustainability in North America; Preparing Transitions towards a Sustainable Economy and Society, Production and Consumption and Urbanization; Examining Sustainability Transitions in the Water, F...
14/18 – Rupture or Continuity
The impact of the Great War and its aftermath on Belgian artistic life World War I had a major effect on Belgian visual arts. German occupation, the horror at the battlefield and the experience of exile led to multiple narratives and artistic expressions by Belgian artists during and after the war. Belgian interbellum art is extremely vibrant and diverse. 14/18 – Rupture or Continuity takes a look at Belgian artistic life in the years around the First World War and how it was affected by this event. The Great War was a catalyst of artistic oppositions, leading on the one hand to a Belgian avant-garde that explored new forms and styles, while continuing to uphold a more traditional and established art on the other. Whereas the war experience consolidated an already present style for some artists, for others it constituted a revolution leading to new artistic adventures. The collection of essays in the present book highlights these contrasting facets of Belgian art in its rich historical context during the early 20th century.
