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Aegeus Society For Aegean Prehistory

BOOKS

Proceedings of the IVth International Cyprological Congress, Nicosia 29 April-3 May 2008 (2 volumes, I.1-I.2)

Edited by Andreas Dimitriou Nicosia 2011

Proceedings of the IVth International Cyprological Congress, Nicosia 29 April-3 May 2008 (2 volumes, I.1-I.2) The publication of the Proceedings of the IVth Cyprological Congress was divided into two parts. In the first one were included all papers which were written in Greek, while all papers written in other languages were included in the second one. In both cases the papers were put in alphabetical order according to the family name of the writer, and not with reference to their period or content.

World Archaeology at the Pitt Rivers Museum: A Characterization

Edited by Dan Hicks & Alice Stevenson Oxford 2013

World Archaeology at the Pitt Rivers Museum: A Characterization World Archaeology at the Pitt Rivers Museum: a characterization introduces the range, history and significance of the archaeological collections of the Pitt Rivers Museum, Oxford. In 29 newly-commissioned essays written by a specialist team, the volume explores more than 136,000 artefacts from 145 countries, from the Stone Age to the modern period, and from England to Easter Island.

Aurignacian Clay Hearths from Klissoura Cave 1

Malgorzata Kot Oxford 2012

Aurignacian Clay Hearths from Klissoura Cave 1 The Klissoura cave site (Argolid, Greece) is a multi–layered site with layers dating back to the Middle Palaeolithic. In the Aurignacian layer were found concave clay forms which are estimated, by C14 dates, to be 35–37.5 calibrated kyrs BP. In this study the author takes an experimental approach to investigate these important primitive features.

Encounters with Mycenaean figures and figurines. Papers presented at a seminar at the Swedish Institute at Athens, 27-29 April 2001

Edited by Ann-Louise Schallin in collaboration with Petra Pakkanen Stockholm 2009

Encounters with Mycenaean figures and figurines. Papers presented at a seminar at the Swedish Institute at Athens, 27-29 April 2001 This volume presents fourteen articles which discuss Mycenaean figurines from various points of view. They focus on different aspects of the figurines, elaborating on their function, contextual characteristics, production, use-life, classification, topography, and history of scholarship. The articles are based on papers given at a workshop at the Swedish Institute at Athens in April 2001 entitled ‘Cultic Space and Mycenaean Figurines’.

Princesses of the Mediterranean in the Dawn of History

Edited by Nicholas Stampolidis & Mimika Giannopoulou Athens 2013

Princesses of the Mediterranean in the Dawn of History Catalogue of the exhibition ‘Princesses’ of the Mediterranean in the dawn of History, which took place at the Museum of Cycladic Art (Athens, Greece) from 13 December 2012 until 8 May 2013. The exhibition presented 24 examples of ‘princesses’ from Greece, Cyprus, Southern Italy, and Etruria from 1,000 to 500 BC, and over 500 artefacts.

Knossos Monastiriako Kephali Tomb and ‘Deposit’

Edited by Laura Preston London 2013

Knossos Monastiriako Kephali Tomb and ‘Deposit’ The archaeological sites on the Monastiriako Kephali hill analysed in this volume include the earliest known mortuary activity at the key Minoan centre of Knossos on the island of Crete. Two Bronze Age sites are presented, known as the ‘Tomb’ and the ‘Deposit’, originally excavated in the 1930s but until now never published in detail.

Well Built Mycenae Fascicule 34.1: Technical Reports. The Results of Neutron Activation Analysis of Mycenaean Pottery

Elizabeth B. French & Jonathan E. Tomlinson (with contributions by S. M. A. Hoffman, †V. J. Robinson & R. E. Jones) Oxford 2013

Well Built Mycenae Fascicule 34.1: Technical Reports. The Results of Neutron Activation Analysis of Mycenaean Pottery Since 1890 when Sir Flinders Petrie first realised the importance of the Aegean pottery he had found in Egypt further discoveries of these wares have been noted with more than superficial interest. Early studies, however, right up to the mid 20th century, had to be based on stylistic, and thus often subjective, criteria.

The Settlement and Architecture of Lerna IV

Elizabeth C. Banks Princeton 2013

The Settlement and Architecture of Lerna IV In 1995 Jeremy B. Rutter presented the pottery of the Fourth Settlement at Lerna in Lerna III: The Pottery of Lerna IV. The present volume is the companion to the Rutter volume, outlining the architectural sequence of the EH III period at the site withdescriptions of the major building types and other features, such as hearths, ovens, and bothroi.

The Ahhiyawa texts (Writings from the Ancient World)

Gary Beckman, Trevor Bryce & Eric H. Cline Atlanta 2011

The Ahhiyawa texts (Writings from the Ancient World) Twenty-six texts found in the Hittite capital of Hattusa dating from the fifteenth–thirteenth centuries B.C.E. contain references to a land known as “Ahhiyawa,” which most scholars now identify with the Late Bronze Age Mycenaean world. The subject of continuing study and controversy since they were first published in 1924...

Die Synchronisierung der minoischen Alt- und Neupalastzeit mit der ägyptischen Chronologie

Felix Höflmayer Wien 2012

Die Synchronisierung der minoischen Alt- und Neupalastzeit mit der ägyptischen Chronologie Absolute dates for the Minoan Old- and New Palace Period are still under discussion. While the ‘traditional’ chronology favored a date for the Santorini eruption at the end of the chronological phase Late Minoan IA around 1500 BC based on archaeological evidence and the historical chronology of Egypt, adherents of the ‘high’ chronology placed the eruption in second half of the 17th century BC based on radiocarbon evidence.

Υλικός πολιτισμός. Η ανθρωπολογία στη χώρα των πραγμάτων (Material Culture. Anthropology in the Land of Things)

Edited by Eleana Yialouri Athens 2013

Υλικός πολιτισμός. Η ανθρωπολογία στη χώρα των πραγμάτων (Material Culture. Anthropology in the Land of Things) Είναι ο υλικός κόσμος "επιφανειακός", "εφήμερος", και ως εκ τούτου καταδικασμένος να συγκαλύπτει και να συσκοτίζει ό,τι θεωρείται "ουσιαστικό", "αληθινό" και "αιώνιο"; Είναι άψυχος" και "παθητικός", στον αντίποδα της οντότητας του "ανθρώπου", που είναι "ζωντανός" και "ενεργητικός"; Τότε, πώς μπορεί ένα έργο τέχνης να "δρα": να καθηλώνει, να συγκινεί, να προκαλεί συναισθήματα στο θεατή του;