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Lucys forfader funnen i en gammal skog

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Med en svensk sammanfattning. Non-human bodies, such as gold foil figures, and human bodies are analysed. Three analytical concepts — masks, miniature, and metaphor — are deployed in order to interpret how and why the chosen bodies worked within their prehistoric contexts. The manipulations the figures sometimes have undergone are referred to as masking practices, discussed in Part One.

It is shown that masks work and are powerful by being paradoxical; that they are vehicles for communication; and that they are, in effect, Lucys forfader funnen i en gammal skog objects bridging gaps that arise in continuity as a result of events such as symbolic or actual deaths. In Part Two miniaturization is discussed. Miniaturization contributes to making worlds intelligible, negotiable and communicative. Bodies in miniatures in comparison to other miniature objects are particularly potent.

Taking gold foil figures under special scrutiny, it is claimed that gold, its allusions as well as its inherent properties conveyed numinosity. Consequently gold foil figures, regardless of the context, must be understood as extremely forceful agents.

Part Three examines metaphorical thinking and how human and animal body parts were used in pro-creational acts, resulting in the birth of persons. Thus, bone in certain contexts acted as a transitional object or as a generative substance. It is concluded that the bodies of research are connected to transitions, and that the theme of transformation was one fundamental characteristic of the societies of study. Masking practices, masks, transitions, Iron Age, Scandinavia, kuml, body, metaphorical thinking, miniaturization, queer theory, feminism, sex, gender, personhood, rune stones, gold foil figures, oral literacy, food preparation, burials.

Map of Scandinavia with geographical locations, p. The mountings from the Taplow drinking horns, p. An embracing couple from Roskilde, Denmark, p. Another embracing couple from Norsborg, Sweden, p. A not very human-like couple from Lundeborg, Sweden, p. A couple involved in bodily transgressing activities through orifices, p.

Gold foil couple, as it was interpreted by Otto Sperling around Lucys forfader funnen i en gammal skog yearp. Figure in a furry or feathered? I argue that these, despite their abbreviated form, Lucys forfader funnen i en gammal skog represent a seated character like the Rude Eskildstrup sculpture, p. Lucys forfader funnen i en gammal skog figures with few, if any, clothes discernable, p.

An Iron Age woman, p. An Iron Age man, p. A helmet from Vendel I, p. A helmet from Vendel XIV, p. The Buddha figure, dressed-up with a leather necklace and bracelet, p. The wooden sculpture from Rude Eskildstrup, seen en face, p.

The wooden sculpture from Rude Eskildstrup, seen in profile, p. Time line for Early and Late Iron figures, p. Gold foil figures with facial masks, p. A bronze mounting from Solberga, Sweden, p. A rune stone with a humanoid with the facial characteristic of a mask, p. Animal masks from Haithabu Hedebyp. Figures represented on the horns from Gallehus, Denmark, p.

Bird with a representation of a mask, p. A hidden face on jewellery, p. The conceptual link between a rune, a mound and a mask represented in visual form, p. The Gokstad ship with shields, p.

The Norsborg pendant according to Faith-Ell, p. The Norsborg pendant according to Kayat, p. Exaggerated body parts and paraphernalia of gold foil figures, p.

Enlarged eyes and chin of gold foil figures. Eketorp A1, SHMp. Patrices for gold foil figures with beakers, p. Gold foil figure seemingly involved in producing sounds, p.

A kissing gold foil couple? Gold foil figures moving legs and feet, p. Gold foil figures standing still, p. Gold foil figures with sitting postures, p. Possible feather-like attires of gold foil figures.

Per Eliasson, Skog, makt och...

A gold foil couple with ears represented, p. The Hemdrup stick, p. The rhomb-like incised pattern of the stick, p. The humanoid from the Hemdrup stick, p. The bodywork of vehicle 18, p. The A5 vehicle, p. The natural stone dyke touching the body work of vehicle A1, p. The southwest gate A13 of the northernmost mound with adjoining small rounded stones, p.

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The symbolism of a loaf of bread offering among the Mari, formerly the Cheremis, p. He also played a significant role when the Faculty of Humanities, to which I likewise Lucys forfader funnen i en gammal skog my sincerest thanks, decided to grant me 3. Equally, I am appreciative to the union Sulf for helping me retaining the grant when I was on maternity leave.

I am thankful several times over to Anders Carlsson, who moves with great alacrity. Apart from reading and making valuable comments on the manuscript, he has helped in sorting out troubles that may be encountered on a transition such as this one. His support when finalizing the thesis has been decisive.

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My Lucys forfader funnen i en gammal skog thanks go to Michael Shanks for inviting me to Lampeter University, Wales, where I spent the Lent term inand was given the opportunity to engage in many stimulating conversations and discussions on a grand variety of topics. Thank you to all the staff at the Department of Archaeology during the stay and to Karin Lucys forfader funnen i en gammal skog for friendship and inspirational archaeological discussions.

Without support from the following foundations, the thesis would not have been completed: I must also gratefully mention the following libraries: Stockholm University Library and in particular interlibrary loans, The Library of the Royal Academy of Letters, History and Antiquities, and most of all the National Library 12 of Sweden for its excellent service, indispensable interlibrary facilities, and for lending me a research place. I would also like to thank the following people who have sent me information relevant to the thesis: Carola Liebe-Harkort is due thanks for directing me to literature on physical anthropology.

I am grateful as well to Ann-Marie Hansson, who read and commented on the last chapter of the thesis. Thank you also to Jan Peder Lamm, for his friendliness and support, and for letting me use images of bodies from his publications. Further, I would like to express my gratitude to Irene Sigurdsson of the City Museum of Stockholm who searched for, and was able to find, the Norsborg pendant in a safe box at the Museum. Stefan Kayat is thanked for making an excellent drawing of the pendant.

Thank you also to Martin Rundkvist for friendship as well as occasional and fun e-mail correspondences. Ingmar Jansson is thanked for supplying information on Russian masks.

Any errors or misinterpretations in the text are of course my own. Thank you also to SHM for giving me permission to use the photo of the gold foil figures from Eketorp for the Lucys forfader funnen i en gammal skog cover of the book, and to my dear friend Maria Skantz for recasting the image. Thank you for your friendship, support, and engaging discussions on archaeological and other matters.

I am grateful to all of you for having read and commented on parts of the manuscript. Elisabeth and Marta are thanked in particular for making the work days at the National Library more pleasurable and a special thanks to Elisabeth for reading the whole thesis and making suggestions that greatly improved it.

I am very fortunate to have had Ben Alberti as a travelling companion on my voyage. Thank you for inspirational discussions, literary suggestions, friendship, support when I really needed it, for reading and making neat comments on the thesis, as well as doing a much needed revision of my English. I am further heavily indebted to Jimmy Strassburg for never-failing support, encouragement, inspiration, and not least for reading and making excellent comments on several versions of the thesis.

And thank you Jon — by being the nicest and kindest little brother anyone could wish for you have contrib13 uted to the thesis.

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Finally, I thank Milton for bringing me back to pleasant realities, showing me alternative ways of understanding the world and reminding me of things forgotten. It consists of three parts.

The first part serves the purpose of explaining, and discussing, general attitudes to bodies, corporealities and bodily practices. Although the bodily materials to be discussed are diverse in character, they are tied together by the theoretical framework, presented in this, the first part, of the thesis. This part includes in-depth analyses of the concepts of gender and sex, bodies and oral literacy, disembodiment, and masking and performance, all themes of the greatest importance for a discussion of the body.

The following two parts of the thesis specifically investigate, analyse and interpret the bodies of research. Buto dancing realizes the distance between the human body and the unknown; it belongs to both life and death NE. It has its roots in post-war Japan, and grew out of a reaction against traditional Japanese and Western dramatic art ibid. Quantum physics, however, has replaced the intrinsically deterministic character of classical physics with intrinsic uncertainty BE. The present thesis belongs at the cross-over point where Buto dancers and quantum physicians meet — at the acknowledging, producing and embodying of unpredictable states of being.

Per Eliasson, Skog, makt och människor, anm av fakultetsopponent Bo. trots att det ännu idag är oklart om vi kommer att orka överge det gamla Eu- . The Politics of Censorship in Italy from Napoleon to Restoration”, i David Laven & Lucy Gunneriusson den historiografiske kunnskapsproduksjonen som har funnet. «Germania Magna» er funnet innenfor Rhinen, Donau, Wisła og breddene av "[[Lucy in the Lucys forfader funnen i en gammal skog with Diamonds]]", "Hold My Hand", "[[Don't let me down]]", "With "[[Seahenge]]", "Spania ødelegger gammel romersk by for å erstatte den med .

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