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Base de datos elaborada por el Departamento de Ciencias Históricas de la Universidad de Cantabria que recoge documentación gráfica sobre el arte paleolítico en el norte de España.
One of the most difficult challenges a music theoretician faces, be it historically, philosophically or in other aspects, is that of correctly and precisely framing the meaning that music has in a specific moment: deducing the “why” and revealing the secret hidden within. The book Pure and Programme Music in the Romanticism, a rigorous and indispensable study to understand music in the period in which music as an expression of feelings, begins to reach the threshold of the sublime —primarily focusing attention on what pure and programme music represent. Both types of music are instrumental, but the difference between them is that the first one, pure music, exists on its own, and for its own sake, establishing an iron-clad alliance with the form. Programme music is inspired by other forms of artistic expression, especially literature, and is indelibly linked with the content. However, halfway between these two types of music, a new one is born: absolute music. This music is the result from the dialectic established between the pure and programme, exactly in the middle of two opposing philosophies, that of Idealism and that of Materialism. All of this context described in this book is what defines the essence of Romantic music but also what allows us to understand the music of the twentieth century and that of today, because the controversy between pure music and programme music has represented, in the history of western musical thought, the turning point that led to the creation of the Gesamtkunstwerk (Total Work of Art) and the relationship between music and film, for example, as well as other artistic expressions.
Written from an archaeological perspective, Painted Caves is a beautifully illustrated introduction to the oldest art of Western Europe: the very ancient paintings found in caves. Lawson offers an up to date overview of the geographical distribution of the sites and their significance within the varied network of Palaeolithic art.
The Prehistoric Rock Art of Portugal presents significant interpretive perspectives in Portuguese rock art research and offers an excellent representation of core rock art areas, along with current thinking and interpretations. The various chapters deliver a personal approach to the many issues, themes and approaches that are embedded within the rock art of the outpost of western Atlantic Europe. Ethnographical perspectives have often dominated the study of rock art but unlike other well-studied regions, the western Iberian Peninsula is absent of an ethnographical or ethno-historical past and therefore the production of rock art can only be archaeologically assessed. Thus, the work promotes interpretive perspectives on Portuguese rock art, illustrating the richness, chronology and context of these unique artistic expressions and explores the variability of rock art imagery and the diversity of landscapes and social contexts in which it was produced. Although focusing on Portuguese rock art the book includes a number of universal themes that will appeal to a broad range of scholars researching in archaeology and anthropology, history of art, as well as professionals engaged in rock art heritage and conservation.
The diverse papers in this volume, published in honour of Professor de Balbin, cover a wide variety of the decorated caves which traditionally defined Palaeolithic art, as well as the open-air art of the period, a subject in which he has done pioneering work at Siega Verde and elsewhere.
This book contains papers in French and English Proceedings of the XV World Congress UISPP (Lisbon, 4-9 September 2006). Volume 3. Session C16. Series Editor: Luiz Oosterbeek
As the study of Palaeolithic technologies moves towards a more analytical approach, it is necessary to determine a consistent procedural framework. The contributions to this timely and comprehensive volume do just that. This volume incorporates a broad chronological and geographical range of Palaeolithic material from the Lower to Upper Palaeolithic. The focus of this volume is to provide an analysis of Palaeolithic technologies from a quantitative, empirical perspective. As new techniques, particularly quantitative methods, for analyzing Palaeolithic technologies gain popularity, this work provides case studies particularly showcasing these new techniques. Employing diverse case studies, and utilizing multivariate approaches, morphometrics, model-based approaches, phylogenetics, cultural transmission studies, and experimentation, this volume provides insights from international contributors at the forefront of recent methodological advances.
This is the third in the five-yearly series of surveys of what is happening in rock art studies around the world. As always, the texts reflect something of the great differences in approach and emphasis that exist in different regions. The volume presents examples from Europe, Asia, Africa, and the New World. During the period in question, 1999 to 2004, there have been few major events, although in the field of Pleistocene art many new discoveries have been made, and a new country added to the select list of those with Ice Age cave art. Some regions such as North Africa and the former USSR have seen a tremendous amount of activity, focusing not only on recording but also on chronology, and the conservation of sites. With the global increase of tourism, the management of rock art sites that are accessible to the public is a theme of ever-growing importance.