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This monograph focuses on the history and development of the topography, layout, and facilities of the ancient port of Seville, located in the lower Guadalquivir River Basin, between the 1st century BC and the 13th century AD. Until now, despite its commercial importance, little has been known about the port’s exact position, layout and facilities.
Over the course of the Almoravid (1040–1147) and Almohad (1121–1269) dynasties, medieval Marrakesh evolved from an informal military encampment into a thriving metropolis that attempted to translate a local and distinctly rural past into a broad, imperial architectural vernacular. In Marrakesh and the Mountains, Abbey Stockstill convincingly demonstrates that the city’s surrounding landscape provided the principal mode of negotiation between these identities. The contours of medieval Marrakesh were shaped in the twelfth-century transition between the two empires of Berber origin. These dynasties constructed their imperial authority through markedly different approaches to urban space, reflecting their respective concerns in communicating complex identities that fluctuated between paradigmatically Islamic and distinctly local. Using interdisciplinary methodologies to reconstruct this urban environment, Stockstill broadens the analysis of Marrakesh’s medieval architecture to explore the interrelated interactions among the city’s monuments and its highly resonant landscape. Marrakesh and the Mountains integrates Marrakesh into the context of urbanism in the wider Islamic world and grants the Almoravid and Almohad dynasties agency over the creation and instantiation of their imperial capital. Lushly illustrated and erudite, Marrakesh and the Mountains is a vital history of this storied Moroccan city. This is a must-have book for scholars specializing in the Almoravid and Almohad eras and a vital volume for students of medieval urbanism, Islamic architecture, and Mediterranean and African studies.
Research on historical earthquakes and tsunamis in the Iberian Peninsula has made great strides in recent years, from diverse scientific fields ranging from geology to archaeology. In addition to the famous earthquake and tsunami of 1755, which intensely affected the peninsula, researchers are conducting a growing number of surveys and case studies on seismic episodes and extreme wave events of possible tsunamigenic origin in Portugal and Spain during the ancient, medieval, and modern eras. However, the development of these studies has suffered due to a certain lack of communication among the different fields of research, which are focused on their own methodologies and interests. The aim of this book is to promote interdisciplinary dialogue by linking the results of the most recent research into historical earthquakes and tsunamis in Iberia from the fields of geology, history and archaeology. The volume, which devotes special attention to tsunamis and to events that occurred in the Iberian Peninsula before 1755, offers synthetic insights, updates, and case studies of maximum interest for knowledge of the historical seismology of Portugal and Spain.
This volume gathers 88 contributions related to the theme ‘Ships and Maritime Landscapes’ of the Thirteenth International Symposium on Boat and Ship Archaeology (ISBSA 13) held in Amsterdam on the 7th to 12th October 2012. The articles include both papers and poster presentations by experts in the field of nautical archaeology, history of ships and shipbuilding, and naval architecture. The contributions deal not only with the theme of maritime landscapes but also with a variety of ship related subjects, like regional watercraft, construction and typology, material applications and design, outfitting, reconstruction and current research.
The first major publication of one of the largest, most comprehensive, and most important sub-surface, pre-79 AD excavations ever to have been undertaken at Pompeii. This volume concerns the House of the Surgeon; the huge amount of data analysed overturns previous research, sheds light on the history of Pompeii and situates the results within Roman
One marker of the majesty of ancient Rome is its surviving architectural legacy, the stunning remains of which are scattered throughout the circum-Mediterranean landscape. Surprisingly, one truly remarkable aspect of this heritage remains relatively unknown. There exists beneath the waters of the Mediterranean the physical remnants of a vast maritime infrastructure that sustained and connected the western world’s first global empire and economy. The key to this incredible accomplishment and to the survival of structures in the hostile environment of the sea for two thousand years was maritime concrete, a building material invented and then employed by Roman builders on a grand scale to construct harbor installations anywhere they were needed, rather than only in locations with advantageous geography or topography. This book explains how the Romans built so successfully in the sea with their new invention. The story is a stimulating mix of archaeological, geological, historical and chemical research, with relevance to both ancient and modern technology. It also breaks new ground in bridging the gap between science and the humanities by integrating analytical materials science, history, and archaeology, along with underwater exploration. The book will be of interest to anyone interested in Roman architecture and engineering, and it will hold special interest for geologists and mineralogists studying the material characteristics of pyroclastic volcanic rocks and their alteration in seawater brines. The demonstrable durability and longevity of Roman maritime concrete structures may be of special interest to engineers working on cementing materials appropriate for the long-term storage of hazardous substances such as radioactive waste. A pioneering methodology was used to bore into maritime structures both on land and in the sea to collect concrete cores for testing in the research laboratories of the CTG Italcementi Group, a leading cement producer in Italy, the University of Berkeley, and elsewhere. The resulting mechanical, chemical and physical analysis of 36 concrete samples taken from 11 sites in Italy and the eastern Mediterranean have helped fill many gaps in our knowledge of how the Romans built in the sea. To gain even more knowledge of the ancient maritime technology, the directors of the Roman Maritime Concrete Study (ROMACONS) engaged in an ambitious and unique experimental archaeological project – the construction underwater of a reproduction of a Roman concrete pier or pila. The same raw materials and tools available to the ancient builders were employed to produce a reproduction concrete structure that appears to be remarkably similar to the ancient one studied during ROMACON’s fieldwork between 2002-2009. This volume reveals a remarkable and unique archaeological project that highlights the synergy that now exists between the humanities and science in our continuing efforts to understand the past. It will quickly become a standard research tool for all interested in Roman building both in the sea and on land, and in the history and chemistry of marine concrete. The authors also hope that the data and observations it presents will stimulate further research by scholars and students into related topics, since we have so much more to learn in the years ahead.
This is the first detailed and comprehensive study of the shipsheds which were a defining symbol of naval power in the ancient Mediterranean.
This volume presents the proceedings of the Maritime Archaeology Graduate Symposium 2018, a conference sponsored by the Honor Frost Foundation, dedicated to new and upcoming research focused on maritime archaeology in the eastern Mediterranean and beyond.
This volume provides a striking account of the life, destruction, rediscovery, and cultural significance of the ancient Roman town of Herculaneum and one of its grandest residences—the House of the Bicentenary. This volume vividly recounts, for general readers, the Roman town of Herculaneum, destroyed by the eruption of Mount Vesuvius in 79 CE and uniquely preserved for nearly two thousand years. Initial chapters offer an engaging historical overview of the town during antiquity, including the riveting story of its rediscovery in the eighteenth century, excavation in the nineteenth and twentieth centuries, and broad cultural significance in modern times. Subsequent chapters offer an interpretive tour of the ancient town, then focus on one of Herculaneum’s grandest and most beautifully decorated private residences, known as the House of the Bicentenary. Located on the town’s main street, it has a range of features—original rooms, magnificent wall paintings and mosaics, and remarkable documents—that illuminate daily life in the ancient world. Final chapters bring the story up to date, including recent discoveries about the site and its famous papyrus manuscripts, as well as ongoing conservation initiatives.
Composed after the collapse of his political hopes, Milton's great poems Paradise Lost, Paradise Regained, and Samson Agonistes are an effort to understand what it means to be a poet on the threshold of a post-theological world. The argument of Delirious Milton, inspired in part by the architectural theorist Rem Koolhaas's Delirious New York, is that Milton's creative power is drawn from a rift at the center of his consciousness over the question of creation itself. This rift forces the poet to oscillate deliriously between two incompatible perspectives, at once affirming and denying the presence of spirit in what he creates. From one perspective the act of creation is centered in God and the purpose of art is to imitate and praise the Creator. From the other perspective the act of creation is centered in the human, in the built environment of the modern world. The oscillation itself, continually affirming and negating the presence of spirit, of a force beyond the human, is what Gordon Teskey means by delirium. He concludes that the modern artist, far from being characterized by what Benjamin (after Baudelaire) called "loss of the aura," is invested, as never before, with a shamanistic spiritual power that is mediated through art.