Hoyle on Stonehenge

Antiquity ◽  
1979 ◽  
Vol 53 (208) ◽  
pp. 124-129 ◽  
Author(s):  
Gordon Moir

In 1966 [Sir] Fred Hoyle published two papers on the possible use of Stonehenge as an eclipse predictor (1966a,b). He has now (Hoyle, 1977) returned to this theme with a very clearly written and well-illustrated book that is essentially an expansion of the material in the two 1966 papers. In brief, Hoyle proposes that the extant features of Stonehenge I provide the necessary means systematically to observe the sun and moon and to keep track of the nodes of the lunar orbit. This would provide sufficient information to allow eclipses of the moon to be predicted. He also proposes that by the time of Stonehenge III this method was superseded by the use of the Saros cycle of 18 years 11 days to predict eclipses. This last method almost certainly implies that written records of events at full moon were kept. Since there is no evidence from the British Late Neolithic or Early Bronze Age of writing or numeracy this proposal is purely speculative.

2006 ◽  
Vol 16 (2) ◽  
pp. 191-207 ◽  
Author(s):  
Lionel Sims

Recent archaeological research now views the northwest European Neolithic and Early Bronze Age as a period of separation from a resilient complex of traditions of Mesolithic and even Palaeolithic origin. Extending this insight to recent findings in archaeoastronomy, this article treats the sarsen monument at Stonehenge as one among a number of monuments with lunar–solar alignments which privileged night over day, winter over summer, dark moon over full. The aim of the monument builders was to juxtapose, replicate and reverse certain key horizon properties of the sun and the moon, apparently with the intention of investing the sun with the moon's former religious significance. This model is consistent with both current archaeological interpretations of burial practices associated with the monument, and with recent anthropological modelling of hunter-gatherer cultural origins.


2020 ◽  
Vol 6 (1) ◽  
pp. 19-37
Author(s):  
Knut Ivar Austvoll

AbstractThis paper discusses how coastal societies in northwestern Scandinavia were able to rise in power by strategically utilizing the natural ecology and landscape in which they were situated. From two case studies (the Norwegian regions of Lista and Tananger), it is shown that it was possible to control the flow of goods up and down the coast at certain bottlenecks but that this also created an unstable society in which conflict between neighboring groups occurred often. More specifically the paper outlines an organizational strategy that may be applicable cross-culturally.


2013 ◽  
Vol 40 (1) ◽  
pp. 135-146
Author(s):  
Aleksandar Tomic

Newton's formula for gravity force gives greather force intensity for atraction of the Moon by the Sun than atraction by the Earth. However, central body in lunar (primary) orbit is the Earth. So appeared paradox which were ignored from competent specialist, because the most important problem, determination of lunar orbit, was inmediately solved sufficiently by mathematical ingeniosity - introducing the Sun as dominant body in the three body system by Delaunay, 1860. On this way the lunar orbit paradox were not canceled. Vujicic made a owerview of principles of mechanics in year 1998, in critical consideration. As an example for application of corrected procedure he was obtained gravity law in some different form, which gave possibility to cancel paradox of lunar orbit. The formula of Vujicic, with our small adaptation, content two type of acceleration - related to inertial mass and related to gravity mass. So appears carried information on the origin of the Moon, and paradox cancels.


JOGED ◽  
2017 ◽  
Vol 7 (2) ◽  
Author(s):  
Dewi Sinta Fajawati

Bulan merupakan sumber inspiratif dalam penggarapan karya tari ini. Secara ilmu pengetahuan, Bulan adalah benda langit yang disebut satelit, satelit satu-satunya yang dimiliki Bumi dan tercipta secara alami. Banyak teori yang mengatakan tentang terbentuknya Bulan, salah satunya adalah teori Big bang atau dentuman besar. Pada dasarnya Bulan hanyalah sebuah Benda besar berbentuk bulat yang tidak bisa bercahaya, cahaya yang kita lihat pada malam hari merupakan refleksi dari cahaya matahari. Akan tetapi keindahannya memang tidak bisa dipungkiri, karena dia paling bercahaya diantara hamparan langit yang gelap. Cahayanya tidak selalu terang, bahkan tidak selalu bulat, terkadang hanya terlihat setengah atau terlihat seperti sabit..            Penata tari memetaforakan objek bulan yang berada di tempat yang sangat tinggi sebagai sebuah cita-cita yang ingin dicapai. Seringkali lagu anak-anak yang menjadi pengalaman auditif penata tari, menjadikan bulan sebagai objek yang ingin digapai, misal lagu ‘Ambilkan Bulan Bu’. Namun intisari yang akan dipakai dalam penggarapan koregrafinya adalah tentang fase bulan yang tercipta. Bersumber dari rangsang awal melihat bulan atau rangsang visual, penata tari menginterpretasikan fase-fase bulan yang terjadi sebagai fase kehidupan yang dijalani untuk menggapai sebuah cita-cita tersebut.            Koreografi diwujudkan dalam bentuk kelompok dengan membagi dua karate penari. Delapan penari merupakan simbolisasi Bulan, dan satu penari sebagai manusia yang bercita-cita. Dengan bentuk tari dramatik, penyajiannya dibagi menjadi 5 adegan, yaitu Introduksi Big bang, Adegan 1 Moon happen, Adegan 2 Mengejar Impian, Adegan 3 Dancing with Moon, dan Ending ‘Catch Your Dream’. The moon is the essential inspirations of this choreograph. Theoretically, the moon is a sky object which is called as satellite. The one and only naturally created satellite belongs to the planet Earth. There are many theories that explain how the moon was created. One of those theories is Big Bang theory or massive crash. Basically, the moon is just a huge circle thing which is unable to shine its glow. The light that we experience in the evening is the reflection of the sun. However, thebeauty of the moonlight is undeniable as it has the significant light within the darkest night sky. Its light is not always the strongest, even it’s not always circle (full), every so often it is seemed only the half part of it or crescent moon.            The choreographer interpreted the moon that belongs in the highest as the goals that she wants to reach. Most of the time, the children songs (lullaby) that pick the moon as the main object that is desired to be reached, for example the song “Ambilkan Bulan, Bu”. The essential idea that is explored in this choreograph is the creational phase of the moon itself. It was started by way of visual reaction when the choreographer observed the moon, she interpret the moon’s phases as the phases in human’s life which are gone through to reaching their goals. Fall and recovery, passionate, and even sometimes they give it in, are interpreted from the moonlight. The full moon which has the brightest and the most perfect light is likened as the strong spirit. The crescent moon with its soft light is interpreted as low spirit and unconfident.             This in-group-choreograph is separated into two characters with 8 female dancers that are the symbolization of the moon and the other one female dancer symbolizes a human with aspire. With dramatic dance form, this choreograph is presented into five parts, including introduction part of Big Bang, Moon Happen in part one, Chasing Dream is part two, Dancing With The Moon in part three, Catch Your Dream in the ending part.


Author(s):  
Ana Catarina Sousa ◽  
Victor S. Gonçalves ◽  
André Texugo ◽  
Ana Ramos-Pereira

This article is the result of archaeological and paleoenvironmental investigations carried out within the scope of the ANSOR project in the Sorraia valley (Coruche), on the left bank of the Lower Tagus. In the analysis of settlement dynamics between 5500 and 1800 a.n.e. we considered four moments: 1) The first peasant societies of the ancient Neolithic; 2) The Middle and Late Neolithic; 3) Chalcolithic; 4) The Early Bronze Age. The Sorraia valley was also framed in the framework of the Center and South of Portugal during the period under analysis. Interpretative models are presented for changes in the implantation patterns in the four stages under study, oscillating between paleoenvironmental factors and the socio-economic changes registered in the old peasant societies. 


2012 ◽  
Vol 75 (1) ◽  
pp. 61-73 ◽  
Author(s):  
Jacek Tomczyk ◽  
Maria Tomczyk-Gruca ◽  
Marta Zalewska

Abstract Linear enamel hypoplasia (LEH) is treated as a nonspecific indicator of stress, but even so, many authors consider it the most reliable tool stress in anthropological research. Its analysis allows the reconstruction of health related to the socio-economic status of the group. This study documents and interprets patterns of LEH in Żerniki Górne (Poland), a settlement which was functional in the Late Neolithic and the Early Bronze Age. We examined two successive cultures: the Corded Ware Culture (CWC; 3200-2300BC) and the Trzciniec Culture (TC; 1500-1300BC). In total, there were 1486 permanent teeth (124 adult individuals). The frequency of LEH in the examined cultures shows a small rising trend. In these series from Żernik Górne, males showed a higher occurrence of LEH (16.5%) than females (13.4%). The earliest LEH appeared at similar ages at about 2.0/2.2 years and the last LEH occurred at about 4.2 years of age in both cultures. However, it is worth noting that periods associated with physiological stress were more common but not very long (four months on average) in the CWC. Longer stress periods (nine months on average) were associated with the TC.


1997 ◽  
Vol 8 (2) ◽  
pp. 185-206 ◽  
Author(s):  
Susan Milbrath

AbstractAztec images of decapitated goddesses link the symbolism of astronomy with politics and the seasonal cycle. Rituals reenacting decapitation may refer to lunar events in the context of a solar calendar, providing evidence of a luni-solar calendar. Decapitation imagery also involves metaphors expressing the rivalry between the cults of the sun and the moon. Huitzilopochtli's decapitation of Coyolxauhqui can be interpreted as a symbol of political conquest linked to the triumph of the sun over the moon. Analysis of Coyolxauhqui's imagery and mythology indicates that she represents the full moon eclipsed by the sun. Details of the decapitation myth indicate specific links with seasonal transition and events taking place at dawn and at midnight. Other decapitated goddesses, often referred to as earth goddesses with “lunar connections,” belong to a complex of lunar deities representing the moon within the earth (the new moon). Cihuacoatl, a goddess of the new moon, takes on threatening quality when she assumes the form of a tzitzimime attacking the sun during a solar eclipse. The demonic new moon was greatly feared, for it could cause an eternal solar eclipse bringing the Aztec world to an end.


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