scholarly journals Sites in Northern Louisiana with Major Collections of Historic Caddo and Other Native American Pottery

2007 ◽  
Author(s):  
Jeffery S. Girard
Keyword(s):  
Native American ◽  
19Th Century ◽  
18Th Century ◽  
17Th Century ◽  
Archaeological Sites ◽  
Mississippi Valley ◽  
Archaeological Record ◽  
Early 19Th Century ◽  
Late 18Th Century

Archaeological sites in northern Louisiana that date to the 18th and 19th centuries which have yielded significant amounts of Native American pottery are plotted on the accompanying map, and briefly summarized below. A common feature of ceramic collections from these sites is the prevalence of shell temper, a trait that is rare prior to the late 17th century in the region. The earliest contexts probably date from the late 17th to the early 18th centuries and include utilitarian types that were common during the Late Caddo period (ca. A.D. 1500-1700). By the middle 18th century, these types apparently were no longer used as shown by their absence at Los Adaes and sites along Cane River. Many traditional Caddo vessel forms (such as bottles and carinated bowls) appear to have dropped out of use during the late 18th century. Several early 19th century sites that relate to occupants of the ethnically-mixed Bayou Pierre community north of Natchitoches contain Native American shell-tempered pottery, but represented vessel forms are similar to the "Colonoware" that is widespread in the eastern U.S. A small number of engraved and incised sherds have been recovered at these sites, but it is possible that they are from earlier Caddo occupations. Groups that originated east of the Mississippi Valley moved into northern Louisiana during the late 18th century, and new types such as Zimmerman Black, Chickashae Red, Chickashae Combed, and Chattahoochee Roughened appear in the archaeological record. Native American pottery disappears from the archaeological record in the region by 1830.

European White Glass Trade Beads as Chronological and Trade Markers

1996 ◽  
Vol 462 ◽  
Author(s):  
R.G.V. Hancock ◽  
S. Aufreiter ◽  
I. Kenyon
Keyword(s):  
Chemical Analysis ◽  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
17Th Century ◽  
Glass Beads ◽  
Aboriginal Peoples ◽  
Archaeological Sites ◽  
Late 18Th Century ◽  
Over Time

ABSTRACTEuropean explorers and traders, on their arrival in North America, found the aboriginal peoples willing to exchange furs and other goods for European-made metal objects and glass beads, the remains of which may be found at archaeological sites. Specific trade goods, including multi-coloured or curiously shaped glass beads that are visually distinctive, are used as chronological markers by archaeologists. Most of the single coloured, mainly blue or opaque white beads are very common and cannot be visually, chronologically differentiated. Non-destructive analysis (INAA) of turquoise blue or white beads from known-age archaeological sites in Ontario has revealed chemical changes in glass manufacturing compositions over time. This allows these otherwise nondescript, single coloured beads to be used as chronological and trade markers. Although the turquoise beads were always coloured by Cu, the white beads employed different opacifiers over time. First came Sn-rich beads (early to late 17th century); then Sb-rich beads (late 17th century to mid-19th century); finally As-rich beads (very late 18th century to early 20th century) and even F-whitened beads (19th century to 20th century). Within each major group, it appears that changes in glass making recipes may be found using the Na, K, Ca, Al and Cl contents. Therefore, chemical analysis of white glass trade beads may be as profitable as chemical analysis of turquoise blue trade beads in establishing chemical chronologies.

scholarly journals Translating Representations: Orientalism in the Colonial Indian Province of Bengal (1770s-1830s)

2012 ◽  
Vol 3 (1) ◽  
Author(s):  
Emily Larocque
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Edward Said ◽  
Early 19Th Century ◽  
Late 18Th Century ◽  
Relations Of Power

The late 18th century to early 19th century British conquest into the Indian province of Bengal provides a fascinating study of the influence of translation and printing on the colonial relationship. Translation, as a form of representation, is yet another lens through which we can analyze Edward Said‟s concept of Orientalism (colonizer/colonized relationships) and witness the complexities and consequences that can result when individuals reinforce and/or subvert these „relations of power.‟

scholarly journals Anton Weidinger and the Emergence of His Voice: The Keyed Trumpet

2015 ◽  
Vol 8 (1) ◽  
Author(s):  
Jeremy W. Sexton
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Detailed Examination ◽  
Joseph Haydn ◽  
Early 19Th Century ◽  
Human Voice ◽  
The Third ◽  
Late 18Th Century ◽  
New Instrument ◽  
Johann Nepomuk Hummel

This paper examines Anton Weidinger, the 18th- and early 19th-century keyed trumpet player for whom Joseph Haydn and Johann Nepomuk Hummel composed their trumpet concerti. As the most successful of many attempts to chromaticize the trumpet in the late 18th century, during which the Baroque clarino style of trumpet-playing was waning, Weidinger’s keyed trumpet enjoyed a short-lived period of prominence from about 1800 to 1804, the period during which Weidinger premiered these two concerti. Subsequently, the keyed trumpet declined in popularity, and eventually it was replaced by the valve trumpet. Both concerti emphasize the chromatic capabilities of the new instrument. A detailed examination of some passages from the third movements of the two concerti suggests a deliberate attempt on the part of Hummel (perhaps under Weidinger’s influence) to “quote” and outdo the most virtuosic passages in the Haydn concerto and to cast the new instrument as capable of playing in a “singing” operatic style. Musical quotation from Luigi Cherubini’s opera Les Deux Journées further cements the implicit connection Hummel draws between the keyed trumpet and opera (and, by extension, the human voice). The paper concludes that Weidinger and Hummel sought, in Hummel’s concerto, to announce to the musical world that the trumpet was ready to move beyond its Classical status as a tutti instrument. Though the success of Weidinger and his keyed trumpet was transient, the two concerti composed for him today stand as cornerstones of the solo trumpet literature.

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