Industry and the Making of a Rural Landscape: Iron and pottery production at Churchills Farm, Hemyock, Devon

2018 ◽  
2015 ◽  
Vol 36-37 (1) ◽  
pp. 51-63 ◽  
Author(s):  
Roy Towers ◽  
Nick Card

This paper describes a hitherto unidentified adaptation in Grooved Ware pottery at the Ness of Brodgar, Orkney ( Fig. 1 ). The technological technique adopted appears designed to cope with a common problem of Grooved Ware potters at the Ness: that of detached cordons, where applied decorative cordons on the exterior surface of the vessels are knocked off or simply fall off. The evidence shows that, in the case of one large pottery deposit from the site, some vessel exteriors were specially prepared in order to ensure cordon adhesion. The Ness of Brodgar site is introduced, issues surrounding pottery production and applied decoration in the Late Neolithic, particularly in Orkney, are noted and the problem-solving sherds are described. The paper is illustrated in part by the use of Reflectance Transformation Imaging (RTI).


2016 ◽  
Vol 33 (1) ◽  
pp. 92-116 ◽  
Author(s):  
David K. Blake

By examining folk music activities connecting students and local musicians during the early 1960s at the University of Illinois at Urbana-Champaign, this article demonstrates how university geographies and musical landscapes influence musical activities in college towns. The geography of the University of Illinois, a rural Midwestern location with a mostly urban, middle-class student population, created an unusual combination of privileged students in a primarily working-class area. This combination of geography and landscape framed interactions between students and local musicians in Urbana-Champaign, stimulating and complicating the traversal of sociocultural differences through traditional music. Members of the University of Illinois Campus Folksong Club considered traditional music as a high cultural form distinct from mass-culture artists, aligning their interests with then-dominant scholarly approaches in folklore and film studies departments. Yet students also interrogated the impropriety of folksong presentation on campus, and community folksingers projected their own discomfort with students’ liberal politics. In hosting concerts by rural musicians such as Frank Proffitt and producing a record of local Urbana-Champaign folksingers called Green Fields of Illinois (1963), the folksong club attempted to suture these differences by highlighting the aesthetic, domestic, historical, and educational aspects of local folk music, while avoiding contemporary socioeconomic, commercial, and political concerns. This depoliticized conception of folk music bridged students and local folksingers, but also represented local music via a nineteenth-century rural landscape that converted contemporaneous lived practice into a temporally distant object of aesthetic study. Students’ study of folk music thus reinforced the power structures of university culture—but engaging local folksinging as an educational subject remained for them the most ethical solution for questioning, and potentially traversing, larger problems of inequality and difference.


2016 ◽  
Vol 15 (7) ◽  
pp. 1537-1550 ◽  
Author(s):  
Maria Jesus Montero-Parejo ◽  
Lorenzo Garcia-Moruno ◽  
Sergio Lopez-Casares ◽  
Julio Hernandez-Blanco

Paléorient ◽  
1988 ◽  
Vol 14 (1) ◽  
pp. 143-150 ◽  
Author(s):  
John R. Alden

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