Houses Made from Mammoth Bones

Mammoth bone dwellings are a very early type of housing constructed by Upper Paleolithic hunter-gatherers in central Europe during the Late Pleistocene. A mammoth (Mammuthus primogenus, and also known as Woolly Mammoth) was a type of enormous ancient now-extinct elephant, a hairy large-tusked mammal that stood ten feet tall as an adult. Mammoths roamed most of the world, including the continents of Europe and North America, until they died out at the end of the Pleistocene. During the late Pleistocene, mammoths provided meat and skin for human hunter-gatherers, fuel for fires, and, in some cases during the Upper Paleolithic of central Europe, as building materials for houses. A mammoth bone dwelling is typically a circular or oval structure with walls made of stacked large mammoth bones  often modified to allow them to be lashed together or implanted into the soil. Within the interior is typically found a central hearth or several scattered hearths. The hut is generally surrounded by numerous large pits, full of mammoth and other animal bones. Ashy concentrations with flint artifacts appear to represent middens; many of the mammoth bone settlements have a preponderance of ivory and bone tools. External hearths, butchering areas, and flint workshops are often found in association with the hut: scholars call these combinations Mammoth Bone Settlements (MBS). Dating mammoth bone dwellings has been problematic. The earliest dates were between 20,000 and 14,000 years ago, but most of these have been re-dated to between 14,000-15,000 years ago. However, the oldest known MBS is from the Molodova site, a Neanderthal Mousterian occupation located on the Dniester River of Ukraine, and dated some 30,000 years earlier than most of the known Mammoth Bone Settlements. Archaeological Sites There is considerable debate about many of these sites, leading to more confusion about how many mammoth bone huts have been identified. All have massive amounts of mammoth bone, but the debate for some of them centers on whether the bone deposits include mammoth-bone structures. All of the sites date to the Upper Paleolithic period (Gravettian or Epi-Gravettian), with the sole exception of Molodova 1, which dates to the Middle Stone Age and is associated with Neanderthals. Penn State archaeologist  Pat Shipman  has provided additional sites (and the map) to include in this list, which includes some very dubious attributions: Ukraine:  Molodova 5,  Molodova I,  Mezhirich, Kiev-Kirillovskii, Dobranichevka, Mezin,  Ginsy,  Novgorod-seversky,  Gontsy, Pushkari, RadomyshlCzech Republic:  Predmosti,  Dolni Vestonice, Vedrovice 5, Milovice GPoland:  Dzierzyslaw, Krakow-Spadzista Street BRomania:  Ripiceni-IzvorRussia:  Kostenki I, Avdeevo, Timonovka, Elisseevich, Suponevo,  YudinovoBelarus: Berdyzh Settlement Patterns In the Dnepr river region of Ukraine, numerous mammoth bone settlements have been found and recently re-dated to the epi-Gravettian between 14,000 and 15,000 years ago. These mammoth bone huts are typically located on old river terraces, above and within a ravine trending down to a slope overlooking the river. This type of location is believed to have been a strategic one, as it is placed in the path or near the pathway of what would have been migrating animal herds between the steppe plain and the riverside. Some mammoth bone dwellings are isolated structures; others have up to six dwellings, although they may not have been occupied at the same time. Evidence for contemporaneity of dwelling has been identified by refits of tools: for example, at  Mezhirich  in Ukraine, it appears that at least three dwellings were occupied at the same time. Shipman (2014) has argued that sites such as Mezhirich and others with mega-deposits of mammoth bone (known as mammoth mega-sites) were made possible by the introduction of dogs as hunting partners,   Mammoth Bone Hut Dates Mammoth bone dwellings are not the only or first type of house:  Upper Paleolithic  open-air houses are found as pit-like depressions excavated into the subsoil or based with stone rings or postholes, like that seen at Pushkari or  Kostenki. Some UP houses are partly built of bone and partly of stone and wood, such as Grotte du Reine, France. Sources Demay L, Pà ©an S, and Patou-Mathis M. 2012.  Mammoths used as food and building resources by Neanderthals: Zooarchaeological study applied to layer 4,   Quaternary International  276-277:212-226. doi: 10.1016/j.quaint.2011.11.019Molodova I (Ukraine).Gaudzinski S, Turner E, Anzidei AP, Àlvarez-Fernà ¡ndez E, Arroyo-Cabrales J, Cinq-Mars J, Dobosi VT, Hannus A, Johnson E, Mà ¼nzel SC et al. 2005.  The use of Proboscidean remains in every-day Palaeolithic life.  Quaternary International  126–128(0):179-194. doi: 10.1016/j.quaint.2004.04.022Germonprà © M, Sablin M, Khlopachev GA, and Grigorieva GV. 2008. Possible evidence of mammoth hunting during the Epigravettian at Yudinovo, Russian Plain.  Journal of Anthropological Archaeology  27(4):475-492. doi: 10.1016/j.jaa.2008.07.003Iakovleva L, and Djindjian F. 2005.  New data on Mammoth bone settlements of Eastern Europe in the light of the new excavations of the Gontsy site (Ukraine).  Quaternary Internat ional  126–128:195-207.Iakovleva L, Djindjian F, Maschenko EN, Konik S, and Moigne AM. 2012.  The late Upper Palaeolithic site of Gontsy (Ukraine): A reference for the reconstruction of the   Quaternary International  255:86-93. doi: 10.1016/j.quaint.2011.10.004hunter–gatherer system based on a mammoth economy.Iakovleva LA, and Djindjian F. 2001. New data on mammoth bone dwellings of Eastern Europe in the light of the new excavations of the Ginsy site (Ukraine). Paper given at the World of Elephants - International Congress, Rome 2001Marquer L, Lebreton V, Otto T, Valladas H, Haesaerts P, Messager E, Nuzhnyi D, and Pà ©an S. 2012.  Charcoal scarcity in Epigravettian settlements with mammoth bone dwellings: the taphonomic evidence from Mezhyrich (Ukraine).  Journal of Archaeological Science  39(1):109-120.Pà ©an S. 2010. Mammoth and subsistence practices during the Mid Upper Palaeolithic of Central Europe (Moravia, Czech Republic). In: Cavarretta G, Gioi a P, Mussi M, and Palombo MR, editors.  The World of Elephants - Proceedings of the 1st International Congress.  Rome: Consiglio Nazionale  delle  Ricerche. p 331-336.Shipman P. 2015.  The Invaders: How Humans and Their Dogs Drove Neanderthals to Extinction. Harvard: Cambridge.Shipman P. 2014.  How do you kill 86 mammoths? Taphonomic investigations of mammoth   Quaternary International  (in press). 10.1016/j.quaint.2014.04.048megasites.Svoboda J, Pà ©an S, and Wojtal P. 2005.  Mammoth bone deposits and subsistence practices during Mid-Upper Palaeolithic in Central Europe: three cases from Moravia and Poland.  Quaternary International  126–128:209-221.Wojtal P, and Sobczyk K. 2005.  Man and  woolly  mammoth at the Krakà ³w Spadzista Street (B) – taphonomy of the site.  Journal of Archaeological Science  32(2):193-206. doi: 10.1016/j.jas.2004.08.005

Family Dynamics in Peter Shaffer’s Equus and Metamorphosis...

The two novels Equus and The Metamorphosis carry comparable themes which isolate the main character from the father figure within each story. Kafka and Schaffer both contrast similar ideas of rejection within a father and son relationship in Equus and The Metamorphosis, to imitate the way society policies its members through family disagreements. The family differences about religion in one novel, and the stress because of a major transformation which causes the parent to work in another, creates tension, and in turn results in rejection towards the son in the two books. Throughout Equus, Schaffer manipulates the idea of rejection between Alan Strang and his father, by means of Alan’s imitation of biblical motifs from the Christian†¦show more content†¦The reason for this comes after the son, Samsa, goes through a transformation, which disables him to interact with the world outside. Throughout The Metamorphosis, Kafka demonstrates the broken relationship between father and son through the father’s inability to identify with his son after the transformation into a bug. In turn, the father becomes the breadwinner, and loses some respect for his son. Because of this rejection, their relationship becomes frayed. The loss of respect comes from Samsa no longer being able to work and provide for the family. Now that the father has to provide for the family, Samsa feels not only like an outcast, but like a failure, and guilt falls upon him. The father blames Samsa for the misfortune brought on to the family, and shuns him. Not only does the father shun his son, but he can barely look at his son, which differs from a typical father and son relationship. Because of the rejection from his father, Samsa isolates himself from everybody. Samsa and his father no longer have a connection towards one another due to the transformation, and his inability to work causes a more disconnect. Samsa’s father dislikes the idea of having to become a messenger for the family, because of Samsa’s transformation. Samsa knew â€Å"From the first day of his new life that his father considered only the strictest treatment called for in dealing with him† (Kafka 36). Out of

The Colour Purple Theme Free Essays

The title of the book is a very important symbol. Celie goes through life having a hard time noticing the beautiful aspects and appreciating them. She had a difficult life and was abused as an adolescent. We will write a custom essay sample on The Colour Purple Theme or any similar topic only for you Order Now â€Å"The color purple is continually equated with suffering and pain. Sofia’s swollen, beaten face is described as the color of ‘eggplant’. Purple is the color of Celie’s private parts: the site of her sexual violation. However, later Shug points out to her that life must be enjoyed. When they were in a field of purple flowers, Shug tells Celie to look at the flowers and embrace their beauty. You must look at all the good and acknowledge them because God placed them all on earth†. After learning this, Celie has a better respect for life and everything it has to offer. Themes, Motifs Symbols Themes Themes are the fundamental and often universal ideas explored in a literary work. The Power of Narrative and Voice Walker emphasizes throughout the novel that the ability to express one’s thoughts and feelings is crucial to developing a sense of self. Initially, Celie is completely unable to resist those who abuse her. Remembering Alphonso’s warning that she â€Å"better not never tell nobody but God† about his abuse of her, Celie feels that the only way to persevere is to remain silent and invisible. Celie is essentially an object, an entirely passive party who has no power to assert herself through action or words. Her letters to God, in which she begins to pour out her story, become her only outlet. However, because she is so unaccustomed to articulating her experience, her narrative is initially muddled despite her best efforts at transparency. In Shug and Sofia, Celie finds sympathetic ears and learns lessons that enable her to find her voice. In renaming Celie a â€Å"virgin,† Shug shows Celie that she can create her own narrative, a new interpretation of herself and her history that counters the interpretations forced upon her. Gradually Celie begins to flesh out more of her story by telling it to Shug. However, it is not until Celie and Shug discover Nettie’s letters that Celie finally has enough knowledge of herself to form her own powerful narrative. Celie’s forceful assertion of this newfound power, her cursing of Mr. ______ for his years of abuse, is the novel’s climax. Celie’s story dumbfounds and eventually humbles Mr. _____, causing him to reassess and change his own life. Though Walker clearly wishes to emphasize the power of narrative and speech to assert selfhood and resist oppression, the novel acknowledges that such resistance can be risky. Sofia’s forceful outburst in response to Miss Millie’s invitation to be her maid costs her twelve years of her life. Sofi a regains her freedom eventually, so she is not totally defeated, but she pays a high price for her words. The Power of Strong Female Relationships Throughout The Color Purple, Walker portrays female friendships as a means for women to summon the courage to tell stories. In turn, these stories allow women to resist oppression and dominance. Relationships among women form a refuge, providing reciprocal love in a world filled with male violence. Female ties take many forms: some are motherly or sisterly, some are in the form of mentor and pupil, some are sexual, and some are simply friendships. Sofia claims that her ability to fight comes from her strong relationships with her sisters. Nettie’s relationship with Celie anchors her through years of living in the unfamiliar culture of Africa. Samuel notes that the strong relationships among Olinka women are the only thing that makes polygamy bearable for them. Most important, Celie’s ties to Shug bring about Celie’s gradual redemption and her attainment of a sense of self. The Cyclical Nature of Racism and Sexism Almost none of the abusers in Walker’s novel are stereotypical, one-dimensional monsters whom we can dismiss as purely evil. Those who perpetuate violence are themselves victims, often of sexism, racism, or paternalism. Harpo, for example, beats Sofia only after his father implies that Sofia’s resistance makes Harpo less of a man. Mr. ______ is violent and mistreats his family much like his own tyrantlike father treated him. Celie advises Harpo to beat Sofia because she is jealous of Sofia’s strength and assertiveness. The characters are largely aware of the cyclical nature of harmful behavior. For instance, Sofia tells Eleanor Jane that societal influence makes it almost inevitable that her baby boy will grow up to be a racist. Only by forcefully talking back to the men who abuse them and showing them a new way of doing things do the women of the novel break these cycles of sexism and violence, causing the men who abused them to stop and reexamine their ways. The Disruption of Traditional Gender Roles Many characters in the novel break the boundaries of traditional male or female gender roles. Sofia’s strength and sass, Shug’s sexual assertiveness, and Harpo’s insecurity are major examples of such disparity between a character’s gender and the traits he or she displays. This blurring of gender traits and roles sometimes involves sexual ambiguity, as we see in the sexual relationship that develops between Celie and Shug. Disruption of gender roles sometimes causes problems. Harpo’s insecurity about his masculinity leads to marital problems and his attempts to beat Sofia. Likewise, Shug’s confident sexuality and resistance to male domination cause her to be labeled a tramp. Throughout the novel, Walker wishes to emphasize that gender and sexuality are not as simple as we may believe. Her novel subverts and defies the traditional ways in which we understand women to be women and men to be men. Motifs Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text’s major themes. Letters Walker uses the novel’s epistolary (letter-writing) form to emphasize the power of communication. Celie writes letters to God, and Nettie writes letters to Celie. Both sisters gain strength from their letter writing, but they are saved only when they receive responses to their letters. Therefore, although writing letters enables self-e-xpression and confession, it requires a willing audience. When Celie never responds to Nettie’s letters, Nettie feels lost because Celie is her only audience. Nettie grows disillusioned with her missionary work because the imperialists will not listen to her and because the Olinka villagers are stubborn. Only after Nettie returns home to Celie, an audience guaranteed to listen, does she feel fulfilled and freed. The Rural Farm Community Walker sets most of her novel in a rural farm community that has few visitors, and she focuses on colorful portraits of each of her characters. By focusing on the personal lives and transformations of her characters, Walker renders public events almost irrelevant. When Shug and Celie hear news of current events from the outside world, it all just sounds â€Å"crazy† to them. The unspecific time and place broaden the novel’s scope, making its themes more universal. Colors Throughout the novel, the appearance of brighter colors indicates the liberation various characters experience. Walker uses color to signal renewals and rebirths at several points in the novel. When Kate takes Celie shopping for a new dress, the only color options are drab ones—brown, maroon, and dark blue. Later, Celie and Sofia use bright yellow fabric from Shug’s dress to make a quilt. When Celie describes her religious awakening, she marvels how she never noticed the wonders that God has made, such as â€Å"the color purple. † Upon Mr. ______’s transformation, he paints the entire interior of his house â€Å"fresh and white,† signaling his new beginning. Symbols Symbols are objects, characters, figures, or colors used to represent abstract ideas or concepts. Sewing and Quilts In general, sewing in The Color Purple symbolizes the power women can gain from productively channeling their creative energy. After Sofia and Celie argue about the advice Celie has given Harpo, Sofia signals a truce by suggesting they make a quilt. The quilt, composed of diverse patterns sewn together, symbolizes diverse people coming together in unity. Like a patchwork quilt, the community of love that surrounds Celie at the end of the novel incorporates men and women who are bonded by family and friendship, and who have different gender roles, sexual orientations, and talents. Another important instance of sewing in the novel is Celie’s pants-sewing business. With Shug’s help, Celie overturns the idea that sewing is marginal and unimportant women’s labor, and she turns it into a lucrative, empowering source of economic independence. God In the early parts of the novel, Celie sees God as her listener and helping hand, yet Celie does not have a clear understanding of who God is. She knows deep down that her image of God as a white patriarch â€Å"don’t seem quite right,† but she says it’s all she has. Shug invites Celie to imagine God as something radically different, as an â€Å"it† that delights in creation and just wants human beings to love what it has created. Eventually, Celie stops thinking of God as she stops thinking of the other men in her life—she â€Å"git man off her eyeball† and tells God off, writing, â€Å"You must be sleep. † But after Celie has chased her patriarchal God away and come up with a new concept of God, she writes in her last letter, â€Å"Dear God. Dear stars, dear trees, dear sky, dear peoples. Dear Everything. Dear God. This reimagining of God on her own terms symbolizes Celie’s move from an object of someone else’s care to an independent woman. It also indicates that her voice is now sufficiently empowered to create her own narrative. Previous Section Analysis of Major Characters beginning. The Color Purple: This color, the color of royalty, exemplifies the endless possibilities available to Celie and oth er black women if they stand up for their own rights. Rightdock: 1 year ago The book is entitled Color Purple because Purple symbolizes hope which is largely given importance in the story. It was written by Alice Walker and released in 1982. How to cite The Colour Purple Theme, Essay examples