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Thesis (doctoral) -- Universität Hamburg, 2006/7. / Includes bibliographical references (p. 135-139).

Marayniyoq, A Wari Establishment in Ayacucho Valley, PerúIn this paper we discuss the initial results of archaeological excavation carried out at Marayniyoq, a specialized Wari facility in the Ayacucho Valley, Peru. The discovery of a series of flat worked stones used for grinding, along with rocker grinders strongly suggests that the role of Marayniyoq was focused on grain processing, probably grinding corn. Because the grinding stones are immense cut blocks it is also apparent that enormous human energy was invested in the preparation, transportation and final setup of the facility. At the same time, the presence of large ceramic vessels and other evidence suggests that the function of Marayniyoq was the grinding of malted corn (qora) for corn-beer production. / En este trabajo se dan a conocer los resultados de las excavaciones efectuadas en Marayniyoq, un centro especializado wari del valle de Ayacucho. El descubrimiento de una serie de batanes y sus respectivas moliendas indican que éste fue un establecimiento destinado al procesamiento de granos, como el maíz. Puesto que estos batanes consisten en grandes bloques de piedra labrada, queda también manifiesto que se invirtió una enorme actividad humana en su preparación, traslado y construcción final. A su vez, la presencia de vasijas y evidencias adicionales tienden a sugerir que la función de Marayniyoq se relacionaba con el procesamiento de maíz y la producción de chicha.

The Carved Gourd Vessels of Huaca Prieta: Evidence of Valdivia Art in Central Andean Archaic?The two carved gourd vessels discovered by Junius B. Bird in tomb no. 903 at Huaca Prieta, Chicama valley, have 1ong been considered as foreign elements in a cultural context that at first did not appear to be very complex (Bird 1948). Because of some design resemblances with contemporary Valdivia ceramics in southwest Ecuador, Edward P. Lanning (1967) proposed a northern derivation for both gourds and his suggestion has since been accepted widely. On the basis of iconographic evidence that has become available more recently, the present study intends to show that both gourds are legitimate examples of late Archaic central Andean art. / Los dos mates encontrados por Junius B. Bird en el entierro 903 de Huaca Prieta, valle de Chicama, se consideraron por mucho tiempo como extraños en un contexto cultural cuya complejidad no era aparente al principio (Bird 1948). Efectivamente, su decoración excisa hace recordar algunos motivos de la ceramica Valdivia en el Ecuador. Esta fue la razón por la cual Edward P. Lanning (1967) propusiera una filiación norteña de los mates, la que ha sido recalcada por varios autores. El estudio presente trata de reubicar estas obras dentro del arte arcaico centroandino.

La monumentalisation de l’architecture figure parmi les marqueurs les plus éloquents de la pénétration de la culture romaine en Gaule, après la conquête. Peu de temps après l’instauration du Principat, de nouveaux édifices couverts de sculpture ornementale viennent en effet bouleverser le paysage architectural désormais gallo-romain. Sans précédent dans les constructions laténiennes, les décors architectoniques connaissent dès lors une importante diffusion et évoluent au gré d’influences diverses dont les premières sont dictées par des jalons métropolitains comme le temple de Mars Ultor.Plusieurs auteurs ont déjà proposé des synthèses retraçant l’évolution des décors architecturaux de Rome à l’époque impériale, pour le Ier siècle notamment. Elles sont en revanche beaucoup plus rares dès lors que l’on s’intéresse aux provinces de l’Empire et en particulier au nord des Gaules et aux Germanies, alors même que le matériel y est abondant. Ce constat est d’autant plus vrai à mesure que l’on avance vers la dynastie des Antonins puis vers les Sévères, à tel point que la seconde moitié du IIe et le IIIe siècles sont des époques quasiment désertées par les chercheurs.Situé dans la lignée de travaux récents concernant le décor architectonique « tardif » en Gaule et dans les Germanies (Genainville, Champlieu, Neumagen, Bordeaux, Pont-sainte-Maxence), ce travail propose une nouvelle synthèse centrée sur les deux derniers tiers du IIe et le IIIe siècle de notre ère. À partir d’un corpus réuni au sein des territoires éduen, lingon et sénon, il tente d’une part de caractériser les décors employés sur les bases, colonnes, chapiteaux, architraves, frises et corniches. En mettant en lumière une évolution pour chacun de ces éléments, il est alors possible de dégager des éléments chrono-typologiques. La question du répertoire ornemental est également abordée, ce qui permet de s’interroger sur les mécanismes évolutifs, la circulation des modèles et les différentes contraintes qui président aux changements observés. Enfin, l’étude des blocs permet de proposer plusieurs restitutions et d’ainsi avoir une idée de l’activité architecturale qui caractérise les différents sites observés. / The development of monumental stone architecture was part of the most telling clues about roman culture entering in Gaul, after Cesar’s conquest. Short while after the Principate started, new buildings covered with ornamental sculpture created a new architectural landscape in the territories that thus formed the roman Gauls. Even though architectonic ornaments had no precedent in the Iron Age, their spread quickly became very important. Ornaments thus started to evolve, taking monuments from Rome itself as first models ; for example the temple of Mars Ultor.Several authors have already written papers about the evolution of architectonic ornaments in the Imperial Rome, in particular for the Ist century AD. However, publications about the Provinces of the Empire are scarcer, especially regarding north of Gauls and Germanies. This observation is even more obvious for later periods such as the second half of the IInd and the IIIrd century A.D.My thesis belongs to a serie of recent works about « late » architectonic ornaments in roman Gauls and Germanies (about collections such as those of Genainville, Champlieu, Neumagen, Bordeaux, Pont-sainte-Maxence). It focus on a period from the years 130 to the years 230 AD (approximately from the reign of Antoninus to this of Alexander Severus). From a corpus gathered over three civitates (Aedui, Lingones, Senones), my work tries to define which ornaments were employed on the components of architectural orders (basis, columns, capitals, architrave, friezes, cornices), to understand how they were allocated, and to highlight how they evolved over decades. Ornamental repertory is also an important point : it allows to question about evolution mechanisms, patterns diffusion and other reasons that made handcrafters change their carving techniques. To finish, studying architectonic pieces provide possibilities of reconstructing monuments, so as to have a idea of what was building activity like in the three studied civitates.

As the focus of over 70 years* of archaeological research, Oaxaca, Mexico, is one of Mesoamerica*s best understood regions. Yet, despite the volume of work in Oaxaca, information about one of its key resource areas, the central Pacific coast, remains limited. Specifically, the ambiguous role of Oaxaca*s Central Coast in interregional relationships during pre-Hispanic times to the sites of Monte Alban and Tututepec has been a chronic problem and major source of debate for decades. The purpose of this thesis is to begin clarifying the role of Oaxaca*s Central Coast in interregional networks and its pre-Hispanic history. Analysis utilized surface observations, surface collections, and information from limited excavations performed by the Proyecto Arqueologico Laguna de Manialtepec (PALM) in the Manialtepec Basin, located on the Central Coast of Oaxaca. The data was then mapped using ArcGIS software to render settlement and artifact patterns. Based on the results of this project I suggest a history of settlement for this area. I also argue that the Basin contained three centers, maintained interregional interactions, and was invaded by the Mixtecs of highland Oaxaca during the Late Postclassic Period (A.D. 1200-1500).

A Poem Carved in Stone, a work for piano solo by Washington DC-based Chinese composer Wu Yiming was composed in Spring 2020 and is dedicated to the author of this dissertation. The piece is inspired by the poetry of Han Shan, a recluse who lived during the Tang Dynasty (618-907 A.D.). His poetry is in Chan (Zen) tradition. Wu depicts the imagery and philosophy in Han Shan's poetry through highly complex rhythms, extreme sound effects and pitches, tone clusters, and extended piano techniques. This dissertation provides practical instructions for achieving these effects and executing the unconventional techniques found in this piece, which include playing inside of the piano, various standing and sitting positions, and coordination and balance. A guide to interpret this piece is from both the composer's and the performer's perspective. Observations are drawn directly from communications and coaching received from the composer. This study briefly explores the historical and cultural context of Han Shan's poetry and discusses how Wu's use of modern western compositional devices reflects the Zen philosophy. An interview with the composer is included along with an overview of both his compositions and those of composers who influenced him. It is hoped that this dissertation will encourage pianists who are not experienced with non-traditional techniques to explore new music from living composers.

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Classé sur la première liste des monuments historiques et premier édifice civil à bénéficier d’une restauration ordonnée et financée par l’État, le château de Blois voit se succéder, dès 1843, deux chantiers de réhabilitation respectivement dirigés par Félix Duban (1797-1870) et Anatole de Baudot (1834-1915). Remarquable synthèse de l’histoire de l’architecture française, le château est aussi le terrain d’expérimentation de diverses conceptions, méthodes et techniques de restauration qui, apparaissant au XIXe siècle, animent le débat national au centre duquel se place Viollet-le-Duc. L’inventaire et l’analyse inédits du fonds lapidaire du château de Blois, collection à laquelle sont associés les études, modèles avant exécution et moulages en plâtre des motifs décoratifs avant restauration, permettent de renouveler les connaissances sur le décor sculpté des ailes Louis XII et François Ier. Grâce à la mise en perspective des plâtres, des pierres déposées, des façades actuelles, des sources manuscrites et iconographiques, cette étude révèle les spécificités de chacune des deux restaurations, leur opposition et leur complémentarité. Elle met en évidence deux perceptions différentes de la Renaissance et la façon dont elles sont traduites dans la pierre par les architectes du XIXe siècle. Le château de Blois est ainsi un chantier-modèle, tant par l’exemplarité des restaurations dont il est l’objet que par l’intégration, assumée, du XIXe siècle à son histoire / Classified on the first list of “Historic Monuments” and the first civil building to have its restoration requested and funded by the French State, the Chateau of Blois was the object of two renovation programmes starting in 1843 and respectively supervised by Félix Duban (1797-1870) and Anatole de Baudot (1834-1915). An outstanding synthesis of the history of French architecture, the chateau was also the experimenting field for various techniques, methods and approaches of restoration appearing in the 19th century and stimulating the national debate, in which Viollet-le-Duc played a major role. These unique inventory and analysis of the lapidary collection of the Chateau of Blois, to which are added the studies, the mock models, and the plaster casts of the decorative patterns before their restoration, allow to renew the knowledge about the carved décor of the Louis XII’s and the Francis I’s wings. This study puts into perspective the plaster casts, the stones taken off the facades, the present facades, the manuscript and iconographic sources, and it hereby brings to light the specificities of each restoration campaign, their differences and their complementarity. It highlights two different perceptions of the Renaissance and the way they were expressed in the stone by the 19th-century architects. Thus, thanks to its exemplary restoration and the way it integrated the 19th century into its own history, the Chateau of Blois acts as a true model for restoration campaigns

After dedicating over two years to pursuing an MFA degree focused on ceramics and sculpture, I find myself transported back to a familiar setting from my past: a tableau reminiscent of what remained in the dining space after four young children finished a meal and exited the room. Revisiting the scene recalls happy times despite the disorder. What helped maintain my sanity during the relentless repetition of the every-day-long task was the realization that every day, innocents are learning to become aware of the world around them. For my thesis exhibition, I created a tableau as a loud reminder of those messier times in my home. My exhibition features an oversized wooden toddler's chair and table, surrounded by scattered meal-time remnants exaggerated in scale predominantly crafted from ceramic. The food items are strewn about in seemingly random arrangements, creating a chaotic still life. Perhaps the disproportionate size of the furniture and the disorderliness subconsciously acknowledge the monumental challenge of caring for children, a task that once felt never-ending but has since become a distant memory. Viewers may find solace in the mundane subject matter and in the ease of recognizing the familiar elements on display.