Academic literature on the topic 'Collective tomb'
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Journal articles on the topic "Collective tomb":
1
Xu, Photo by Jennifer. "The Collective Lamentation of the Raggio Tomb." Academic Medicine 94, no. 7 (July 2019): 990. http://dx.doi.org/10.1097/acm.0000000000002716.
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Choi, Sung-rak, and Moonkang Bok. "Discussion on the Terminology of Baekje Tombs." Korean Ancient Historical Society 121 (August 31, 2023): 71–95. http://dx.doi.org/10.18040/sgs.2023.121.71.
Abstract:
This study started with the problem consciousness that the concept of each terminology should be clearly established prior to research on Baekje tombs. Therefore, the concept of tomb (墳墓) and mounded tomb (古墳) were examined along with the problem of Bungumyo (墳丘墓), and a new classification and name were presented based on the research of Baekje tombs.
First, the tomb was used as a collective term for all tombs, regardless of temporality and hierarchy, and the mounded tomb was named only for some tombs what hierarchy is clearly revealed after the middle of 3rd century. In addition, the tomb that appear from the middle of the 3rd century but are relatively low hierarchy was defined as Myo (墓), and tomb with high hierarchy was defined as Bun (墳). On the other hand, it was defined as Chong (塚) only in some tomb with large external facility that was stoned, reflecting their political stature. On the other hand, it was judged that the Bungumyo is difficult to use in Korean archaeology because there is a big difference in concepts used among researchers and regions, and also a difference from the concept used in Japanese archaeology.
Next, Baekje tombs are classified based on the material, shape, and structure of the burial facility. First, it was classified into wooden, stone, brick, jar according to constructive material. Next, among coffin, outer coffin, and chamber, which are the shape of the burial facility, the outer coffin and chamber were clearly distinguished according to the existence of access facility, In addition, vertical style, corridor style, and open-enterance style were classified according to the structure of the burial facility.
Lastly, the tombs with high hierarchy that appeared after the middle of the 3rd century, which is defined the mounded tombs (古墳) and high mounded tombs (古塚) were classified into wooden coffin mounded tombs (木棺墳), wooden outer coffin mounded tombs (木槨 墳), the stone lined mounded tombs with vertical style (竪穴式 石槨墳), the stone chamber mounded tomb with corrider style (橫口式 石室墳), the stone chamber mounded tomb with open-entrance style (橫穴式 石室墳), brick chamber mounded tomb (塼築墳). stone mounded tomb (積石塚), The tombs with low hierarchy were classified wooden coffin tomb (木棺墓), stone lined tomb (石槨墓), jar coffin tomb (甕棺墓), stone tomb (積石墓). However, tombs that have already been accepted universly, such as pit tomb (土壙墓), open-entrance tomb(橫穴墓), crematory tomb (火葬墓), pit tomb with the ditch (周構土壙墓) were named as they are used. In addition, as considering regional characteristics in the the Yeongsan river basin, the wooden coffins mounded tombs (木棺古墳) and the jar coffins mounded tombs (甕棺古墳) were named, and the tombs similar to the keyhole-shaped tombs of Japan should be named as the keyhole-shaped style mouned tombs (前方後圓形古墳).
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Xu, Jennifer. "Commentary on “The Collective Lamentation of the Raggio Tomb”." Academic Medicine 94, no. 7 (July 2019): 991. http://dx.doi.org/10.1097/01.acm.0000574980.27261.3a.
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Rutkowski, Łukasz, and Marta Parol. "The skeletal remains from Umm an-Nar tomb QA 1-1: spatial distribution and anthropological analysis." Polish Archaeology in the Mediterranean, no. 30/2 (December 31, 2021): 103–28. http://dx.doi.org/10.31338/uw.2083-537x.pam30.2.27.
Abstract:
Collective aboveground circular tombs of stone are one of the main categories of architectural structures from the Umm an-Nar period (2500–2000 BC) in the Oman peninsula. The tombs have been known since the late 1950s but various aspects of their functioning still await a full explanation. Most of them survived in poor condition, often empty, only a dozen or so actually yielding any human remains. Tomb QA 1-1, one of ten Umm an-Nar-type tombs at Wadi al-Fajj in northwestern Oman, has yielded a substantial assemblage of human skeletal remains (estimated MNI 25) from the two of four burial chambers excavated between 2016 and 2018. While the excavation of the tomb should be continued, a presentation of the bone assemblage recovered to date, including a distribution analysis of the remains, deposition characteristic, and preliminary osteological analysis, adds to the existing source base of Early Bronze Age populations in the ancient land of Magan.
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Kim, Dae Hwan. "The Collective Integration Process of Saroguk Based on the Tomb Data." Yeongnam Archaeological Society 97 (September 30, 2023): 189–211. http://dx.doi.org/10.47417/yar.2023.97.189.
Abstract:
This paper criticized the previous research on the formation of Saroguk and pointed out the problems that previous research had, and interpreted the formation process of Saroguk from a different perspective. First of all, through analysis of the wooden coffin tombs, we understood the phenomenon of the clustering of wooden coffin tombs, which has been used as an important indicator, as the beginning of the Samhan relations network. The emergence of a dominant relative group or clan group in the process of forming Saroguk was seen as a continuous phenomenon with the emergence of large wooden tombs, and as an important phenomenon to understand the process of forming Saroguk. In the process of establishing and forming Saroguk, he emphasized the role of leaders and rulers buried in wooden coffins and large wooden tombs, and emphasized the competition, antagonism, and integration and reorganization under the unique geographical and historical environment of Gyeongju.
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Malone, Caroline, Simon Stoddart, Anthony Bonanno, Tancred Gouder, David Trump, Geraldine Barber, Carol Brown, et al. "Mortuary Ritual of 4th Millennium bc Malta: the Zebbug Period Chambered Tomb from the Brochtorff Circle at Xaghra (Gozo)." Proceedings of the Prehistoric Society 61 (1995): 303–45. http://dx.doi.org/10.1017/s0079497x0000311x.
Abstract:
As part of the research of the joint Anglo-Maltese project on the island of Gozo, a Zebbug period rock-cut tomb was discovered in the south-east corner of the Brochtorff Circle. The integrity of this tomb and the interdisciplinary approach applied to its study make it a unique find from the Maltese islands and rare within the southern central Mediterranean.The article presents the stratigraphy, pottery, stone, shell and bone artefacts, skeletal remains, animal bone, molluscan samples, and radiocarbon dates from the tomb. At the same time the significance of the tomb for the formative phases of collective burial, exchange and symbolic processes in the central Mediterranean and the origins of Maltese insularity is explained.
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Gapany, Jérôme. "Claiming village commons by “militarizing the ancestors” in urbanizing Fuzhou, China." Focaal 2022, no. 94 (December 1, 2022): 72–86. http://dx.doi.org/10.3167/fcl.2022.940105.
Abstract:
The funeral reforms in China condemn widespread burial practices considered “backward” and “uncivilized” while contradicting core grassroots values. Examining collective tomb land expropriation in a former rural township of Fuzhou hosting important military infrastructures, this article highlights issues of accessibility to ancestral land in the context of rapid urbanization and the resulting transition from village commons to state provisioned public goods. How do the original inhabitants of new urban communities make claims on their ancestors’ tomb land? What tactics are deployed to comply with state policies as well as to safeguard a certain sense of collective identity? This article shows how former villagers’ publicizing strategies of militarizing their ancestors allow for some concessions to be made, despite little room for negotiations left by sweeping urbanization.
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Syahrun, Syahrun, and Basrin Melamba. "Changes in Tolaki People Burial in Southeast Sulawesi: From Boat-Shaped Grave Coffin (Soronga) to Boat-Shaped Islamic Tomb (Koburu Bangga)." Jurnal Sejarah Citra Lekha 7, no. 1 (May 28, 2022): 1–12. http://dx.doi.org/10.14710/jscl.v7i1.45319.
Abstract:
The first burial system of Tolaki people in prehistoric times and ancient times adopted boat-shaped grave coffin known as soronga or oduni. There were large and small soronga and there were also decorated and undecorated or plain soronga. When Islam was introduced in the Mekongga Kingdom during the leadership of King/Bokeo Laduma in 17th century and in Konawe in 18th century, the burial system was adopted. However, the tradition of using boats experienced a change. During the Islamic era, there were two shapes of grave in the Islamic grave called as ninggeo-nggeo where the grave was placed in a hole made on the side of the excavation and tinandapa where the grave was placed in a hole made in the middle of the excavation and it was intended for elite and influential ruler. There were also four models of tomb types, namely circle (buboto/loelole), rectangular (konahuu), rectangular step pyramid, elongated (menda’a), and boat-shaped (obangga). koburu bangga tomb. The distribution pattern of the tombs varied, there were converging (metobu), circular, and spreading patterns. The shape of tombstone also varied, it resembled pappilus genital, round stone, wide wood and stone, human head, knights grinding stone (oliro). It was made of stone, river stone, mountain stone, wood, and even tree was also used as a tomb marker. The boat-typed tomb still maintained because a faith that the deceased need vehicles to go to their destination. It is also affected by maritime world at the past as well as technology that lived in the past used by a collective memory.
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Riggs, Christina. "Shouldering the past: Photography, archaeology, and collective effort at the tomb of Tutankhamun." History of Science 55, no. 3 (December 19, 2016): 336–63. http://dx.doi.org/10.1177/0073275316676282.
Abstract:
Photographing archaeological labor was routine on Egyptian and other Middle Eastern sites during the colonial period and interwar years. Yet why and how such photographs were taken is rarely discussed in literature concerned with the history of archaeology, which tends to take photography as given if it considers it at all. This paper uses photographs from the first two seasons of work at the tomb of Tutankhamun (1922–4) to show that photography contributed to discursive strategies that positioned archaeology as a scientific practice – both in the public presentation of well-known sites and in the self-presentation of archaeologists to themselves and each other. Since the subjects of such photographs are often indigenous laborers working together or with foreign excavators, I argue that the representation of fieldwork through photography allows us to theorize colonial archaeology as a collective activity, albeit one inherently based on asymmetrical power relationships. Through photographs, we can access the affective and embodied experiences that collective effort in a colonial context involved, bringing into question standard narratives of the history and epistemology of archaeology.
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Lee, Anru, and Wen-hui Anna Tang. "The Twenty-five Maiden Ladies' Tomb and Predicaments of the Feminist Movement in Taiwan." Journal of Current Chinese Affairs 39, no. 3 (September 2010): 23–49. http://dx.doi.org/10.1177/186810261003900302.
Abstract:
“The Twenty-five Maiden Ladies' Tomb” is the collective burial site of the female workers who died in a ferry accident on their way to work in 1973. The fact that of the more than 70 passengers on board all 25 who died were unmarried young women, and the taboo in Taiwanese culture that shuns unmarried female ghosts, made the Tomb a fearsome place. Feminists in Gaoxiong ([Formula: see text]) had for some years wanted the city government to change the tomb's public image. Their calls were not answered until the Gaoxiong mayor's office finally allocated money to clean up the gravesite and, as part of the city's plans to develop urban tourism, to remake it into the tourist-friendly “Memorial Park for Women Labourers”. Consequently, even though the tomb renovation seemed to indicate a triumph of the feminist endeavour, it was more a result of the Gaoxiong city government's efforts towards culture-led urban revitalization.
Dissertations / Theses on the topic "Collective tomb":
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Blin, Arnaud. "La gestion des sépultures collectives du bassin parisien à la fin du néolithique." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100183.
Abstract:
Depuis près d’un siècle et demi, près de quatre cent cinquante sépultures collectives ont été découvertes dans le Bassin parisien. L’information archéologique à disposition y est largement lacunaire. La connaissance des groupes chrono-culturels de la fin du Néolithique a tout de même été enrichie grâce au mobilier funéraire. Il a permis de définir une phase de construction et d’utilisation commune pour une grande majorité de sépultures collectives au Néolithique récent 2 (3350-3000 av. J.-C). Une minorité d’entre elles a été utilisée au Néolithique final 1 (2900-2550 av. J.-C.), voire jusqu’au début de l’Âge du Bronze. Malgré un horizon chronologique commun, les sépultures collectives du Bassin parisien présentent une étonnante diversité architecturale. Deux grands types de monuments ont été identifiés : les allées sépulcrales et les hypogées. Ils coexistent avec un ensemble de sépulcres anciennement appelés « dolmens » ou « sépultures en fosse », deux termes qui sont aujourd’hui à bannir. Chaque type architectural se caractérise par des techniques de construction, une répartition géographique, une logique d’implantation, une durée d’utilisation et une concentration de mobilier qui lui est propre. Cette diversité est-elle renforcée par des divergences au niveau des pratiques funéraires ? Les différents types de sépultures collectives du Bassin parisien se distinguent-ils également par leurs modes de fonctionnement ? Peuvent-ils constituer des caractères culturels originaux ?For one century and an half, around four hundred and fifty collective burials had been discovered in the Paris basin. The archeological information is widely lacunar. The knowledge of the chronological and cultural groups of the end of the Neolithic had been enhanced thanks to the burial deposit. It permitted to define a common phase of building and use of a large majority of the collective burials during the recent Neolithic (3350-3000 av. J.-C). A minority of them had been used during the final Neolithic(2900-2550 av. J.-C.), or even till the beginning of the Bronze Age.In spite of a common chronological horizon, the collective burials of the Paris basin presents a suprising architectural diversity. Two main types of monuments had been identified : the sepulchral galleries and the hypogeums. They coexist with a group of burials formerly named “dolmen” or “burial grave”, two names that we could not use any more. Each archictectural type is characterised by his own building technique, geographical distribution, implantation logic, useful life and deposit concentration. Is this diversity reinforced by some differences on burial practices ? Are the different types of collective burials of the Paris basin distinguished between as well by their functioning ? Could they constitue original characteristic cultural ?
2
Joubert, Émil. "Cartographies de l'éternité - Concevoir l'au-delà et le mobilier d'une sépulture collective du début de la XXIème dynastie égyptienne." Electronic Thesis or Diss., Sorbonne université, 2024. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2024SORUL002.pdf.
Abstract:
Au début de la Troisième Période intermédiaire (1069-664 av. n.è.), la XXIème dynastie égyptienne (1069-945 av. n.è.) se caractérise par le regroupement des inhumations et une restriction du mobilier à quelques éléments - cercueils enchâssés, papyrus et ouchebtis - entourant étroitement la momie. L'étude de ces objets permet de mieux comprendre l'insertion de la mort et des rites qui s'y rapportent dans la culture d'alors. Plusieurs axes de réflexion sont proposés au sein du corpus offert par une sépulture collective thébaine de la première moitié de la période, dépourvue de contexte archéologique, mais ayant abrité une dizaine d'individus, notamment des « supérieurs gardiens des écrits du Trésor du Domaine d'Amon » (ḥry sȝwty sš.w Pr-ḥḏ Pr-Jmn). L'analyse matérielle permet de mieux comprendre les processus de production de ce mobilier funéraire. Tout en illustrant la grande variabilité des pratiques, au cours du temps comme en synchronie, elle met en lumière l'attention accordée à la disposition du programme iconotextuel dont les articulations se reflètent dans la matérialité. La circulation et la recomposition des modèles soulignent par ailleurs la miscellanéité à l’œuvre dans la création et la personnalisation.L'importance de ces aspects porte l'exergue sur l'iconotexte abordé comme un discours structuré par des indices de vectorialité et l'ancrage corporel de certains motifs. La mise en résonance de scènes et de textes d'un objet à l'autre par leur spatialisation élabore une rhétorique funéraire unique, créant autour du corps un cosmogramme sacralisant, parfois à l'image d'un temple. L'interaction entre les cercueils interne et externe signale l'enchâssement de la dépouille dans l'autre monde et son inclusion dans un univers plus vaste. Les cartographies différentielles induites par les supports employés - cercueils tridimensionnels et papyrus offrant un déroulé plus linéaire - traduisent des parcours complexes unissant la Douat et le monde diurne et conduisant ainsi à la transfiguration.L'accès au statut défunt est mis en scène au cours des rites funéraires qui soulignent les étapes de la glorification en assurant l'implication de la communauté. Le rattachement à des ancêtres prestigieux peut passer par des références ou des remplois de mobilier ancien. Les cérémonies manifestent l'appartenance à un monde social dont elles affirment la cohésion et les liens avec la royauté, notamment par le rôle probable de certains membres du corpus dans la réinhumation des souverains du passé et par des parallèles avec le mobilier des femmes de la famille régnante.L'étude de ce corpus suggère la constitution progressive, sur plusieurs générations, d'une sépulture collective autour de personnages prestigieux. Elle illustre ainsi l'étroitesse des rapports avec l'au-delà et la façon dont ils permettent l'accès à l'éternité par l'intégration à un monde plus vaste, à la fois divin et humain.Les annexes contiennent notamment une liste illustrée des objets du corpus et la description des ensembles de cercueils complets qui s'y trouventAt the beginning of the Third Intermediate Period (1069-664 B.C.), the Egyptian 21st dynasty (1069-945 B.C.) was characterized by the grouping of burials and a restriction of the furniture to a few elements - nested coffins, papyrus and shabtis - closely surrounding the mummy. By studying these objects, we can gain a better understanding of the way in which death and the rites associated with it were inserted in culture. Several lines of enquiry are proposed here, based on the corpus offered by a Theban collective burial site from the first half of the period, which has no archaeological context but housed around ten individuals, including “superiors of the keepers of the writings of the Treasure of the Domain of Amun” (ḥry sȝwty sš.w Pr-ḥḏ Pr-Jmn).Material analysis provides a better understanding of the production processes for this funerary furniture. While illustrating the great variability in practices, both over time and in synchrony, it highlights the attention paid to the layout of the iconotextual programme, whose articulations are reflected in the materiality. The circulation and recomposition of models also highlight the miscellaneity at work in creation and personalization.The importance of these aspects underlines the iconotext as a discourse structured by indexes of vectoriality and the corporeal anchoring of certain motifs. The resonance of scenes and texts from one object to another through their spatialization develops a unique funerary rhetoric, creating a sacralizing cosmogram around the body, sometimes in the image of a temple. The interaction between the inner and outer coffins signals the embedding of the body in the other world, and its inclusion in a wider universe. The different mappings created by the media used - three-dimensional coffins and more linear papyrus - reflect the complex pathways linking the Duat and the daytime world, leading to transfiguration.Access to deceased status is displayed during funeral rites that highlight the stages of glorification and ensure community involvement. The link to prestigious ancestors may be established through references or reuse of antique furniture. The ceremonies demonstrate membership of a social world, whose cohesion and links with royalty are asserted, notably through the probable role of certain members of the corpus in the reburial of past sovereigns and through parallels with the furniture of the women of the reigning family.A study of this corpus suggests the gradual formation, over several generations, of a collective burial around prestigious figures. It illustrates the closeness of these relationships with the afterlife and the way in which they provided access to eternity through integration with a wider world that was both divine and human.Appendices include an illustrated list of the objects in the corpus and a description of the complete coffins set in the corpus
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Robson, Benjamina. "Anthropologie historique des telo troky tesaka à Madagascar : des ordres statutaires aux communautés politico-religieuses contemporaines (17e-21e siècle)." Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0176.
Abstract:
La thèse propose une analyse du pouvoir « politico-religieux (Godelier 2007) » tesaka — à Vangaindrano, Sud-est de Madagascar — en y intégrant des considérations historiques et évolutives. Elle met en évidence la dialectique de la transformation de l’exercice du pouvoir politico-religieux depuis la fondation du royaume tesaka, probablement vers le 17e siècle, jusqu’à la création des trois communautés politico-religieuses contemporaines (les telo troky) en 1897, et à leur état de nos jours. L’objectif principal est de présenter les aspects à la fois permanents et dynamiques du système social tesaka en mettant en exergue l’étroite imbrication du politique et du religieux incarnée par l’héritier et détenteur des poteaux cultuels de sacrifice aux êtres sacrés invisibles (le pità hazomanga). Si pendant la période royale tesaka, seul le roi hérite des poteaux cultuels (les fatora) et détient l’exclusivité de l’exercice du pouvoir politico-religieux de pità hazomanga, l’émergence des telo troky conduit à l’édification des fatora et à l’apparition de pità hazomanga propres à chaque communauté. Dès lors, le culte de sacrifice aux êtres sacrés invisibles ( velatry) se présente comme l’élément stable du « noyau du processus rituel (Bloch 1997 [1992]) », révélateur de la résilience d’un système de croyances religieuses et applicable à tous les échelons des unités politico-rituelles locales (troky ou fatora, raza ou koboro, raibe raiky ou trañondonaky, lonaky ou traño raiky)The thesis sheds light on "political-religious" tesaka power (Godelier 2007) — in Vangaindrano, South-Eastern Madagascar — by integrating historical and evolutionary considerations. It aims to be a tool for understanding the dialectic of the transformation of the exercise of politico-religious power since the foundation of the tesaka kingdom, likely to have occurred in the 17th century, until the creation of the three contemporary communities of politico-religious order (telo troky) in 1897, and their state nowadays. The main objective is to present the permanent and dynamic aspects of the tesaka social system by highlighting the close interweaving of the political and religious embodied by the keeper of sacrificial worship posts for the invisible sacred beings (pita hazomanga).If during the tesaka royal period, only the king inherits worship posts (fatora) and has the exclusivity of the exercise of the politico-religious power of pità hazomanga, the emergence of telo troky leads to the construction of the Fatora and the appearance of a pità hazomanga specific to each community. From then on, the sacrificial ceremony to the invisible sacred beings (velatry) presents itself as the stable element of the "core of the ritual process" (Bloch 1997 [1992]: 9), revealing the resilience of a system of religious beliefs, and applicable to all grades of local politico-ritual units (troky or fatora, raza or koboro, raibe raiky or trañondonaky, lonaky or traño raiky)
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Madigan, Valeri J. "A comparison of tomb art from New Kingdom Egypt and classic period Oaxaca, Mexico." Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1290.
Abstract:
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Sciences
Anthropology
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Smithers, Tamara. "Memorializing the Masters: Renaissance Tombs for Artists and the Cults of Raphael and Michelangelo." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/198573.
Abstract:
Art HistoryPh.D.
In this study, I argue that the cult of the artist centered on memorial making. From the Quattrocento through the Seicento, the growth in the size and number of memorials for artists parallels the changes that took place regarding the social class, professional position, and economic privilege of practitioners of the three main visual arts, painting, sculpture, and architecture. Similar to portraits, self-portraits, personal emblems, and signatures, tomb effigies and epigraphs were a type of construction of identity that articulated similar notions, serving as a form of popular praise and as a way to preserve one's memory for posterity. Moreover, tombs for artists existed in the public sphere on a grand scale, reaching larger audiences and thus having a greater cultural impact. Additionally, in tandem with contemporary art theory, tomb making became a tangible outlet for the paragon of the arts and for comparison against each other. The funeral ceremony functioned not only as a communal display of local pride but it also served as a vehicle for constructing artist-patron relationships and a way to promote the profession. The faculty to fashion artistic ties through the public spectacle of the funeral and the permanent medium of the memorial proved to be particularly essential for the newly formed art academies in regard to group identity and professional bonding. Publicizing the unification of the three arts was a key concern for the academies, especially in regard to decorating communal burial sites and devising group insignia. The display of emblematic imagery in addition to the erection of inscriptions that link the artist to his master on the tomb memorial became a palpable way to formulate an artistic pedigree for that particular artist and for that associated community of artists. The early art companies in central Italy--I Virtuosi al Pantheon in the 1540s in Rome, the Accademia del Disegno in the 1560s in Florence, and the Accademia di San Luca in the 1590s in Rome--were founded with the intention to properly bury their members. Moreover, for members, establishing ties to Raphael and Michelangelo, who received unprecedented burials, were hailed as symbolic figureheads for the academies, and were venerated as "artistic saints," lies at the center of sixteenth-century memorial making for artists. For some in the profession, as was the case for the followers of Raphael, being buried near their capomaestro solidified real or desired connections. The display of what was believed to be Raphael's skull in the seventeenth-century Roman Academy exhibits the new regard for the artist. The physical being of the artist came to be an object charged with meaning, similar to a holy relic, bringing new meaning to the concept of the "divine artist." For others, viewing the miracle of the unmarred corpse of Michelangelo, their padre delle tre arti, upon the opening of his coffin after it arrived in Florence, left a lasting impression. By exploring the panegyric following of Raphael and Michelangelo with a focus on tomb memorials, this dissertation explores what is meant by the phrase the "cult of the artist," especially in relation to these two masters. In doing so, this study synthesizes and weaves together otherwise disparate sources in order to elucidate a better understanding of the idea of the artist during the Early Modern period in Italy. As it proves, honoring the artist through the creation of memorials was the principal way to publicly pay tribute to those in the trade and provided a new type of artistic camaraderie.
Temple University--Theses
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Martins, Ana Teresa Baltazar Cruz. "Regeneração e qualificação de uma estrutura rural em São Tomé e Principe." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2016. http://hdl.handle.net/10400.5/13568.
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Formiga, Bárbara Neves. "O centro de artes performativas de São Tomé." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2018. http://hdl.handle.net/10400.5/16679.
Abstract:
Dissertação de Mestrado Integrado em Arquitetura, com a especialização em Arquitetura apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.São Tomé evidencia os traços de uma cidade perdida no tempo. O atual abandono percetível não esconde as transformações sociais e espaciais ocorridas ao longo dos séculos, por um lado, nem as necessidades implícitas de dinamização da área urbana, por outro. Neste Projeto Final, pretendeu-se estudar soluções para fazer face às suas descontinuidades e atuais insuficiências, sendo apresentadas sob a forma de uma proposta de intervenção. A inexistência de equipamentos que permitam impulsionar as dinâmicas sociais e as trocas culturais inscreve-se como uma das necessidades mais percetíveis da urbe deste pequeno arquipélago. A proposta teve em consideração não apenas os edifícios de referência para a população enquanto factos urbanos da cidade, mas também as caraterísticas da arquitetura vernacular e os aspetos da cultura são-tomense, procurando integrá-los no desenho das novas estruturas, num ambiente tropical com vocação para o exterior. O arquipélago de São Tomé e Príncipe é exemplo de uma herança rica em tradições, deveras marcada pelos processos de aculturação e influências atávicas enquanto colónia e província ultramarina que foi. O novo Centro de Artes Performativas, complementado pelo novo parque urbano e pelo redesenho da marginal, é apresentado como solução. Este equipamento visa reavivar a característica expressão cultural e artística popular, e afigura-se potencialmente, para o futuro, e além das vantagens económicas inerentes, como novo facto urbano.
ABSTRACT: São Tomé shows the traces of a city lost in time. The actual abandonment doesn’t hide the social and spatial transformations occured over the centuries, nor the implicit needs of dynamization of the urban area, on the other hand. In this Final Project, it was intended to study solutions to face its discontinuities and current shortcomings, presented in the form of a proposal for an intervention. The lack of equipment to boost social dynamics and cultural exchanges is one of the most sensitive needs of this small island. The proposed intervention considered not only the reference buildings for the population, but also the characteristics of the vernacular architecture and the aspects of the São Tomé culture, trying to integrate them in the design of the new structures, in a tropical environment with vocation for the exterior. The archipelago of São Tomé and Príncipe is a good example of a heritage rich in traditions, marked by the processes of acculturation and influences as an overseas colony. The new Center of Performative Arts, complemented by the new urban park and the redesign of the waterfront, is presented as a solution. This equipment aims to revive the characteristic popular culture and the artistic expression of the population. Beyond the inherent economic advantages it aims for the future as a new urban fact.
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Maino, Elisabetta. "Le kaléidoscope identitaire : anthropologie historique de São Tomé e Príncipe." Paris, EHESS, 2004. http://www.theses.fr/2004EHES0128.
Abstract:
La métaphore du kaléidoscope illustre la multiplicité de recompositions identitaires qui agencent cette société insulaire marquée par cinq siècles de colonisation portugaise. Le découpage des temporalités en suit les transformations : Je suis l'Autre est la phase de similitude avec le colonisateur, organisée par le principe religieux et l'individualisation des positions; Je suis Autre est la phase des césures identitaires, de la signification des diversités organisées par la hiérarchie ethnoracialiste ; enfin, Je suis moi-même est orientée par le principe d'autodétermination des peuples, l'affirmation de la subjectivité ouvre à la mise en nation. Cette affirmation répond à une pratique de pouvoir qui mobilise de façon sélective la mémoire collective. Le réaménagement du code symbolique légitime les registres de narration de soi. L'identité politique santoméenne se définit autour d'une territorialité intégratice des pluralités, en subsumant terre et travail, qui en sont les signesThe metaphor of the kaleidoscope illustrates the multiplicity of movables identities that form this insular society marked by five centuries of Portuguese colonisation. The cut out of temporalities follows the transformation of social strategies. I am the Other, is a phase of similarity with the coloniser, organised by the religious principle and the individualisation of the positions. I am ANother, is the phase of identity ruptures and the emerging of diversities organized by the ethnic and racial hierarchy. Finally, I am myself, the affirmation of subjectivity guided by the self-determination principle, opens the way to the autonomous identity. This process is a practice of power that mobilises in a selective or instrumental way the collective memory. The rearrangement of the symbolic code legitimizes the various registers of individual narrations. Land and work constitute the signs of the Santomean political identity, itself defined by an integrating territoriality of pluralities
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GRATSON, SCOTT D. "A STRATIFICATION OF DEATH IN THE NORTHERN RENAISSANCE: A RECONSIDERATION OF THE CADAVER TOMBS OF ENGLAND AND GERMANY." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/587512.
Abstract:
Art HistoryPh.D.
This analysis is on the function of cadaver or transi tombs in the south of England and Germany from the fifteenth to early sixteenth centuries, at particular moments when theological and cultural shifts related to Church reforms and the Reformation were tethered to new considerations about death, memorial, and changing concepts of the soul and matter. The study begins with a focus on the tombs of Henry Chichele (1364–1443) in Canterbury Cathedral in Canterbury, England, and Alice de la Pole (1404–1475) of Saint Mary’s Church in Ewelme, Oxfordshire, England. Additionally, the memorial relief of Ulrich Fugger (1441–1510) in Saint Anna's Church in Augsburg, Germany, acts as a bridge to Hans Holbein’s painted Dead Christ in the Tomb (1521) in the Kuntsmuseum Basel, in which Christ is simultaneously portrayed as an effigy, transi, and resurrected body. This was also an extended period when notions of visuality changed, along with preferences for different media and pressures on images and objects. As the demands of verisimilitude and discourses about presence and matter changed, media progressed from three-dimensional sculpture and carved relief to oil paint on wood. Transi tombs embodied this trajectory, altering uses and impressions of materials as they progressed from metal to stone to relief carving and paint. Transi tombs, in particular, structured time as a malleable construct, through the incorporation of varying images and their configuration in different visual strata and degrees of vividness and decay. By merging motifs of the dead with the Resurrected Christ, the transi tomb phenomenon situated death in relation to the viewer’s experience of mortality, memorial, and remembrance. Through these changing images and media, public perception of death was inextricably transformed, coinciding with the advent of the Reformation.
Temple University--Theses
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Viegas, Beatriz Cristiane Pinheiro Ramos. "O (re)desenho identitário dos mercados como elemento de qualificação do Riboque, São Tomé e Príncipe." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2020. http://hdl.handle.net/10400.5/20400.
Abstract:
Dissertação de Mestrado Integrado em Arquitetura, com a especialização em Arquitetura apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.São Tomé é uma cidade esquecida no tempo, cujo traçado urbano e a própria estrutura do edificado apresentam-se marcadas pelo seu passado. Com uma economia frágil, baseada no turismo e no comércio, como meio de subsistência, os espaços urbanos destinados a estas actividades assumem uma enorme importância na cidade. A estrutura urbana que hoje existe na cidade de São Tomé apresenta um traço predominante informal, originando questões como a organização espacial, as formas de viver o espaço, a habitação, a salubridade, entre outras, tendo tal em conta, o presente trabalho pretende estudar o crescimento da cidade, e a existência de equipamentos que possam potencializar, não só as questões económicas como também as questões sociais. Como proposta assiste-se ao (re)desenho de uma parte da cidade que funciona como “charneira” entre a cidade formal e informal, criando uma ligação entre o passado e um presente, entre edificados históricos e novas propostas, visando a identidade do lugar, tomando como partida uma regeneração de um todo, propondo novos equipamentos, restruturando outros, e uma nova habitação.
ABSTRACT:São Tomé is a city forgotten in time, whose urban layout and its building structure are marked by its past. With a fragile economy, based on tourism and commerce, as a means of subsistence, urban spaces for these activities assume an enormous importance in the city. The urban structure that exists today in the city of São Tomé presents a predominantly informal trait, giving rise to issues such as spatial organization, ways of living space, housing, healthiness, among others, taking this into account, the present work intends to study the growth of the city, and the existence of facilities that can enhance not only economic but also social issues. As a proposal, it follows by the (re) design of a part of the city that functions as a “hinge” between the formal and informal city, creating a link between the past and the present, between historical buildings and new proposals, aiming at the identity of the place , starting with a regeneration of the whole, proposing new equipment, restructuring and a new housing.
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Books on the topic "Collective tomb":
1
Bárta, Miroslav. Abusir XIX: Tomb of Hetepi (AS 20), Tombs AS 33-35 and AS 50-53. Prague: Charles University, Philosophical Faculty, 2010.
2
Bash, Tami. Lethal gunfire and collective punishment in the wake of the massacre at the Tomb of the Patriarchs. Jerusalem: B'tselem, 1994.
3
Wilson, Christopher Samuel. Beyond Anıtkabir: The funerary architecture of Atatürk : the construction and maintenance of national memory. Farnham, Surrey, England: Ashgate, 2013.
4
Navarro-Remesal, Víctor, and Óliver Pérez-Latorre. Perspectives on the European Videogame. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463726221.
Abstract:
The history of European videogames has so far been overshadowed by the global impact of the Japanese and North American industries. However, European game development studios have played a major role in videogame history, and many prominent videogames in popular culture, such as Grand Theft Auto, Tomb Raider, Alone in the Dark, and The Witcher, were made in Europe. This book proposes an inquiry into European videogames, including both analyses of transnational aspects of European production and close readings of national specificities. It offers a kaleidoscope of European videogame culture, focusing on the analysis of European works and creators but also addressing contextual aspects and placing videogames within a wider sociocultural and philosophical ground. The aim of this collective work is to contribute to the creation of a, until now, almost non-existent yet necessary academic endeavour: a story and critical exploration of the works, authors, styles, and cultures of the European videogame.
5
Ungerer, Tomi. Musée Tomi Ungerer: La collection. Strasbourg: Musées de Strasbourg, 2007.
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Muḥammad, Muḥsin. Sariqat Malik Miṣr. al-Qāhirah: Markaz al-Ahrām lil-Tarjamah wa-al-Nashr, Muʻassasat al-Ahrām, 1985.
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Muḥammad, Muḥsin. Sariqat Malik Miṣr. 8th ed. al-Qāhirah: Markaz al-Ahrām lil-Tarjamah wa-al-Nashr, Muʼassasat al-Ahrām, 1985.
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Janet, Baker. Seeking immortality: Chinese tomb sculpture from the Schloss collection. Santa Ana, Calif: Bowers Museum of Cultural Art, 1996.
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Manenti, Luca G., and Fabio Todero. "Si scopron le tombe": Ricordare, commemorare, evocare i caduti della Grande Guerra. Trieste: Istituto regionale per la storia della Resistenza e dell'età contemporanea nel Friuli Venezia Giulia, 2018.
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France), Musée historique (Strasbourg, ed. Collection des jouets mécaniques métalliques: Donation Tomi Ungerer. Strasbourg: Editions Les Musées de la Ville de Strasbourg, 1993.
Book chapters on the topic "Collective tomb":
1
King, C. Richard. "Of Tombs, Reservations, and Museums." In Colonial Discourses, Collective Memories, and the Exhibition of Native American Cultures and Histories in the Contemporary United States, 3–15. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003249115-1.
2
Stévart, Tariq, Gilles Dauby, Davy U. Ikabanga, Olivier Lachenaud, Patricia Barberá, Faustino de Oliveira, Laura Benitez, and Maria do Céu Madureira. "Diversity of the Vascular Plants of the Gulf of Guinea Oceanic Islands." In Biodiversity of the Gulf of Guinea Oceanic Islands, 249–71. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-06153-0_10.
Abstract:
AbstractDespite a long history of botanical collecting in the three oceanic islands of the Gulf of Guinea, no recent studies have documented floristic patterns. This chapter summarizes information on the vascular plants of the islands, including inventories conducted on Príncipe and São Tomé since 2017, as well as two recent expeditions to Annobón. An updated database of the vascular flora was compiled, which includes 14,376 records representing 1285 species and infraspecific taxa (1028 native). Príncipe has 445 species and infraspecific taxa (394 native), São Tomé has 1044 (842 native), and Annobón has 344 (274 native). Recent inventory work has generated collections of more than 90% of the endemic woody species. Several very rare taxa were rediscovered, including Balthasaria mannii (Oliv.) Verdc., 1969 (Pentaphylacaceae) and Psychotria exellii R. Alves, Figueiredo and A.P. Davis, 2005 (Rubiaceae), neither of which had been seen for more than 50 years. At least 17 species new to science were also discovered on Príncipe and São Tomé. Of the 1028 indigenous taxa, 164 (16%) are currently considered endemic to the islands. Of the 285 species evaluated according to the IUCN Red List criteria, 2 (0.7%) were Data Deficient, 226 (79.3%) Least Concern or Near Threatened, 55 (19.3%) threatened (including 3 Critically Endangered, 21 Endangered, and 31 Vulnerable), and 2 (0.7%) Extinct. On São Tomé and Príncipe, 325 plant species are used in traditional medicine, 37 of which are endemic. These results should be used to identify new priority sites for conservation, including on Annobón, where priority sites are less well defined.
3
Shikata, Masahito, and Hiroshi Ezura. "Micro-Tom Tomato as an Alternative Plant Model System: Mutant Collection and Efficient Transformation." In Plant Signal Transduction, 47–55. New York, NY: Springer New York, 2016. http://dx.doi.org/10.1007/978-1-4939-3115-6_5.
4
"Collective Tomb." In Encyclopedic Dictionary of Archaeology, 303. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-58292-0_30753.
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Bonilla, Marta Díaz-Zorita, Charlotte A. Roberts, Leonardo García Sanjuán, and Víctor Hurtado Pérez. "Tomb 3 at La Pijotilla (Solana de los Barros, Badajoz, Spain):." In Current Approaches to Collective Burials in the Late European Prehistory, 1–10. Archaeopress Publishing Ltd, 2017. http://dx.doi.org/10.2307/jj.15136009.7.
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Jans, Greta, and Joachim Bretschneider. "A COLLECTIVE MIDDLE BRONZE AGE II TOMB AT TELL TWEINI FIELD A." In About Tell Tweini (Syria), 201–42. Peeters Publishers, 2019. http://dx.doi.org/10.2307/j.ctv1q26pt4.11.
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Tamir, Yael. "Pro Patria Mori!" In The Morality of Nationalism, 227–42. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195103915.003.0014.
Abstract:
Abstract The awareness of death, says Heidegger, confers upon human beings a sense of their individuality: “Dying is one thing no one can do for you; each of us must die alone:’1 Yet death—the commemoration and veneration of the dead, the fear of death—plays a major role in political life; it is used to strengthen communality, to build a collective identity, and to define communal obligations. The central role that the tomb of the unknown soldier plays in national ceremonies can serve to illustrate this phenomenon. By its very nature, this tomb is meant not to commemorate a particular person but to promote an ideal of a soldier, our soldier as, although his personal identity is unknown, his communal identity is certain; he is a fellow citizen. And as he has performed the ultimate act of sacrifice, he has become the perfect fellow citizen. All his flaws are forgiven, as his “good action has blotted out the bad, and his merit as a citizen more than outweighed his demerits as an individual:’
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Guzzon, Edoardo. "EXAMINING THE COFFINS FROM THE COLLECTIVE TOMB FOUND BY ERNESTO SCHIAPARELLI IN THE VALLEY OF THE QUEENS:." In Ancient Egyptian Coffins, 337–48. Peeters Publishers, 2018. http://dx.doi.org/10.2307/j.ctv1q26z97.23.
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Morozova, Yulia G. "Bethlehem and Its Symbolism in the Works of Ivan Bunin." In I.A. Bunin and his time: Context of Life — History of Work, 900–923. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/ab-978-5-9208-0675-8-900-923.
Abstract:
The paper deals with the essays from the Bunin’s book “Shadow of the Bird” (“Judea” and “Gennesaret”), poems of 1906–1907 (“Abraham”, “Star Worshippers”, “The Source of the Star. From the Syrian Apocrypha”, “Rachel’s Tomb”, “Jerusalem”, “Temple of the Sun”) and Vera Muromtseva-Bunina’s memoirs about the pilgrimage to the Holy Land in 1903–1909. The image of Bethlehem with its symbolic and toponymic signs can be drawn from those sources. The author indicates the genre, artistic, and compositional originality of works dedicated to Palestine and its main city. A special place in the paper is given to the temple of Bethlehem and the image of the Magi, whose origin (in the historical and cultural context) is associated with the most ancient peoples of the Sabaean culture. The author attempts a reconstruction of the semantics of the main biblical phrases and word forms associated with the ancient sites of Judea and Bethlehem. It is pointed out that the artistic descriptions of the nature and history of the Holy Land in Bunin’s texts reveal the writer’s historiosophical views, important conceptual positions, such as the theme of memory, the cyclicity of life and world development, and the idea of the world circle. The color symbolism and semiotics of the landscape of Bethlehem and its surroundings are considered. Biblical characters associated with the history of the city, its artifacts, and concepts that recreate the appearance of an ancient syncretic culture are considered — Ruth, David, Rachel, Virgin Mary, and Christ. It is concluded that the image of Bethlehem is a collective “mosaic”, generating different readings and expanding the already complex hermeneutical field of Bunin texts and their versions.
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MAYER, ROBERT, and PIERRE HAMEL. "ACTION COLLECTIVE ET NOUVELLE CULTURE POLITIQUE." In Problèmes sociaux – Tome II, 429–46. Presses de l'Université du Québec, 2001. http://dx.doi.org/10.2307/j.ctv18ph386.22.
Conference papers on the topic "Collective tomb":
1
Тимофеева, Т. П. "THE TOMB OF THE NATIVITY MONASTERY IN THE COLLECTION OF GSMZ." In Археология Владимиро-Суздальской земли. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-304-6.153-168.
Abstract:
В статье выясняется происхождение белокаменной гробницы из Владимиро-Суздальского музея-заповедника, которая приписывалась святому князю Александру Невскому. Поместиться в ней мог только человек, рост которого не превышал 156 см. Князь, согласно Житию, составленному через 20 лет после его смерти, отличался высоким ростом. Его первоначальное погребение находилось в соборе Рождественского монастыря г. Владимира. В «Описании древних гробниц» первой половины XVII в. в соборе упоминаются, кроме Александра Невского, еще три погребения неизвестных лиц. По описям XIX в., после переноса мощей святого в 1723 г. в Петербург о них напоминала только решетка в форме гроба. В 1930 г. при сносе собора, перестроенного в XIX в., под его фундаментом обнаружились 4 белокаменные гробницы. Одна из них оказалась во Владимирском музее. На фотографии, хранящейся в музее, запечатлена гробница из Рождественского собора с останками человека. Именно в ней можно предполагать мнимую гробницу Александра Невского. The article reveals the origin of the white stone tomb from the Vladimir-Suzdal Museum-reserve, which was attributed to the Holy Prince Alexander Nevsky. It could only fit a man whose height did not exceed 156 cm Prince, according to the Life, compiled 20 years after his death, was of high growth. His initial burial was in the Cathedral of the Nativity monastery of Vladimir. In the “Description of ancient tombs” the first half of the XVII century in the Cathedral are mentioned, in addition to Alexander Nevsky, the three burials of unknown persons. According to descriptions of the nineteenth century, after the transfer of the relics of the Saint in 1723 in Petersburg, they resembled only a lattice in the shape of a coffin. In 1930, during the demolition of the Cathedral, rebuilt in the XIX century, 4 white-stone tombs were found under its Foundation. One of them was in the Vladimir Museum. The photo, stored in the Museum, shows the tomb of the Nativity Cathedral with the remains of a man. It is possible to assume the imaginary tomb of Alexander Nevsky in it.
2
Kabakchieva, Dora. "MEMORIAL TOURIST RESOURCES - MATERIALIZED PLACES OF THE COLLECTIVE MEMORY." In TOURISM AND CONNECTIVITY 2020. University publishing house "Science and Economics", University of Economics - Varna, 2020. http://dx.doi.org/10.36997/tc2020.157.
Abstract:
Memorial tourist resources indicate historical facts and events so that they would not be forgotten and ensure their presentation to the interested parties. They are material sites created by people to serve as evidence of significant events from the past: monuments, memorials, pantheons, tombs, mausoleums, charnel houses, places of death, memorial complexes, battlefields, historical exhibitions, alleys of commemoration, birthplaces, etc. They are important markers in creating tourist routes or they have become symbols of particular tourist destinations.
3
Fonseca Alvarado, Maritza Carolina, Drago Vodanovic Undurraga, and Gonzalo Gutierrez Astete. "Mapping como herramienta de pensamiento visual para la toma de decisiones proyectuales." In Jornadas sobre Innovación Docente en Arquitectura (JIDA). Universitat Politècnica de Catalunya. Iniciativa Digital Politècnica, 2022. http://dx.doi.org/10.5821/jida.2022.11649.
Abstract:
From a reflection on the importance of visual thinking (VP) and critical observation in the architect’s education, this paper investigates mapping as a mechanism of graphic facilitation that allows an approach to the architectural context with a look filtered by the previous inquiry and guided in two main stages. A divergent stage, in which different elements of the context are explored and a convergent stage, in which critical observations are focused to generate a project purpose. The mapping experience developed in the Project Workshop, its foundations, methodology and results over several years of implementation are described. The methodology is based on seven criteria: Study, Contextualization, Verification, Co-construction, Concretion, Planning and Proposal, seeks to enhance the PV as a fundamental tool of the architect and shows how to generate elements of collective work that integrate diverse views on the living environment. A partir de una reflexión sobre la importancia del pensamiento visual (PV) y la observación crítica en la formación del arquitecto, este trabajo indaga sobre el mapeo, o mapping en inglés, como mecanismo de facilitación gráfica que permite realizar una aproximación al contexto arquitectónico con una mirada filtrada por la indagación previa y guiada en dos grandes etapas una divergente en la que se exploran distintos elementos del contexto y una convergente en donde se focalizan las observaciones críticas para generar un propósito de proyecto. Se describe la experiencia de mapping desarrollada en el Taller de Proyectos, sus fundamentos, metodología y resultados a lo largo de varios años de implementación. La metodología basada en siete criterios: Estudio, Contextualización, Constatación, Co-construcción, Concreción, Planificación y Proposición, busca potenciar el PV como herramienta fundamental del arquitecto y muestra cómo generar elementos de trabajo colectivo que integran diversas miradas sobre el entorno habitable.
4
Liu, Jiahui, Toru Kizaki, Shogo Yamaura, and Naohiko Sugita. "Establishment of Mode Shape Database for Machine Tool and its Application in Estimating System Dynamics." In ASME 2022 17th International Manufacturing Science and Engineering Conference. American Society of Mechanical Engineers, 2022. http://dx.doi.org/10.1115/msec2022-83881.
Abstract:
Abstract Machine tool dynamics has an important role in machine health monitoring, chatter prevention, machining process control, and improvement of manufacturing accuracy. For industrial applications, system dynamics vary with the machining process. To achieve this information during operation, the operational modal analysis (OMA) method, which can observe dynamic performance with output only, has rapidly developed and evolved into transmissibility function-based operational modal analysis (TOMA), with the ratio of outputs used for the estimation of system dynamics. However, this analysis is limited by excitation variance and nature of coherence deformation for the entire system when machining position or posture change. To precisely estimate machine dynamics in process, this study proposes the use of feature fitting from a mode shape database after collection by TOMA. By segmenting the continuous machining process, the variation in system dynamics during operation can be separated into domains under the requirement of machining accuracy. A numerical experiment was performed with a no-damping finite element model of one machining center to verify the feasibility and accuracy of the proposed method. Subsequently, the experimental performance of the mode shape with several accelerometers was evaluated, and the differences with finite element results were discussed with further consideration of application in practice.
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Soust-Verdaguer, Bernardette, Juan Carlos Gómez de Cózar, and Antonio García-Martínez. "El cálculo de la huella de carbono en herramientas digitales de diseño: reflexiones sobre experiencias docentes." In Jornadas sobre Innovación Docente en Arquitectura. Grup per a la Innovació i la Logística Docent en l'Arquitectura (GILDA), 2023. http://dx.doi.org/10.5821/jida.2023.12371.
Abstract:
This teaching experience works on collective housing projects developed by the students, in which a process of evaluation of the carbon footprint is developed using digital tools and identification of possible improvements for the results obtained. This exercise involves the integration of the calculation of the carbon footprint using the Life Cycle Assessment (LCA) methodology, as well as the awareness of the impacts generated by the different systems, elements and materials that make up the building. The aim of this is to stimulate a physical and tangible approach to the calculation of the carbon footprint incorporated into the architectural design, where the implications of the design, the volumetry of the building, the importance of optimisation in the design of the different systems that make up the building, as well as the selection of materials can be identified. La presente experiencia docente trabaja sobre proyectos de vivienda colectiva desarrollados por el alumnado, en los cuales se desarrolla un proceso de evaluación de la huella de carbono utilizando herramientas digitales y de identificación de posibles mejoras para los resultados obtenidos. Este ejercicio que implica la integración del cálculo de la huella de carbono utilizando la metodología del Análisis del Ciclo de Vida (ACV), así como la toma de conciencia de los impactos generados por los diferentes sistemas, elementos y materiales que componen el edificio. El objetivo de esto se centra en estimular la aproximación física y tangible del cálculo de la huella de carbono incorporado al diseño arquitectónico, donde se puedan identificar las implicaciones del diseño, la volumetría del edificio, la importancia de la optimización en el diseño de los diferentes sistemas que componen el edificio, así como de la selección de los materiales.
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Nóbrega, Lívia. "O MEDO MOVE: Diferentes experiências de urbanidade no Festival Jane’s Walk Recife 2016, 2017 e 2022." In Seminario Internacional de Investigación en Urbanismo. Universitat Politècnica de Catalunya, Grup de Recerca en Urbanisme, 2024. http://dx.doi.org/10.5821/siiu.12621.
Abstract:
This paper reflects on fear as a constant, and not a variable, in the experience of urbanity in cities. To this end, it takes as an object three editions of the Jane’s Walk Festival in Recife: What makes a street safe for women? (2016), We ask for light (2017), and The city as a support for public art and life (2022). Despite the themes, participants, and different paths, all of them were crossed by fear. These crossings provide the three axes that guide the discussion of each case, namely: 1) Asymmetries; 2) Mitigations; 3) Memories – in a present, future, and past relationship with fear. Finally, a change of perspective is suggested in the way fear moves us, withstrategies that point to a less individual and more collective approach, that is, less focused on avoiding it andmore stimulating to face it. Keywords: fear, Jane’s Walk, urbanity, walkability Este trabalho reflete sobre o medo enquanto uma constante, e não uma variável, na experiência de urbanidade nas cidades. Para tal, toma como objeto três edições de caminhadas do Festival Jane’s Walk em Recife: O que torna uma rua segura para mulheres? (2016), A gente pede luz (2017) e A cidade como suporte para a arte e a vida pública (2022). Apesar dos temas, participantes e percursos distintos, todas elas foram atravessadas pelo medo. Esses atravessamentos fornecem os três eixos que guiam a discussão de cada caso, sendo eles: 1) Assimetrias; 2) Mitigações; 3) Memórias – numa relação de presente, futuro e passado com o medo. Por fim, sugere-se uma mudança de perspectiva na forma como o medo nos move, com estratégias que apontam para uma abordagem menos individual e mais coletiva, isto é, menos voltadas para a sua esquivança e mais estimulantes ao seu enfrentamento. Palavras-chave: caminhabilidade, Jane’s Walk, medo, urbanidade
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Anifowose, Titilayo. "Significance of cultural heritage assets in the definition of urban morphology. A case of Egba-Ake in South-West Nigeria." In Post-Oil City Planning for Urban Green Deals Virtual Congress. ISOCARP, 2020. http://dx.doi.org/10.47472/fxzs7229.
Abstract:
This study defined morphological importance of cultural heritage assets and formation of Egba-Ake town. Cultural heritages include man’s physical imaginative products which can be touched and seen include buildings, crafts, tools, ivory, cowries, paintings, textiles, pestles, mortars, food, wooden objects, tombs & grave goods, temples, dresses, pottery & potsherd pavements, monuments, books and artifacts. Morphology are factors that influence city/community formation which are determined by synthetic and natural determinants. Cultural heritage assets are whatever is valued by people today that was also cherished by former generations. This research explored the importance of cultural heritage assets in relation to urban fabrics formation of Egba-Ake. Qualitative method was adopted in this study, in-depth interviews and personal observation was used for data collection while Nvivo words tree and satellite imagery was used to analyze collected data. Ake’s palace and Itoku market is located at the center around which the Egba-Ake evolved. Ake’s Palace (political and cultural hub of the town) and Itoku market (the economic heritage of the town) was used to preserve various aspects of Egba-Ake cultural heritage. Ela festival (new yam festival) is annually celebrated cultural activity in Egba-Ake. This finding is relevant to policy makers as it allows the support of potential common structures for heritage administration in Egba-Ake. Effect of heritage in EgbaAke morphology is the new palace of Alake (the cultural ruler) of Egba-Ake were renovated and new once built a few years ago with modern architectural designs, furniture and fittings. This has made the Alake’s Palace to meet ‘international standards’. Social amenities and infrastructures like electricity supply, water systems, hospitals, good roads, administrative offices, schools; communication networks, etc. are now a major feature in Egba-Ake town. Further studies will enhance the implementation issues which may arise from the creation of a framework for cultural heritage management, with emphasis on risk management and risk reduction of cultural heritage.
Reports on the topic "Collective tomb":
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Jones, David, Roy Cook, John Sovell, Matt Ley, Hannah Shepler, David Weinzimmer, and Carlos Linares. Natural resource condition assessment: Lincoln Boyhood National Memorial. National Park Service, 2024. http://dx.doi.org/10.36967/2301822.
Abstract:
The National Park Service (NPS) Natural Resource Condition Assessment (NRCA) Program administered by the NPS Water Resources Division evaluates current conditions for important natural resources and resource indicators using primarily existing information and data. NRCAs also report on trends in resource condition, when possible, identify critical data gaps, and characterize a general level of confidence for study findings. This NRCA complements previous scientific endeavors, is multi-disciplinary in scope, employs a hierarchical indicator framework, identifies and develops reference conditions/values for comparison against current conditions, and emphasizes spatial evaluation of conditions where possible. Lincoln Boyhood National Memorial (LIBO) was authorized by an act of Congress on February 19, 1962, (Public Law 87-407) to preserve the site associated with the boyhood and family of President Abraham Lincoln, including a portion of the original Tom Lincoln farm and the nearby gravesite of Nancy Hanks Lincoln. The 200-acre memorial commemorates the pioneer farm where Abraham Lincoln lived from the age of 7 to 21. The NRCA for LIBO employed a scoping process involving Colorado State University, LIBO and other NPS staffs to establish the NRCA framework, identify important park resources, and gather existing information and data. Indicators and measures for each resource were then identified and evaluated. Data and information were analyzed and synthesized to provide summaries and address condition, trend and confidence using a standardized but flexible framework. A total of nine focal resources were examined: four addressing system and human dimensions, one addressing chemical and physical attributes, and four addressing biological attributes. The quality and currentness of data used for the evaluation varied by resource. Landscape context ? system and human dimensions included land cover and land use, natural night skies, soundscape, and climate change. Climate change and land cover/land use were not assigned a condition or trend?they provide important context to the memorial and many natural resources and can be stressors. Some of the land cover and land use-related stressors at LIBO and in the larger region are related to the development of rural land and increases in population/housing over time. The trend in land development, coupled with the lack of significantly sized and linked protected areas, presents significant challenges to the conservation of natural resources of LIBO to also include natural night skies, natural sounds and scenery. Climate change is happening and is affecting resources, but is not considered good or bad per se. The information synthesized in that section is useful in examining potential trends in the vulnerability of sensitive resources and broad habitat types such as forests. Night skies and soundscapes, significantly altered by disturbance due to traffic, development and urbanization, warrant significant and moderate concern, respectively, and appear to be in decline. Air quality was the sole resource supporting chemical and physical environment at the memorial. The condition of air quality can affect human dimensions of the park such as visibility and scenery as well as biological components such as the effect of ozone levels on vegetation health. Air quality warrants significant concern and is largely impacted by historical and current land uses outside the memorial boundary. The floral biological component was examined by assessing native species composition, Mean Coefficient of Conservation, Floristic Quality Assessment Index, invasive exotic plants, forest pests and disease, and forest vulnerability to climate change. Vegetation resources at LIBO have been influenced by historical land uses that have changed the species composition and age structure of these communities. Although large tracts of forests can be found surrounding the park, the majority of forested areas are fragmented, and few areas within and around LIBO exhibit late-successional or old-growth characteristics. Vegetation communities at LIBO have a long history of being impacted by a variety of stressors and threats including noxious and invasive weeds, diseases and insect pests; compounding effects of climate change, air pollution, acid rain/atmospheric chemistry, and past land uses; and impacts associated with overabundant white-tail deer populations. These stressors and threats have collectively shaped and continue to impact plant community condition and ecological succession. The sole metric in good condition was native species composition, while all other indicators and metrics warranted either moderate or significant concern. The faunal biological components examined included birds, herptiles, and mammals. Birds (unchanging trend) and herptiles (no trend determined) warrant moderate concern, while mammal populations warrant significant concern (no trend determined). The confidence of both herptiles and mammals was low due to length of time since data were last collected. Current forest structure within and surrounding LIBO generally reflects the historical overstory composition but changes in the hardwood forest at LIBO and the surrounding area have resulted in declines in the avian fauna of the region since the 1970s. The decline in woodland bird populations has been caused by multiple factors including the conversion of hardwood forest to other land cover types, habitat fragmentation, and increasing human population growth. The identification of data gaps during the course of the assessment is an important NRCA outcome. Resource-specific details are presented in each resource section. In some cases, significant data gaps contributed to the resource not being evaluated or low confidence in the condition or trend being assigned to a resource. Primary data gaps and uncertainties encountered were lack of recent survey data, uncertainties regarding reference conditions, availability of consistent long-term data, and the need for more robust or sensitive sampling designs. Impacts associated with development outside the park will continue to stress some resources. Regionally, the direct and indirect effects of climate change are likely but specific outcomes are uncertain. Nonetheless, within the past several decades, some progress has been made toward restoring the quality of natural resources within the park, most notably the forested environments. Regional and park-specific mitigation and adaptation strategies are needed to maintain or improve the condition of some resources over time. Success will require acknowledging a ?dynamic change context? that manages widespread and volatile problems while confronting uncertainties, managing natural and cultural resources simultaneously and interdependently, developing disciplinary and interdisciplinary knowledge, and establishing connectivity across broad landscapes beyond park borders.