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- Convenors:
-
Stephanie Wynne-Jones
(University of Bristol)
Joshua Pollard (University of Bristol)
- Chair:
-
Mark Horton
(University of Bristol)
- Format:
- General Papers
- Location:
- Wills 3.33
Short Abstract
General session, with papers submitted independently. Papers in this part of the session relate (broadly) to approaches to objects.
Long Abstract
General session, with papers submitted independently. Papers in this part of the session relate (broadly) to approaches to objects.
Accepted papers
Session 1Paper short abstract
The paper discusses the development of Chinese bronze bells taking the discovery of the set of 65 bells unearthed in 1977 as a starting point, while comparing relevant music theory, aesthetics and practices from social / historical perspectives in selected periods.
Paper long abstract
Chinese bronze bells, collectively known as bianzhong, had an important role to play in early history, owing to their leading role in ceremonial music, a genre endorsed by Confucius (5th century B.C), and a performing tradition built upon distinguishing instruments according to their materials. Since the excavation of the most elaborate set of sixty-five bells in Hubei Province in 1977, many scholars have compared the sound emitted with what has been recorded in history, with scientific proof that the bells were of musical pitches according to music theory that was akin to the generation of pitches based on successions of a rising perfect fifth and falling perfect fourth. The idea is that it is possible to generate eleven pitches from a fundamental pitch called Huangzhong (Yellow Emperor), making a total of twelve, the ultimate number coinciding with the number of months in a year, the number of hours in a day, or the number of animals in a twelve-year cycle. As Confucian doctrine had been adopted by most emperors throughout China's imperial periods, it is possible to make an archaeological, theoretical, moral and musical comparison of bells from different periods, highlighting the Song (960-1279 ), Ming (1368-1644) and Qing (1644-1911) dynasties. It will be proved that the construction of bells and composition of ceremonial music was closely related, and that the fundamental pitch Huangzhong occupies a central position throughout Chinese history, even though the music written can have a wide range of characters.
Paper short abstract
The paper presents PhD research project at the graduate college Value & Equivalence at J. W. Goethe University in Frankfurt. It aims to explore transformations of values which occur when objects are traded or transported across different social and cultural spheres.
Paper long abstract
Coins by their "nature" belong to the category of things that are understood as tokens of a certain value(s) and they are very portable objects. This combination enables them to appear in various contexts. Being tokens of some specific value they are used as a means of exchange and trade. This is possible only if the actors share to some extent the same or compatible notions on relationships between value and equivalent. Sometimes the final deposition of coins implicates a more diverse usage of these coins than their primary purpose. This could be seen, among others, as a consequence of different comprehensions of value in the widest sense.
In this dissertation case studies of ancient coins discovered in contexts that point to some change in their treatment will be examined. For example roman coins shaped into a pendant found in medieval graves of Europe. The idea is to try to find a way to adequately apply the concept of object biography in order to give an insight for some of the question that these coins impose in terms of their valuation, such as following: What were the social rules constructed through everyday practice in roman world that "made" the value of a coin and how did or did not this same coin through some different set of rules or individual agency gain another value? How did this alteration happen? Can we speak about the transformation from value to valuables?
Paper short abstract
Within this paper I aim to relate the symbolic material culture of the Byzantine Empire to the theological traditions of mneme theou (remembrance of God) and unceasing prayer. I argue that the repetitive acts of making and viewing material culture create a form of worship with spiritual benefits comparable to the evolving traditions of unceasing prayer.
Paper long abstract
Byzantine material culture was overwhelmingly adorned with images. These symbols had social and spiritual significance beyond a public demonstration of faith, wealth and power. Symbols, like icons, had power and agency. Symbols performed magic; they were apotropaic, acting to protect their wearer, they deflected jealousy and invited good fortune. Within this paper I will argue that in addition to the accepted role of symbolic material culture in Byzantium, symbols acted as Mneme Theou (reminders of God) and therefore that there is a relationship between the symbolic world of Byzantium and unceasing prayer.
The nature of the materials and technologies used for objects inscribed with symbols of God impacted on the engagement between people and objects. For example the looms used to weave cloth were not only functional objects, but created a repetitive action, analogous to the repetition of the Jesus prayer, creating an act of worship along with cloth. The act of weaving a scene of great significance, over and over, and then viewing the produced repetitive symbol is not a distanced act, but one in which people were actively engaged. It is the nature of this engagement which I wish to discuss, not in terms of textile technology as a 'functional' product of society, but rather how the religious beliefs of the producer may have been expressed during the act of making, and whether this form of worship was related to First Thessalonians 5:17 "pray constantly".
Paper short abstract
As part of the complex meshwork of social relations that structure and compose worldviews, I want to consider the relationship between 'things' and other elements of past worlds.
Paper long abstract
Recent debates surrounding materials and materiality have questioned the nature of the relationship between people and materials/objects. By addressing these concerns, archaeologists have developed a more critical understanding of the processes through which past human agents engaged with their material world. Drawing from these debates, I would like to argue that 'things' of the material world are not necessarily limited to an interaction with people - objects themselves are relationally situated to other objects or even animals. Recent anthropological literature, particularly the work by Henari et al. (2007), have outlined a methodological approach that, in this instance, offers a viable conduit through which these relationships may be understood. By rejecting the notion that there is a relationship between things and concepts, Henari et al. (2007) propose that things and concepts should not be considered distinct in the first place. Following this reasoning, materials and objects achieve a new sense of empowerment - their meaning is potentially no longer wholly dependent on their exclusive interactions with people.
As part of the complex meshwork of social relations that structure and compose worldviews, I want to consider the relationship between 'things' and other elements of past worlds, particularly the relationship between the deposition of Neolithic axe-heads and animal remains at two causewayed enclosure sites in southern England. Debates surrounding axes and causewayed enclosures have traditionally been concerned with notions of trade and exchange and more recently liminality and appropriation. I would like to propose another dimension of inquiry by suggesting a direct link between the deposition of fragmented axe-heads and domesticated animals.