7 resultados para Early modern drama and ocular culture
em Aberdeen University
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MC is grateful to Karen Lupo and Brian Codding for the invitation to participate in the symposium honouring Jim O’Connell at the 2015 annual meeting of the Society for American Archaeology in San Francisco, and for the invitation to contribute to this special issue of the Journal of Anthropological Archaeology. We thank Conrad Brimacombe, Kate Britton, Keith Dobney, Mana Dembo, Marina Elliott, Ian Gilligan, Brian Hayden, Trenton Holliday, Vance Hutchinson, Steve Kuhn, Dana Lepofsky, Lee Lyman, Luseadra McKerracher, Kim Plomp, Bernard Wood, and an anonymous reviewer for their comments on earlier versions of this paper. Ian Gilligan’s comments in particular resulted in major changes to the interpretation of the results. MC is supported by the Social Sciences and Humanities Research Council of Canada, the Canada Research Chairs Program, the Canada Foundation for Innovation, the British Columbia Knowledge Development Fund, and Simon Fraser University. LT work on the study reported here was supported by the Social Sciences and Humanities Research Council of Canada (award no. 755-2011-0406). We are grateful to all these funding bodies. Last but not least, MC would like to express his gratitude to Jim O’Connell for his friendship and guidance over nearly 20 years. Thanks Jim. You’re the dog’s bollocks.
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ACKNOWLEDGEMENTS The authors would like to thank Bruce Mann of Aberdeenshire Council Archaeology Service for his support throughout and for funding Area F and Historic Scotland for granting SMC for the excavation of Area A. Thanks are due to the tenant farmer Allan Adams and to Helen Rickwood, Jan Dunbar, Colin Mitchell, Sheila Young, Emma Gibson, Veronica Ross, Irvine Ross, Brian Dewar and Sheila Duthie for their work on site. We are grateful to Ian Cameron for help in gathering oral history of some of the crosses found in the 1950s/60s. John Borland, Katherine Forsyth, Simon Taylor and Ross Trench-Jellicoe have provided valuable comments on the sculpture. We would like to thank Invercauld Estate for access to their archive and permission to photograph and reproduce the Scroll Plan, and their honorary archivist, Sheila Sedgwick for her help and patience. We are grateful to Nigel Trewin for identification of the geology of the crosses. The drawings of Tullich 16 and 17 are by Jan Dunbar.
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This paper is based on the undergraduate dissertation of Lindsey Stirling, which was supervised by Karen Milek, and which won the Society of Medieval Archaeology's John Hurst Memorial Dissertation Prize Acknowledgements This research would not have been possible without the assistance of Dr Martin Goldberg at the National Museum of Scotland, Lynda Aiano at Tankerness House Museum, Orkney, and Beverley Ballin Smith. The authors also wish to thank the two anonymous reviewers who provided valuable comments on earlier versions of this paper.
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Peer reviewed
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This paper is based on the undergraduate dissertation of Lindsey Stirling, which was supervised by Karen Milek, and which won the Society of Medieval Archaeology's John Hurst Memorial Dissertation Prize Acknowledgements This research would not have been possible without the assistance of Dr Martin Goldberg at the National Museum of Scotland, Lynda Aiano at Tankerness House Museum, Orkney, and Beverley Ballin Smith. The authors also wish to thank the two anonymous reviewers who provided valuable comments on earlier versions of this paper.
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Peer reviewed
Resumo:
Peer reviewed