Three Etruscan painted sarcophagi / by F.B. Tarbell -- ; Berthold Laufer --

v.6:no.4(1917)

Handbook of the Etruscan collection,

"1,000 copies ... printed December, 1940."

History of ancient pottery : Greek, Etruscan, and Roman /

Includes bibliographical references.

History of ancient pottery, Greek, Etruscan, and Roman /

"Bibliography of ancient pottery": v.1, p. xix-xxxvi.

Etruria-celtica: Etruscan literature and antiquities investigated; or, The language of that ancient and illustrious people compared and identified with the Iberno-Celtic, and both shown to be Phœnician.

Mode of access: Internet.

Catalogue of the celebrated and well-known collection of Assyrian, Babylonian, Egyptian, Greek, Etruscan, Roman, Indian, Peruvian, Mexican and Chinese antiquities,

"Translation of an extract from the Archaeolgische zeitung ... by Edward Gerhard ... 1851. Mr. B Hertz's collection of gems": xxiv p.

Sources of the Etruscan and Basque languages.

Mode of access: Internet.

Outlines from the figures and compositions upon the Greek, Roman, and Etruscan vases of the late Sir William Hamilton; with engraved borders.

Mary Ann Beinecke Decorative Art Collection. Sterling and Francine Clark Art Institute Library.

On the distribution and notation of the Etruscan sibilants

A mechanical rule proposed in 1997 by Massimo Pittau for the distribution of the Etruscan sibilant graphemes sigma and san is investigated and found wanting. The etymological distribution proposed by Helmut Rix is clearly superior, yet many scholars appear reluctant to embrace Rix's findings. It is suggested that this reluctance stems in part from the incompatibility of Rix's notation with the traditional system. Consequently a simple method of reconciling the two systems is Proposed and then demonstrated in exhibiting the data relevant to Pittau's rule.

"Nortia, te veneror" (CLE 1530 = CIL 6. 537): la defensa de Avieno de la fortuna y del encomio propio

Este trabajo ha sido realizado dentro del Grupo de Investigación GIU 10-19 “LITTERARVM. Grupo de Investigación en Literatura, Retórica y Tradición Clásica” de la UPV/EHU.

Telling stories of culture through literature

Grounded on Raymond Williams‘s definition of knowable community as a cultural tool to analyse literary texts, the essay reads the texts D.H.Lawrence wrote while travelling in the Mediterranean (Twilight in Italy, Sea and Sardinia and Etruscan Places) as knowable communities, bringing to the discussion the wide importance of literature not only as an object for aesthetic or textual readings, but also as a signifying practice which tells stories of culture. Departing from some considerations regarding the historical development of the relationship between literature and culture, the essay analyses the ways D. H. Lawrence constructed maps of meaning, where the readers, in a dynamic relation with the texts, apprehend experiences, structures and feelings; putting into perspective Williams‘s theory of culture as a whole way of life, it also analyses the ways the author communicates and organizes these experiences, creating a space of communication and operating at different levels of reality: on the one hand, the reality of the whole way of Italian life, and, on the other hand, the reality of the reader who aspires to make sense and to create an interpretative context where all the information is put, and, also, the reality of the writer in the poetic act of writing. To read these travel writings as knowable communities is to understand them as a form that invents a community with no other existence but that of the literary text. The cultural construction we find in these texts is the result of the selection, and interpretation done by D.H.Lawrence, as well as the product of the author‘s enunciative positions, and of his epistemological and ontological filigrees of existence, structured by the conditions of possibility. In the rearticulation of the text, of the writer and of the reader, in a dynamic and shared process of discursive alliances, we understand that Lawrence tells stories of the Mediterranean through his literary art.

The Technology of Copper Alloys, Particularly Leaded Bronze, in Greece, its Colonies, and in Etruria during the Iron Age

L’objet de la présente étude est le développement, l’application et la diffusion de la technologie associée à divers types d’alliages de cuivre, en particulier l’alliage du plomb-bronze, en Grèce ancienne, dans ses colonies, ainsi qu’en Étrurie. Le plomb-bronze est un mélange de diverses proportions d’étain, de cuivre et de plomb. Le consensus général chez les archéométallurgistes est que le plomb-bronze n’était pas communément utilisé en Grèce avant la période hellénistique; par conséquent, cet alliage a reçu très peu d’attention dans les documents d’archéologie. Cependant, les analyses métallographiques ont prouvé que les objets composés de plomb ajouté au bronze ont connu une distribution étendue. Ces analyses ont aussi permis de différencier la composition des alliages utilisés dans la fabrication de divers types de bronzes, une preuve tangible que les métallurgistes faisaient la distinction entre les propriétés du bronze d’étain et celles du plomb-bronze. La connaissance de leurs différentes caractéristiques de travail permettait aux travailleurs du bronze de choisir, dans bien des cas, l’alliage approprié pour une utilisation particulière. L’influence des pratiques métallurgiques du Proche-Orient a produit des variations tant dans les formes artistiques que dans les compositions des alliages de bronze grecs durant les périodes géométrique tardive et orientalisante. L’utilisation du plomb-bronze dans des types particuliers d’objets coulés montre une tendance à la hausse à partir de la période orientalisante, culminant dans la période hellénistique tardive, lorsque le bronze à teneur élevée en plomb est devenu un alliage commun. La présente étude analyse les données métallographiques de la catégorie des objets coulés en bronze et en plomb-bronze. Elle démontre que, bien que l’utilisation du plomb-bronze n’était pas aussi commune que celle du bronze d’étain, il s’agissait néanmoins d’un mélange important d’anciennes pratiques métallurgiques. Les ères couvertes sont comprises entre les périodes géométrique et hellénistique.

Dear living person

‘Dear Living Person,’ Chapter included in edited collection incl. texts by Claire Fontaine, Gareth James, Paul Chan and Sam Lewitt. The chapter is written from the perspective of a recently deceased corpse. It examines the claims art makes to moving beyond boundaries and testing limits (of medium, discipline, and category) as a cliché of transcendence. This is described in relation to the operation of the false ‘master’ limit between the living and the dead, with reference to Reza Negarestani’s vivid reenactment of Etruscan torture, and contemporary performances of institutional critique: Fraser, Krebber and Carpenter.