東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

The technology of learning: Painting...

State University of New York at Binghamton., Anthropology.

FindBook

Google Book

Amazon

博客來

The technology of learning: Painting practices of early Mesopotamian communities of the 6th millennium, B.C.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The technology of learning: Painting practices of early Mesopotamian communities of the 6th millennium, B.C./
作者:	Castro Gessner, Ana Gabriela.
面頁冊數:	623 p.
附註:	Adviser: Susan M. Pollock.
Contained By:	Dissertation Abstracts International69-07A.
標題:	Anthropology, Archaeology. -
電子資源:	http://0-pqdd.sinica.edu.tw.lib1.npue.edu.tw/twdaoapp/servlet/advanced?query=3322414
ISBN:	9780549732297

The technology of learning: Painting practices of early Mesopotamian communities of the 6th millennium, B.C.
Castro Gessner, Ana Gabriela.

The technology of learning: Painting practices of early Mesopotamian communities of the 6th millennium, B.C. - 623 p.

Adviser: Susan M. Pollock.

Thesis (Ph.D.)--State University of New York at Binghamton, 2008.

Inhabitants of Northern Mesopotamia during the sixth millennium BCE commonly produced finely-made pottery that they decorated with elaborate designs. The geometric and representational designs they used to adorn their vessels have drawn attention because of their intricate style, distinctive character and widespread distribution. On the surface, the style of decoration appears homogeneous but little is known about how this Halaf pottery was produced or how that superficial uniformity was achieved. Upon close inspection, the quality and sophistication of painted designs are highly variable among and within Halaf sites, ranging from carefully and skillfully executed designs to sloppily crafted decorations.

ISBN: 9780549732297Subjects--Topical Terms:

622985
Anthropology, Archaeology.

The technology of learning: Painting practices of early Mesopotamian communities of the 6th millennium, B.C.
LDR:03371nmm 2200337 a 45 001 864101
005 20100726
008 100726s2008 ||||||||||||||||| ||eng d
020 $a 9780549732297
035 $a (UMI)AAI3322414
035 $a AAI3322414
040 $a UMI $c UMI
100 1 $a Castro Gessner, Ana Gabriela. $3 1032215
245 1 4 $a The technology of learning: Painting practices of early Mesopotamian communities of the 6th millennium, B.C.
300 $a 623 p.
500 $a Adviser: Susan M. Pollock.
500 $a Source: Dissertation Abstracts International, Volume: 69-07, Section: A, page: 2760.
502 $a Thesis (Ph.D.)--State University of New York at Binghamton, 2008.
520 $a Inhabitants of Northern Mesopotamia during the sixth millennium BCE commonly produced finely-made pottery that they decorated with elaborate designs. The geometric and representational designs they used to adorn their vessels have drawn attention because of their intricate style, distinctive character and widespread distribution. On the surface, the style of decoration appears homogeneous but little is known about how this Halaf pottery was produced or how that superficial uniformity was achieved. Upon close inspection, the quality and sophistication of painted designs are highly variable among and within Halaf sites, ranging from carefully and skillfully executed designs to sloppily crafted decorations.
520 $a I examined the painted decoration and the context of production of Halaf style pottery by comparing the ceramic assemblages from two sites in modern-day Turkey and Syria: Fistikli Hoyuk and Sabi Abyad. I explored the practice of vessel painting as insight into the teaching and learning environments of these two communities. To explore past knowledge and pottery painting in terms of its technological style, I drew on the concept of chaine operatoire (Leroi-Gourhan 1964). Outlining the sequence of brushstrokes used to create designs allowed me to consider the extent to which artists were limited in the context of painting. Drawing on Bourdieu (1977) and Giddens (1984) and their ideas on the acquisition of knowledge, I considered the level of skill and the degrees of careful attention painters brought to their work.
520 $a My results indicate that both communities were flexible in their approach to rules concerning the execution of designs, but that consistency within each community was achieved by using similarly sized tools and tacit agreements on the placement designs. The acquisition of skill is independent of the degree of careful attention an artist may apply to their work, but these knowledges are inextricably linked. More broadly my research demonstrates that behind a facade of apparent uniformity in designs, the practices of painting at the two Halaf sites examined differ. The implications of this are that similarities in material culture cannot be assumed to correlate with similarities in practice.
590 $a School code: 0792.
650 4 $a Anthropology, Archaeology. $3 622985
650 4 $a Art History. $3 635474
690 $a 0324
690 $a 0377
710 2 $a State University of New York at Binghamton. $b Anthropology. $3 1021760
773 0 $t Dissertation Abstracts International $g 69-07A.
790 $a 0792
790 1 0 $a Bernbeck, Reinhard $e committee member
790 1 0 $a Pollock, Susan M., $e advisor
790 1 0 $a Stahl, Ann $e committee member
790 1 0 $a Steadman, Sharon $e committee member
791 $a Ph.D.
792 $a 2008
856 4 0 $u http://0-pqdd.sinica.edu.tw.lib1.npue.edu.tw/twdaoapp/servlet/advanced?query=3322414