Shepherds who write: pastoral graffiti in the uplands of Europe from prehistory to the modern age
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| Format: | Buch |
| Sprache: | English |
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Oxford
BAR Publishing
2020
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| Schriftenreihe: | BAR international series
2999 |
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| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XX, 232 Seiten Illustrationen, Diagramme, Karten |
| ISBN: | 9781407357140 |
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| 245 | 1 | 0 | |a Shepherds who write |b pastoral graffiti in the uplands of Europe from prehistory to the modern age |c edited by Marta Bazzanella and Giovanni Kezich ; With a preface by Michael J. Rowlands |
| 264 | 1 | |a Oxford |b BAR Publishing |c 2020 | |
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Datensatz im Suchindex
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| adam_text | Contents Preface.............................................................................................................................................................................. xix Michael J. Rowlands Introduction: Shepherds who write. A new frontier for ethnoarchaeology................................................................. 1 Marta Bazzanella and Giovanni Kezich 1. Petroglyphs and graffiti in the Syunik highlands/Armenia - summer pasture for thousands of years............... 7 Franziska Knoll 1.1. Rock art and geology in the Syunik high steppe...................................................................................................... 7 1.2. Depictions, distribution and presumable age of the petroglyphs............................................................................. 8 1.3. Transhumance and highland pastoralism during the course of time........................................................................10 1.4. Traces of shepherds and flocks/herds in Syunik.....................................................................................................11 1.5. Tiying the big picture: Land use, exploitation and rock artas a part of the pastoral life.........................................15 2. Caves and shepherds’ engravings on the Majella mountains.................................................................................23 Edoardo Micati 2.1. The places of the engravings.................................................................................................................................. 23 2.2.
Interpreting the engravings.................................................................................................................................... 23 2.3. A particular representation..................................................................................................................................... 26 3. Trial of the distribution of the shepherds’ writings in the Mont Bego region (Tende, Alpes-Maritimes, France)...................................................................................................................................... 29 Nathalie Magnardi 3.1. Introduction............................................................................................................................................................29 3.2. Description.............................................................................................................................................................29 3.3. Postulate................................................................................................................................................................. 32 3.4. Methodology .........................................................................................................................................................32 3.5. The distribution of historical and pastoral engravings........................................................................................... 34 3.6.
Conclusion.............................................................................................................................................................34 4. Moving beyond the Bego God.................................................................................................................................... 37 Jules Masson Mourey and Nicoletta Bianchi 4.1. Introduction............................................................................................................................................................ 37 4.2. Presentation of the site........................................................................................................................................... 37 4.2.1. Geographical, geological and geomorphological contexts............................................................................ 37 4.2.2. Archaeological forniture and palaeoenvironmental data............................................................................... 37 4.2.3. Corpus and chrono-cultural attributions of prehistoric engravings................................................................ 40 4.3. Historiography........................................................................................................................................................43 4.3.1. Hypothesis no. 1 : ex-voto and/or a sacred ‘stone-book’?.............................................................................. 43 4.3.2. Hypothesis no. 2: pasture boundaries and/or pastoral path
markings?.......................................................... 43 4.3.3. Hypothesis no. 3: the marks of male rites of passage?................................................................................... 44 4.4. Critical analysis..................................................................................................................................................... 44 4.4.1. Recording methodology................................................................................................................................. 44 4.4.2. Use of the chrono-cultural context and apprehension of diachrony............................................................. 45 4.4.3. The qualitative, the quantitative, and comparisons proposal......................................................................... 45 4.5. Discussion.............................................................................................................................................................. 46 4.5.1. The pastoral fonction of the site..................................................................................................................... 46 4.5.2. Engraving in modem alpine pastoral universe............................................................................................... 46 4.5.3. Back to the hypothesis of male rites of passage........................................................................................... 47 4.6.
Conclusion............................................................................................................................................................. 49 5. Igniting fire under mobile conditions and other Late Neolithic-Bronze Age shepherding traces...................... 55 Giorgio Chelidonio 5.1. Introduction............................................................................................................................................................ 55 vii
Contents 6. Rock art in relation to pastoral villages in medium and high-altitude sites, in Valcamonica and in the Alps... 63 Ausilio Priuli 6.1. Introduction.............................................................................................................................................................. 63 6.2. The relationship between man and environment was economic but was, most importantly, religious................. 64 6.3. The expressions of man in the Alps.........................................................................................................................64 6.4. Institutionalised ‘language’ and ‘minor manifestations’......................................................................................... 66 6.5. Conclusions..............................................................................................................................................................70 7. Pastoral Graffiti in the Val Grande National Park and in the areas of Natural Parks of Ossola Valley. Results of a first mapping...........................................................................................................................71 Fabio Copiatti and Elena Poletti 7.1. Geography and environment of the mapped areas.................................................................................................. 71 7.2. Inscribed surfaces and techniques............................................................................................................................71 7.3. Conclusions
.............................................................................................................................................................79 8. Pastoralism and quarrying: possible typological divergences in the production of historical rock art in accordance with the sites intended use....................................................................................................... 81 Federico Troletti 8.1. Camuña historic rock art........................................................................................................................................ 81 8.2. The function of historical etchings.......................................................................................................................... 81 8.3. The Camuni sites.....................................................................................................................................................83 8.3.1 Campanule di Cimbergo................................................................................................................................... 83 8.3.2 The Monticolo di Darfo.................................................................................................................................... 86 8.3.3 Archaeological area of Pisogne and Piancamuno............................................................................................. 87 8.3.4 Other minor sites.............................................................................................................................................. 89 8.4 ‘Schematic’ and
‘figurative’ rock art: a reading proposal.......................................................................................89 9. Beyond cup-marks: Writings, engravings and ethnography in Val Malenco: a first glimpse (Sondrio, Italy).. 93 Cristina Gastaldi 9.1. Introduction............................................................................................................................................................. 93 9.2. Geography of Val Malenco..................................................................................................................................... 93 9.3. Settlements: Contrade and Quadre..........................................................................................................................93 9.4. Mines, lathes and rock engravings.......................................................................................................................... 94 9.5. Writings and engraved signs within the Contrade................................................................................................... 94 9.5.1. Monograms, dates and crosses in theContrade............................................................................................. 94 9.5.2. Devotion ....................................................................................................................................................... 100 9.5.3. Mountain pastures, woods andproperty rights.............................................................................................. 102 9.5.4. Cup-
marks..................................................................................................................................................... 102 9.5.5. Other engravings........................................................................................................................................... 102 9.6. Writings on a soapstone oven: a unicum..............................................................................................................102 9.7. The Ca’: a permanence?....................................................................................................................................... 105 9.8. Homs on bams: ancient protection for hay and crops......................................................................................... 105 9.9. Conclusions........................................................................................................................................................... 105 10. Ethnoarchaeology of pastoralism in Valcamonica high pastures.........................................................................109 Jessica Bezzi and Mara Migliavacca 10.1. Introduction (JB, MM)........................................................................................................................................ 109 10.2. The area of study (JB)......................................................................................................................................... 110 10.3. Methodology
(JB)............................................................................................................................................... Ill 10.4. Results (JB)......................................................................................................................................................... 113 10.4.1 The structures...............................................................................................................................................113 10.4.2. Transformation of the landscape and resource exploitation (JB).............................................................. 121 10.5. Spatial analyses (JB)...........................................................................................................................................121 10.6. Pastoralism and rock art (JB)............................................................................................................................123 10.7. Comparison with the pastoral structures in the Lessini highlands (MM).......................................................... 125 10.7.1. The areas of study....................................................................................................................................... 125 10.7.2. Breeders’houses......................................................................................................................................... 125 10.7.3.
Shelters....................................................................................................................................................... 127 10.7.4. Enclosures.................................................................................................................................................. 128 10.8. Final remarks (JB, MM)..................................................................................................................................... 128 viii
Contents 11. Pastoralisin without writing? The case of Monti Lessini..................................................................................... 131 Mara Migliavacca 11.1. Introduction....................................................................................................................................................... 131 11.2. The Lessini highlands: a pastoral world without graffiti................................................................................... 131 11.3. The Ulasi high valley: graffiti from a marginal landscape................................................................................ 135 11.4. The Agno-Leogra ridge: graffiti from a minery district.................................................................................... 138 11.5. Discussion...........................................................................................................................................................140 12. Compass-made circle engravings from Giau Pass and Mondevai (S. Vito di Cadore, Dolomites, Veneto region, NE Italy)...................................................................................................................................... 147 Fabio Cavitili and Francesco Carrer 12.1. The project and the area......................................................................................................................................147 12.2. The
method..........................................................................................................................................................147 12.2.1. Historical data collection.............................................................................................................................148 12.2.2. Survey strategy and methods.......................................................................................................................148 12.2.3. Total archaeology and multiscale approach................................................................................................148 12.2.4. Data management and elaboration............................................................................................................. 148 12.3. Results: human activities in the uplands............................................................................................................ 149 12.3.1. The circles and other engravings................................................................................................................ 150 12.3.2. Compass-made circle engravings.............................................................................................................. 151 12.3.3. Circles iconography.....................................................................................................................................151 12.3.4. Locational patterns and the landscape around the circles...........................................................................153 12.4.
Analogues............................................................................................................................................................154 12.5. Discussion...........................................................................................................................................................157 12.6. Conclusions.........................................................................................................................................................161 13. A painted mountain: the figurative rock art of the shepherds of the Fiemme Valley....................................... 165 Marta Bazzanella 13.1. The writings of the shepherds.............................................................................................................................165 13.2. The writings database......................................................................................................................................... 167 13.3. Writings and drawings........................................................................................................................................ 167 13.4. The symbols of the valley floor.......................................................................................................................... 168 13.5. The symbols of the mountain............................................................................................................................. 168 13.5.1. The
animals.................................................................................................................................................168 13.5.2. The domestic animals................................................................................................................................. 172 13.5.3. The wild animals........................................................................................................................................ 172 13.5.4. The deer...................................................................................................................................................... 174 13.5.5. The fantastic animals...................................................................................................................................177 13.6. Discussion: an interpretative model................................................................................................................... 177 13.7. Conclusion.......................................................................................................................................................... 180 14. A sign for every shepherd, for every shepherd a family: The signs of the house in the inscriptions of the shepherds of Mount Cornón in Val di Fiemme...................................................................................... 183 Giovanni Barozzi and Vanya Delladio 14.1. Introduction about the writings...........................................................................................................................183
14.2. Process................................................................................................................................................................ 185 14.3. Discussion of data.............................................................................................................................................. 187 14.4. Conclusions........................................................................................................................................................ 189 14.4.1. Successive steps........................................................................................................................................ 190 15. The symbol of the cross on the rocks of Mount Cornón in the Fiemme Valley................................................. 191 Giacomo Fait, Desirée Chini and Marta Bazzanella 15.1. Introduction....................................................................................................................................................... 191 15.1.1. The context of the writings..........................................................................................................................191 15.1.2. Writings and religion.................................................................................................................................. 192 15.2. The symbol of the cross......................................................................................................................................192 15.2.1. Chronology of the
symbol...........................................................................................................................192 15.2.2. Spatial distribution......................................................................................................................................193 15.2.3. Position of the cross in the writings............................................................................................................193 15.3. The Christogram..................................................................................................................................................195 ix
Contents 15.3.1. Chronology of the symbol............................................................................................................................ 195 15.3.2. Position of the Christogram in the writings.................................................................................................195 15.3.3. Typology....................................................................................................................................................... 198 15.3.4. Symbol and sentences................................................................................................................................. 200 15.4. The Sacred Heart..................................................................................................................................................200 15.4.1. Chronology of the symbol........................................................................................................................... 200 15.4.2. Position of the Sacred Heart in the writings................................................................................................ 200 15.4.3. Typology.......................................................................................................................................................200 15.5. The Monogram of Mary...................................................................................................................................... 202 15.5.1. Chronology of the
symbol........................................................................................................................... 202 15.5.2. Typology.......................................................................................................................................................202 15.5.3. Symbol and sentences................................................................................................................................. 204 15.6. Other representations of the cult.........................................................................................................................204 15.6.1. Objects......................................................................................................................................................... 204 15.6.2. Churches...................................................................................................................................................... 204 15.7. Conclusions: the religion of the shepherds........................................................................................................ 204 16. The mountain and the cross as centre of the maso...................................................................................................... 209 Gianfranco Bettega 16.1. Written landscape, milèsimi and calvari............................................................................................................ 209 16.2. Where? Zooming into the various spatial
scales................................................................................................ 211 16.3. When? Long term and singular events...............................................................................................................216 16.4. What? Origins, shapes and ‘behaviour’ of the symbol .....................................................................................221 16.5. Who? Between autonomous builders and specialists.........................................................................................227 16.6. Why? Improvised answers.................................................................................................................................229 x
|
| adam_txt |
Contents Preface. xix Michael J. Rowlands Introduction: Shepherds who write. A new frontier for ethnoarchaeology. 1 Marta Bazzanella and Giovanni Kezich 1. Petroglyphs and graffiti in the Syunik highlands/Armenia - summer pasture for thousands of years. 7 Franziska Knoll 1.1. Rock art and geology in the Syunik high steppe. 7 1.2. Depictions, distribution and presumable age of the petroglyphs. 8 1.3. Transhumance and highland pastoralism during the course of time.10 1.4. Traces of shepherds and flocks/herds in Syunik.11 1.5. Tiying the big picture: Land use, exploitation and rock artas a part of the pastoral life.15 2. Caves and shepherds’ engravings on the Majella mountains.23 Edoardo Micati 2.1. The places of the engravings. 23 2.2.
Interpreting the engravings. 23 2.3. A particular representation. 26 3. Trial of the distribution of the shepherds’ writings in the Mont Bego region (Tende, Alpes-Maritimes, France). 29 Nathalie Magnardi 3.1. Introduction.29 3.2. Description.29 3.3. Postulate. 32 3.4. Methodology .32 3.5. The distribution of historical and pastoral engravings. 34 3.6.
Conclusion.34 4. Moving beyond the Bego God. 37 Jules Masson Mourey and Nicoletta Bianchi 4.1. Introduction. 37 4.2. Presentation of the site. 37 4.2.1. Geographical, geological and geomorphological contexts. 37 4.2.2. Archaeological forniture and palaeoenvironmental data. 37 4.2.3. Corpus and chrono-cultural attributions of prehistoric engravings. 40 4.3. Historiography.43 4.3.1. Hypothesis no. 1 : ex-voto and/or a sacred ‘stone-book’?. 43 4.3.2. Hypothesis no. 2: pasture boundaries and/or pastoral path
markings?. 43 4.3.3. Hypothesis no. 3: the marks of male rites of passage?. 44 4.4. Critical analysis. 44 4.4.1. Recording methodology. 44 4.4.2. Use of the chrono-cultural context and apprehension of diachrony. 45 4.4.3. The qualitative, the quantitative, and comparisons proposal. 45 4.5. Discussion. 46 4.5.1. The pastoral fonction of the site. 46 4.5.2. Engraving in modem alpine pastoral universe. 46 4.5.3. Back to the hypothesis of male rites of passage. 47 4.6.
Conclusion. 49 5. Igniting fire under mobile conditions and other Late Neolithic-Bronze Age shepherding traces. 55 Giorgio Chelidonio 5.1. Introduction. 55 vii
Contents 6. Rock art in relation to pastoral villages in medium and high-altitude sites, in Valcamonica and in the Alps. 63 Ausilio Priuli 6.1. Introduction. 63 6.2. The relationship between man and environment was economic but was, most importantly, religious. 64 6.3. The expressions of man in the Alps.64 6.4. Institutionalised ‘language’ and ‘minor manifestations’. 66 6.5. Conclusions.70 7. Pastoral Graffiti in the Val Grande National Park and in the areas of Natural Parks of Ossola Valley. Results of a first mapping.71 Fabio Copiatti and Elena Poletti 7.1. Geography and environment of the mapped areas. 71 7.2. Inscribed surfaces and techniques.71 7.3. Conclusions
.79 8. Pastoralism and quarrying: possible typological divergences in the production of historical rock art in accordance with the sites intended use. 81 Federico Troletti 8.1. Camuña historic rock art. 81 8.2. The function of historical etchings. 81 8.3. The Camuni sites.83 8.3.1 Campanule di Cimbergo. 83 8.3.2 The Monticolo di Darfo. 86 8.3.3 Archaeological area of Pisogne and Piancamuno. 87 8.3.4 Other minor sites. 89 8.4 ‘Schematic’ and
‘figurative’ rock art: a reading proposal.89 9. Beyond cup-marks: Writings, engravings and ethnography in Val Malenco: a first glimpse (Sondrio, Italy). 93 Cristina Gastaldi 9.1. Introduction. 93 9.2. Geography of Val Malenco. 93 9.3. Settlements: Contrade and Quadre.93 9.4. Mines, lathes and rock engravings. 94 9.5. Writings and engraved signs within the Contrade. 94 9.5.1. Monograms, dates and crosses in theContrade. 94 9.5.2. Devotion . 100 9.5.3. Mountain pastures, woods andproperty rights. 102 9.5.4. Cup-
marks. 102 9.5.5. Other engravings. 102 9.6. Writings on a soapstone oven: a unicum.102 9.7. The Ca’: a permanence?. 105 9.8. Homs on bams: ancient protection for hay and crops. 105 9.9. Conclusions. 105 10. Ethnoarchaeology of pastoralism in Valcamonica high pastures.109 Jessica Bezzi and Mara Migliavacca 10.1. Introduction (JB, MM). 109 10.2. The area of study (JB). 110 10.3. Methodology
(JB). Ill 10.4. Results (JB). 113 10.4.1 The structures.113 10.4.2. Transformation of the landscape and resource exploitation (JB). 121 10.5. Spatial analyses (JB).121 10.6. Pastoralism and rock art (JB).123 10.7. Comparison with the pastoral structures in the Lessini highlands (MM). 125 10.7.1. The areas of study. 125 10.7.2. Breeders’houses. 125 10.7.3.
Shelters. 127 10.7.4. Enclosures. 128 10.8. Final remarks (JB, MM). 128 viii
Contents 11. Pastoralisin without writing? The case of Monti Lessini. 131 Mara Migliavacca 11.1. Introduction. 131 11.2. The Lessini highlands: a pastoral world without graffiti. 131 11.3. The Ulasi high valley: graffiti from a marginal landscape. 135 11.4. The Agno-Leogra ridge: graffiti from a minery district. 138 11.5. Discussion.140 12. Compass-made circle engravings from Giau Pass and Mondevai (S. Vito di Cadore, Dolomites, Veneto region, NE Italy). 147 Fabio Cavitili and Francesco Carrer 12.1. The project and the area.147 12.2. The
method.147 12.2.1. Historical data collection.148 12.2.2. Survey strategy and methods.148 12.2.3. Total archaeology and multiscale approach.148 12.2.4. Data management and elaboration. 148 12.3. Results: human activities in the uplands. 149 12.3.1. The circles and other engravings. 150 12.3.2. Compass-made circle engravings. 151 12.3.3. Circles iconography.151 12.3.4. Locational patterns and the landscape around the circles.153 12.4.
Analogues.154 12.5. Discussion.157 12.6. Conclusions.161 13. A painted mountain: the figurative rock art of the shepherds of the Fiemme Valley. 165 Marta Bazzanella 13.1. The writings of the shepherds.165 13.2. The writings database. 167 13.3. Writings and drawings. 167 13.4. The symbols of the valley floor. 168 13.5. The symbols of the mountain. 168 13.5.1. The
animals.168 13.5.2. The domestic animals. 172 13.5.3. The wild animals. 172 13.5.4. The deer. 174 13.5.5. The fantastic animals.177 13.6. Discussion: an interpretative model. 177 13.7. Conclusion. 180 14. A sign for every shepherd, for every shepherd a family: The signs of the house in the inscriptions of the shepherds of Mount Cornón in Val di Fiemme. 183 Giovanni Barozzi and Vanya Delladio 14.1. Introduction about the writings.183
14.2. Process. 185 14.3. Discussion of data. 187 14.4. Conclusions. 189 14.4.1. Successive steps. 190 15. The symbol of the cross on the rocks of Mount Cornón in the Fiemme Valley. 191 Giacomo Fait, Desirée Chini and Marta Bazzanella 15.1. Introduction. 191 15.1.1. The context of the writings.191 15.1.2. Writings and religion. 192 15.2. The symbol of the cross.192 15.2.1. Chronology of the
symbol.192 15.2.2. Spatial distribution.193 15.2.3. Position of the cross in the writings.193 15.3. The Christogram.195 ix
Contents 15.3.1. Chronology of the symbol. 195 15.3.2. Position of the Christogram in the writings.195 15.3.3. Typology. 198 15.3.4. Symbol and sentences. 200 15.4. The Sacred Heart.200 15.4.1. Chronology of the symbol. 200 15.4.2. Position of the Sacred Heart in the writings. 200 15.4.3. Typology.200 15.5. The Monogram of Mary. 202 15.5.1. Chronology of the
symbol. 202 15.5.2. Typology.202 15.5.3. Symbol and sentences. 204 15.6. Other representations of the cult.204 15.6.1. Objects. 204 15.6.2. Churches. 204 15.7. Conclusions: the religion of the shepherds. 204 16. The mountain and the cross as centre of the maso. 209 Gianfranco Bettega 16.1. Written landscape, milèsimi and calvari. 209 16.2. Where? Zooming into the various spatial
scales. 211 16.3. When? Long term and singular events.216 16.4. What? Origins, shapes and ‘behaviour’ of the symbol .221 16.5. Who? Between autonomous builders and specialists.227 16.6. Why? Improvised answers.229 x |
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| genre | (DE-588)4143413-4 Aufsatzsammlung gnd-content |
| genre_facet | Aufsatzsammlung |
| id | DE-604.BV046902801 |
| illustrated | Illustrated |
| index_date | 2024-07-03T15:24:59Z |
| indexdate | 2024-07-10T08:57:02Z |
| institution | BVB |
| isbn | 9781407357140 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-032312423 |
| oclc_num | 1197700734 |
| open_access_boolean | |
| owner | DE-20 DE-12 |
| owner_facet | DE-20 DE-12 |
| physical | XX, 232 Seiten Illustrationen, Diagramme, Karten |
| psigel | gbd_4_2011 BSB_NED_20210427 |
| publishDate | 2020 |
| publishDateSearch | 2020 |
| publishDateSort | 2020 |
| publisher | BAR Publishing |
| record_format | marc |
| series | BAR international series |
| series2 | BAR international series |
| spelling | Shepherds who write pastoral graffiti in the uplands of Europe from prehistory to the modern age edited by Marta Bazzanella and Giovanni Kezich ; With a preface by Michael J. Rowlands Oxford BAR Publishing 2020 XX, 232 Seiten Illustrationen, Diagramme, Karten txt rdacontent n rdamedia nc rdacarrier BAR international series 2999 Hirt (DE-588)4159960-3 gnd rswk-swf Ethnoarchäologie (DE-588)4328681-1 gnd rswk-swf Felsbild (DE-588)4016718-5 gnd rswk-swf Graffito (DE-588)4021791-7 gnd rswk-swf Inschrift (DE-588)4027107-9 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content Bukolik (DE-2581)TH000005046 gbd Graffiti, lateinische (DE-2581)TH000008407 gbd Graffiti, griechische (DE-2581)TH000008378 gbd Epigraphik (DE-2581)TH000008351 gbd Hirt (DE-588)4159960-3 s Inschrift (DE-588)4027107-9 s Graffito (DE-588)4021791-7 s Felsbild (DE-588)4016718-5 s Ethnoarchäologie (DE-588)4328681-1 s DE-604 Bazzanella, Marta (DE-588)1219943878 edt Kezich, Giovanni 1956- (DE-588)131789503 edt Rowlands, Michael ca. 20./21. Jh. (DE-588)1193290856 wpr Erscheint auch als Online-Ausgabe 978-1-4073-5716-4 BAR international series 2999 (DE-604)BV023549802 2999 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032312423&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Shepherds who write pastoral graffiti in the uplands of Europe from prehistory to the modern age BAR international series Hirt (DE-588)4159960-3 gnd Ethnoarchäologie (DE-588)4328681-1 gnd Felsbild (DE-588)4016718-5 gnd Graffito (DE-588)4021791-7 gnd Inschrift (DE-588)4027107-9 gnd |
| subject_GND | (DE-588)4159960-3 (DE-588)4328681-1 (DE-588)4016718-5 (DE-588)4021791-7 (DE-588)4027107-9 (DE-588)4143413-4 |
| title | Shepherds who write pastoral graffiti in the uplands of Europe from prehistory to the modern age |
| title_auth | Shepherds who write pastoral graffiti in the uplands of Europe from prehistory to the modern age |
| title_exact_search | Shepherds who write pastoral graffiti in the uplands of Europe from prehistory to the modern age |
| title_exact_search_txtP | Shepherds who write pastoral graffiti in the uplands of Europe from prehistory to the modern age |
| title_full | Shepherds who write pastoral graffiti in the uplands of Europe from prehistory to the modern age edited by Marta Bazzanella and Giovanni Kezich ; With a preface by Michael J. Rowlands |
| title_fullStr | Shepherds who write pastoral graffiti in the uplands of Europe from prehistory to the modern age edited by Marta Bazzanella and Giovanni Kezich ; With a preface by Michael J. Rowlands |
| title_full_unstemmed | Shepherds who write pastoral graffiti in the uplands of Europe from prehistory to the modern age edited by Marta Bazzanella and Giovanni Kezich ; With a preface by Michael J. Rowlands |
| title_short | Shepherds who write |
| title_sort | shepherds who write pastoral graffiti in the uplands of europe from prehistory to the modern age |
| title_sub | pastoral graffiti in the uplands of Europe from prehistory to the modern age |
| topic | Hirt (DE-588)4159960-3 gnd Ethnoarchäologie (DE-588)4328681-1 gnd Felsbild (DE-588)4016718-5 gnd Graffito (DE-588)4021791-7 gnd Inschrift (DE-588)4027107-9 gnd |
| topic_facet | Hirt Ethnoarchäologie Felsbild Graffito Inschrift Aufsatzsammlung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032312423&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV023549802 |
| work_keys_str_mv | AT bazzanellamarta shepherdswhowritepastoralgraffitiintheuplandsofeuropefromprehistorytothemodernage AT kezichgiovanni shepherdswhowritepastoralgraffitiintheuplandsofeuropefromprehistorytothemodernage AT rowlandsmichael shepherdswhowritepastoralgraffitiintheuplandsofeuropefromprehistorytothemodernage |