Confronting the Past: Archaeological and Historical Essays by Seymour Gitin

By Seymour Gitin

William G. Dever is well-known because the doyen of North American archaeologist-historians who paintings within the box of the traditional Levant. he's most sensible referred to as the director of excavations on the website of Gezer yet has labored at quite a few different websites, and his many scholars have led dozens of different expeditions. He has been editor of the Bulletin of the yank faculties of Oriental learn, used to be for a few years professor within the influential archaeology software on the college of Arizona, and now in retirement keeps actively to write down and put up. during this quantity, forty six of his colleagues and scholars give a contribution essays in his honor, reflecting the extensive scope of his pursuits, relatively by way of the old implications of archaeology.

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Statue of a seated figure* (reg. no. F/68/14). According to Yadin et al. (1960: 157, pl. ” No reason is given for this statement. The head of the figure is missing, and although the circumstances under which this occurred cannot be established with certainty, at least partial intentional mutilation seems to be indicated by the fact that the outline of the base of a cup that the figure originally held in its right hand can still be seen. 8 Fig. 4. Head of ivory statuette from Hazor (reg. no. A/41219) (Selz Foundation Hazor Excavations in Memory of Yigael Yadin).

A/14760) (Selz Foundation Hazor Excavations in Memory of Yigael Yadin). 7. Egyptian statue (reg. no. A/17844). The third Egyptian statue is very similar to the above two and also bears the same indications of intentional mutilation. It was found in the so-called “throne room” in the final destruction layer of the Late Bronze Age palace. 8. Egyptian royal statue (reg. no. A/15364). Unlike the three above-mentioned examples, which probably represent either kings or dignitaries, this is certainly a royal statue, of which only the head was found; it was also found in the “throne room” in the final destruction layer of the palace.

Sacks relates that to obviate the great disconnect that marked Gardin’s experiential range, she “built up a vast library of experiences. . They were like a library of videotapes, which she could play in her mind and inspect at any time—‘videos’ of how people behaved in different circumstances. She would play these over and over again and learn, by degrees, to correlate what she saw, so that she could then predict how people in similar circumstances might act” (1995: 259–60). Sacks explains that, “when she was younger, she was hardly able to interpret even the simplest expressions of emotion; she learned to ‘decode’ them later, without necessarily feeling them” (1995: 269), and that “she has .

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