Structure, Meaning and Ritual in the Narratives of the Southern San

Hewitt, Roger

doi:10.18772/12008084709

Cited by 65 publications

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“…Kadınlar için, kabul törenle-ri kabaca ilk adet görme ile aynı zamana denk gelmektedir; fakat kan, genellikle ölüm, bereket ve ritüel dokunulmazlık ile 56 Leroi-Gourhan, 1962;Bouchonnet 1977, 345-351;Wreschner ve di .1980, 63;Pedru 2006, 205 57 Dunbar ve di ., 1999Power 2004, 83;EliotNiesta 2008EliotNiesta , 1151 Kuhn -Stiner 2007, 46. 59 Hewitt 1986Hewitt , 284. 60 D'errico 2003Kuhn -Stiner 2007, 46. ili kilidir 61 .…”

Section: Kırmızı a ı Boyasının Sembolik Ve Ritüel Kullanımıunclassified

Anadolu’da erken Prehistorik dönem kırmızı aşı boyası kullanımı

Kolankaya-Bostanci¹

2012

Anadolu (Anatolia)

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Bu makalede, kırmızı a ı boyasının Anadolu'daki kullanımı ve sembolik anlamı, arkeolojik ve etno rafik çalı malar ı ı ında sunulmaktadır. Siyah ve kırmızı boyalar Prehistorik dönemlerde en eski boyaları olu turmaktadır. Bu iki renkten kırmızı, genellikle a ı boyası, hematit ya da demir oksit eklinde Prehistorik renk paletinde hakim olan rengi olu turmaktadır. Her ne kadar bazı bilimsel çalı malar, kırmızı a ı boyasının ta aletlerin sapa takılmasında ve deri hazırlanmasında kullanılan bir malzeme oldu unu ortaya koysa da sembolik ve ritüel geleneklerin ilk kanıtı arkeolojik kayıtlarda kırmızı a ı boyası formunda görülmektedir. Ya am, yeniden do um, bereket, dönü üm ya da statüyü temsil eden güçlü sosyal ve kültürel bir sembol olarak kırmızı renk, insan kapasitesinin fosil göstergesidir. Arkeolojik veriler, Alt Paleolitik Dönem'den tarihi dönemlere kadar kırmızı a ı boyasının, ritüel vücut ve yüz boyama, aletlerin ve sembolik buluntuların süslenmesi, mezarlarda sembolik kullanımı, kadın figürinleri ve ma ara resimlerinin boyanması gibi farklı bölgelerde çe itli kullanımlara sahip oldu unu göstermektedir. Anadolu'da ise a ı boyası kullanımı ilk kez Üst Paleolitik Dönem'de görülmekte fakat Neolitik Ça 'da, sembolik ve ritüel i levleri ile birlikte doruk noktasına ula maktadır.

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Section: Kırmızı a ı Boyasının Sembolik Ve Ritüel Kullanımıunclassified

Anadolu’da erken Prehistorik dönem kırmızı aşı boyası kullanımı

Kolankaya-Bostanci¹

2012

Anadolu (Anatolia)

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“…He quotes Mary Douglas: "We should expect orifices of the body to symbolise its specially vulnerable points. Matter issuing from them is marginal stuff of the most obvious kind" (Hewitt 1986, 190-1, quoting Douglas 1966. A menarcheal girl not only inhabits the margin that menstruation represents, but also the margin between girlhood and womanhood.…”

Section: The Earthly Origin Of the Starsmentioning

confidence: 99%

“…Other writers who have discussed individual /Xam stories in some detail include Roger Hewitt (1986), Matthias Guenther (1989, Sigrid Schmidt (1989;, Duncan Brown (1998;2006), and Andrew Bank (2006).…”

Section: Notesmentioning

confidence: 99%

The Discursive Character of the /Xam Texts: A Consideration of the /Xam “Story of the Girl of the Early Race, Who Made Stars”

Wessels¹

2007

Folklore

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This paper discusses a single /Xam narrative from the nineteenth-century Bleek and Lloyd archive of Southern African Bushman materials.[1] It delivers a critique of functionalist and structuralist approaches to the materials, as well as of the tendency to characterise the narratives that concern the sun, moon and stars as chiefly aetiological. The paper aims to situate the narrative within a wider /Xam discursive field and to demonstrate something of its protean multivocity. While the paper concentrates on the /Xam materials, it also seeks to address questions that relate to the interpretation of folklore and oral literature in general.

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“…Then, when he showed his informants copies of rock paintings that had been made by Joseph Orpen, the British representative in the Eastern Cape, and George William Stow, a self-educated geologist who was interested in southern Africa's earliest 2 The work of the Bleek family and the San in general have turned into an academic industry. Amongst many others, see: (Lewis-Williams and Biesele, 1978;Lewis-Williams, 1980, 1981, 2002bKatz, 1982;Deacon, 1986;Hewitt, 1986;Marshall Thomas, 1988;Guenther, 1989Guenther, , 1999Schmidt, 1989;Biesele and Weinberg, 1990;Biesele, 1993;Deacon and Dowson, 1996;Skotnes, 1996;Katz et al, 1997;Marshall, 1999;Townley Bassett, 2001;Schadeberg, 2002;Szalay, 2002;Keeney, 2003;Le Roux and White, 2004;Bennun, 2004;Deacon and Foster, 2005). inhabitants, they began to speak about areas of /Xam belief and ritual that might otherwise have remained unknown:…”

Section: Nineteenth-century Genesismentioning

confidence: 99%

“…On the significances of these and other /Xam myths see(Lewis-Williams, 1996Guenther, 1989;Hewitt, 1986).…”

mentioning

confidence: 99%

The Evolution of Theory, Method and Technique in Southern African Rock Art Research

Lewis‐Williams

2006

J Archaeol Method Theory

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Southern African rock art research has progressed from an essentially denigrating social and political milieu, through an empiricist period, to contemporary social and historical approaches. Empiricism, once thought to be the salvation of southern African rock art research, was a theoretically and methodologically flawed enterprise. Attempts to see the art through an emic perspective facilitated by copious nineteenth-and twentieth-century San ethnography is a more useful approach. It began briefly, but was then abandoned, in the nineteenth century. Today, diverse theoretical and methodological approaches are being constructed on an ethnographic foundation. The centrality of the San in South African national identity has been recognized.

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Structure, Meaning and Ritual in the Narratives of the Southern San

Cited by 65 publications

References 0 publications

Anadolu’da erken Prehistorik dönem kırmızı aşı boyası kullanımı

Anadolu’da erken Prehistorik dönem kırmızı aşı boyası kullanımı

The Discursive Character of the /Xam Texts: A Consideration of the /Xam “Story of the Girl of the Early Race, Who Made Stars”

The Evolution of Theory, Method and Technique in Southern African Rock Art Research

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