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\u00a0\u00a0\u00a0Download<\/a><\/p>\n\n
EUR 01<\/strong><\/p>\n THE DISTRIBUTION OF FRANCO-CANTABRIAN ROCK ART<\/a><\/p>\n EUR 02<\/strong><\/p>\n WHO IS THE ARTIST? EUR 03<\/strong><\/p>\n ANIMALS AS THE ANAMORPHISM OF MAN<\/a><\/p>\n EUR 04<\/strong><\/p>\n IMAGES OF THE SELF IN THE MAGDALENIAN: EUR 05<\/strong><\/p>\n THE ACOUSTIC DIMENSION OF PALEOLITHIC PAINTED CAVES AND STONES<\/a><\/p>\n EUR 06<\/strong><\/p>\n ANIMATION IN PALEOLITHIC ART: EUR 07<\/strong><\/p>\n THE USE OF NATURAL RELIEFS IN PALEOLITHIC PARIETAL ART<\/a><\/p>\n EUR 08<\/strong><\/p>\n THE MIDDLE-RANGE THEORY OF \u201cSHARED SPACE\u201d<\/a><\/p>\n EUR 09<\/strong><\/p>\n THROWING MORE LIGHT. STATIC LIGHTING IN PALAEOLITHIC \u201cSANCTUARIES\u201d: EUR 10<\/strong><\/p>\n TOWARD A DECORATIVE MODEL FOR THE CAVE OF PE\u00d1A DE CANDAMO EUR 11<\/strong><\/p>\n REVIEW OF SEVEN YEARS OF RESEARCH EUR 12<\/strong><\/p>\n PALAEOLITHIC FINE AND STRIATED LINE TECHNIQUES EUR 13<\/strong><\/p>\n SYNTHESIS OF NEW PARIETAL AND PORTABLE ART DISCOVERIES EUR 14<\/strong><\/p>\n THE DECORATED CAVE OF ETXEBERRI (CAMOU-CIHIGUE, PYR\u00c9N\u00c9ES-ATLANTIQUES): EUR 15<\/strong><\/p>\n GARGAS CAVE (HAUTES-PYR\u00c9N\u00c9ES, FRANCE): EUR 16<\/strong><\/p>\n HORSE FIGURES IN THE PARIETAL ART OF GARGAS (AVENTIGNAN, HAUTES-PYR\u00c9N\u00c9ES): EUR 17<\/strong><\/p>\n OBJECTS DEPOSITED IN THE WALL CRACKS OF THE GARGAS CAVES EUR 18<\/strong><\/p>\n THE CONTRIBUTION OF ENVIRONMENTAL MONITORING TO THE PRESERVATION EUR 19<\/strong><\/p>\n THE APPLICATION OF MATHEMATICAL MODELS TO THE AUTHOR ATTRIBUTION EUR 20<\/strong><\/p>\n THE COLLECTIVE RESEARCH PROJECT \u201cCUSSAC CAVE\u201d (DORDOGNE, FRANCE): EUR 21<\/strong><\/p>\n CUSSAC CAVE (LE BUISSON-DE-CADOUIN, DORDOGNE, FRANCE): EUR 22<\/strong><\/p>\n CHRONOLOGY OF THE REALIZATION OF A FRIEZE OF MAMMOTHS EUR 23<\/strong><\/p>\n TEN YEARS IN ROUFFIGNAC CAVE: EUR 24<\/strong><\/p>\n PICTORIAL ART AT LE ROC-AUX-SORCIERS (ANGLES-SUR-L\u2019ANGLIN, VIENNE): EUR 25<\/strong><\/p>\n ROCK SCULPTURE AND SYMBOLIC GEOGRAPHY IN THE MIDDLE MAGDALENIAN<\/a><\/p>\n EUR 26<\/strong><\/p>\n THE IDENTIFICATION OF THE FIRST PALEOLITHIC ANIMAL SCULPTURE EUR 27<\/strong><\/p>\n LIFE DRAWING AND THE CHAUVET LIONS<\/a><\/p>\n EUR 28<\/strong><\/p>\n POWER OF SEEING: EUR 29<\/strong><\/p>\n COSMOPOLITAN AND LOCAL ASPECTS OF EPIGRAVETTIAN ART IN ITALY<\/a><\/p>\n EUR 30<\/strong><\/p>\n GROTTICELLA BLANC-CARDINI AT BALZI ROSSI (VENTIMIGLIA, ITALY)<\/a><\/p>\n EUR 31<\/strong><\/p>\n THE ITALIAN GRAVETTIAN AND EPIGRAVETTIAN \u201cVENUSES\u201d EUR 32<\/strong><\/p>\n THE DISCOVERY OF A NEW PALEOLITHIC DECORATED CAVE EUR 33<\/strong><\/p>\n CATALOGING OF KAPOVA CAVE ROCK ART<\/a><\/p>\n <\/p>","protected":false},"excerpt":{"rendered":" Symposium 1 Pleistocene art in Europe \u00a0\u00a0\u00a0Download EUR 01 Robert G. BEDNARIK THE DISTRIBUTION OF FRANCO-CANTABRIAN ROCK ART EUR 02 Claudine COHEN WHO IS THE ARTIST? Paleolithic Art and the Sexes EUR 03 Am\u00e9lie BALAZUT ANIMALS AS THE ANAMORPHISM OF MAN EUR 04 Oscar FUENTES IMAGES OF THE SELF IN THE MAGDALENIAN: the Role of … Continue reading 2013-Symposium-01<\/span> Robert G. BEDNARIK<\/h6>\n
\nClaudine COHEN<\/h6>\n
\nPaleolithic Art and the Sexes<\/a><\/p>\n
\nAm\u00e9lie BALAZUT<\/h6>\n
\nOscar FUENTES<\/h6>\n
\nthe Role of Human Representation in Paleolithic Societies \u2013 Territories and Movements<\/a><\/p>\n
\nIegor REZNIFOFF<\/h6>\n
\nMarc AZ\u00c9MA, avec la collaboration de Florent RIV\u00c8RE<\/h6>\n
\nRecent Observations<\/a><\/p>\n
\nJean BROT<\/h6>\n
\nJos\u00e9 FERN\u00c1NDEZ QUINTANO<\/h6>\n
\nMar\u00eda \u00c1ngeles MEDINA, Araceli CRISTO, Antonio ROMERO, Jos\u00e9 Lu\u00eds SANCHIDRI\u00c1N<\/h6>\n
\nthe Example of Cueva de Nerja (M\u00e1laga, Spain))<\/a><\/p>\n
\nMar\u00eda Soledad CORCH\u00d3N, Diego GARATE, Clara HERNANDO,
\nPaula ORTEGA, Olivia RIVERO<\/h6>\n
\n(ASTURIAS, NORTHERN SPAIN) IN THE LIGHT OF NEW DISCOVERIES<\/a><\/p>\n
\nMarc GROENEN, Marie-Christine GROENEN,
\nJose Maria CEBALLOS del MORAL, Joaqu\u00edn GONZ\u00c1LEZ ECHEGARAY<\/h6>\n
\nIN THE DECORATED CAVE OF EL CASTILLO (CANTABRIA, SPAIN)<\/a><\/p>\n
\nRamon VI\u00d1AS, Albert RUBIO, Juan F. RUIZ<\/h6>\n
\nAT THE ORIGINS OF THE LEVANTINE STYLE OF THE IBERIAN PENINSULA
\nEvidence for Further Thought<\/a><\/p>\n
\nAude LABARGE<\/h6>\n
\nIN THE CAVES OF ISTURITZ AND OXOCELHAYA (PYR\u00c9N\u00c9ES-ATLANTIQUES): 1996\/2009<\/a><\/p>\n
\nDiego GARATE, Rapha\u00eblle BOURRILLON<\/h6>\n
\nan Audacious Art<\/a><\/p>\n
\nPascal FOUCHER, Cristina SAN JUAN-FOUCHER,
\nCarole VERCOUT\u00c8RE, Catherine FERRIER<\/h6>\n
\nthe Archaeological Context and the Interpretations of the Parietal Art<\/a><\/p>\n
\nOlivier HUARD<\/h6>\n
\na Homogeneous Group?<\/a><\/p>\n
\nMagali PEYROUX<\/h6>\n
\n(HAUTES-PYR\u00c9N\u00c9ES, FRANCE):
\nAnalysis and Contextualization<\/a><\/p>\n
\nFran\u00e7ois BOURGES, \u00c9ric MAUDUIT, Alain MANGIN,
\nDominique d\u2019HULST, Pierre GENTHON, Robert B\u00c9GOU\u00cbN<\/h6>\n
\nOF DECORATED PALEOLITHIC CAVES IN THE MIDI-PYR\u00c9N\u00c9ES REGION:
\nthe Examples of Gargas (Hautes-Pyr\u00e9n\u00e9es) and Marsoulas (Haute-Garonne)<\/a><\/p>\n
\nJuan Mar\u00eda APELL\u00c1NIZ, Imanol AMAYRA<\/h6>\n
\nOF THE TWO \u201cTARPAN\u201d HORSES AT NIAUX<\/a><\/p>\n
\nJacques JAUBERT, Norbert AUJOULAT, Patrice COURTAUD, Marie-France DEGUILLOUX, Marc DELLUC, Alain DENIS, Henri DUDAY, Bruno DUTAILLY, Catherine FERRIER, Val\u00e9rie FERUGLIO, Nathalie FOURMENT, Jean-Michel GENESTE, Dominique GENTY, Nejma GOUTAS, Dominique HENRY-GAMBIER, Bertrand KERVAZO, Laurent KLARIC, Roland LASTENNET, Fran\u00e7ois L\u00c9V\u00caQUE, Philippe MALAURENT,
\nJean-Baptiste MALLYE, Pascal MORA, Marie-H\u00e9l\u00e8ne PEMONGE, Nicolas PEYRAUBE, Magali PEYROUX, Hugues PLISSON, Jean-Christophe PORTAIS, H\u00e9l\u00e8ne VALLADAS, Robert VERGNIEUX, S\u00e9bastien VILLOTTE<\/h6>\n
\nStudy of a Decorated Cavern with Gravettian Human Remains<\/a><\/p>\n
\nNathalie FOURMENT, Dany BARAUD, Muriel KAZMIERCZAK, Alain RIEU<\/h6>\n
\nApplication of the Principles of Preventative Conservation to the Case of a Recent Discovery<\/a><\/p>\n
\nJannu IGARASHI<\/h6>\n
\nIN ROUFFIGNAC CAVE (DORDOGNE, FRANCE) <\/a><\/p>\n
\nLeslie Van GELDER<\/h6>\n
\na Collective Report on Findings from a Decade of Finger Flutings Research<\/a><\/p>\n
\nAur\u00e9lie ABGRALL<\/h6>\n
\nthe \u201cLanguage\u201d of a Cultural Group?<\/a><\/p>\n
\nCamille BOURDIER<\/h6>\n
\nDuncan CALDWELL<\/h6>\n
\nIN THE ILE-DE-FRANCE:
\nthe S\u00e9gognole 3 Bison and its Ramifications<\/a><\/p>\n
\nJohn CLEGG<\/h6>\n
\nMasaru OGAWA<\/h6>\n
\nHigh Quality and Diversity of Parietal Art in Chauvet<\/a><\/p>\n
\nFabio MARTINI<\/h6>\n
\nGiuseppe VICINO, Margherita MUSSI<\/h6>\n
\nMargherita MUSSI<\/h6>\n
\nIN A EUROPEAN CONTEXT <\/a><\/p>\n
\nJean CLOTTES, Miha\u00ef BESESEK, Bernard G\u00c9LY, C\u0103lin GHEMIS, Marius KENESZ, Viorel Traian LASCU, Marcel MEYSSONNIER, Michel PHILIPPE, Val\u00e9rie PLICHON, Fran\u00e7oise PRUD\u2019HOMME, Valentin Alexandru RADU, Tudor RUS, Roxana Laura TOCIU<\/h6>\n
\nIN ROMANIA (BIHOR DEPARTMENT)<\/a><\/p>\n
\nAlexey SOLODEYNIKOV<\/h6>\n
\n