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\u00a0\u00a0\u00a0Download<\/a><\/p>\n\n
AMO 0<\/strong><\/p>\n PLEISTOCENE PORTABLE ART: AMO 1-1<\/strong><\/p>\n A NEW LATE PALEOLITHIC \u201cOFFERING VENUS\u201d FROM FRASASSI GORGE (CENTRAL ITALY)<\/a><\/p>\n AMO 1-2<\/strong><\/p>\n NEW FEMALE FIGURINES FROM THE SITE KHOTYLEVO 2<\/a><\/p>\n AMO 1-3<\/strong><\/p>\n THE BIRD CONTOUR D\u00c9COUP\u00c9 AT THE SITE OF EKAIN (DEVA, BASQUE COUNTRY)<\/a><\/p>\n AMO 1-4<\/strong><\/p>\n TECHNOLOGICAL DATA ON MAMMOTH IVORY ENGRAVING IN THE EPIGRAVETTIAN: AMO 2-1<\/strong><\/p>\n ENGRAVED OSTRICH EGGSHELL CONTAINERS FROM THE MIDDLE STONE AGE AMO 2-2<\/strong><\/p>\n FIGURATIVE AND DECORATIVE ART OF KOSTENKI: AMO 2-3<\/strong><\/p>\n GRAVETTIAN AND EPIGRAVETTIAN PORTABLE ART IN ROMANIA<\/a><\/p>\n AMO 2-4<\/strong><\/p>\n THE FEMALE FIGURINES IN FLAKED FLINT FROM THE MAGDALENIAN SITE AMO 2-5<\/strong><\/p>\n DECORATED PLAQUETTES FROM MAGDALENIAN HABITATION FLOORS AMO 2-6<\/strong><\/p>\n A NEW LOOK AT PORTABLE ART FROM THE MIDDLE MAGDALENIAN AMO 2-7<\/strong><\/p>\n THE HORSE MORPHOTYPE IN THE MIDDLE MAGDALENIAN PORTABLE ART AMO 2-8<\/strong><\/p>\n EPIGRAVETTIAN PORTABLE ART IN CENTRAL AND SOUTHERN ITALY: AMO 3-1<\/strong><\/p>\n GRAVETTIAN ART OF PAVLOV I AND VI: AMO 3-2<\/strong><\/p>\n THE INCOMPLETENESS AND SEGMENTATION OF FEMALE BODIES AMO 3-3<\/strong><\/p>\n THOUGHTS ON TECHNOLOGICAL CHOICES AMO 3-4<\/strong><\/p>\n THE UPPER MAGDALENIAN GEOMETRIC MOTIFS OF ISTURITZ CAVE (PYR\u00c9N\u00c9ES-ATLANTIQUES): AMO 3-5<\/strong><\/p>\n SPATIAL ANALYSIS OF THE PORTABLE ART OBJECTS IN THE EPIGRAVETTIAN DEPOSIT OF THE GROTTA CONTINENZA (ABRUZZO, ITALY) AND THEIR RELATIONSHIP TO THE BURIALS AND COMBUSTION FEATURES<\/a><\/p>\n AMO 3-6<\/strong><\/p>\n ETHNOGRAPHIC RESEARCH AND ANALYSIS OF UPPER PALEOLITHIC PORTABLE ART<\/a><\/p>\n AMO 3-7<\/strong><\/p>\n PORTABLE ART AND PARIETAL ART OF THE ROC-AUX-SORCIERS AMO 3-8<\/strong><\/p>\n WHAT A CARRY ON? AMO 3-9<\/strong><\/p>\n DATING AND ARCHAEOLOGICAL CONTEXT OF THE NEW ENGRAVED SCAPULA AT ALTAMIRA<\/a><\/p>\n AMO 3-10<\/strong><\/p>\n A NEW HYPOTHESIS ON THE CREATION OF THE HOHLE FELS \u201cVENUS\u201d FIGURINE<\/a><\/p>\n <\/p>","protected":false},"excerpt":{"rendered":" Symposium 8 Pleistocene portable art \u00a0\u00a0\u00a0Download AMO 0 Aline AVERBOUH, Val\u00e9rie FERUGLIO PLEISTOCENE PORTABLE ART: Current Research Orientations I. Definitions and characterization AMO 1-1 Mauro COLTORTI, Cristina LEMORINI, Marco PERESANI, Sandro POLZINETTI, Pierluigi PIERUCCINI, Mara SILVESTRINI, Daniela ZAMPETTI A NEW LATE PALEOLITHIC \u201cOFFERING VENUS\u201d FROM FRASASSI GORGE (CENTRAL ITALY) AMO 1-2 Konstantin N. GAVRILOV NEW … Continue reading 2013-Symposium-08<\/span> Aline AVERBOUH, Val\u00e9rie FERUGLIO<\/h6>\n
\nCurrent Research Orientations<\/a><\/p>\n
\nI. Definitions and characterization<\/h2>\n
\nMauro COLTORTI, Cristina LEMORINI, Marco PERESANI, Sandro POLZINETTI,
\nPierluigi PIERUCCINI, Mara SILVESTRINI, Daniela ZAMPETTI<\/h6>\n
\nKonstantin N. GAVRILOV<\/h6>\n
\nJes\u00fas ALTUNA, Koro MARIEZKURRENA, Federico R\u00cdOS, Jan WESBUER<\/h6>\n
\nMartina L\u00c1ZNI\u010cKOV\u00c1-GALETOV\u00c1<\/h6>\n
\nthe Case of Mezin (Ukraine)<\/a><\/p>\n
\nII. Chronology: beginnings and \u00e9volution<\/h2>\n
\nPierre-Jean TEXIER, Guillaume PORRAZ<\/h6>\n
\nAT DIEPKLOOF ROCK SHELTER (SOUTH AFRICA):
\na 60 000 Year-old Graphic Tradition<\/a><\/p>\n
\nAndrei A. SINITSYN<\/h6>\n
\nChronological and Cultural Differentiation<\/a><\/p>\n
\nMarin C\u00c2RCIUMARU, Elena Cristina NI\u0162U, Minodora \u0162U\u0162UIANU<\/h6>\n
\nTomasz BORO\u0143, Halina KR\u00d3LIK, Tomasz KOWALSKI<\/h6>\n
\nOF WILCZYCE 10 (SANDOMIERZ DISTRICT, POLAND)<\/a><\/p>\n
\nRoberto ONTA\u00d1\u00d3N, Pablo ARIAS<\/h6>\n
\nIN THE LOWER GALLERY AT LA GARMA (CANTABRIA, SPAIN)<\/a><\/p>\n
\nOlivia RIVERO<\/h6>\n
\nIN CANTABRIA AND THE PYRENEES:
\nAnalyzing Operational Sequences<\/a><\/p>\n
\nMar\u00eda Soledad CORCH\u00d3N, Olivia RIVERO<\/h6>\n
\nOF LAS CALDAS CAVE (ASTURIAS, SPAIN):
\nTechnical and Formal Analysis<\/a><\/p>\n
\nPaola ASTUTI, Renata GRIFONI CREMONESI<\/h6>\n
\nthe Case of the Grotta Continenza (Abruzzo) and the Grotta delle Veneri (Apulia)<\/a><\/p>\n
\nIII. Analysis and interpr\u00e9tation<\/h2>\n
\nJi\u0159\u00ed SVOBODA<\/h6>\n
\nan Aggregation Site and an Episodic Site Compared<\/a><\/p>\n
\nDelphine DUPUY<\/h6>\n
\nIN THE PALEOLITHIC IMAGINATION:
\nthe Gravettian Sculptures of Kostenki 1-I (Russian Plain 22 000-23 000 BP)<\/a><\/p>\n
\nLise AURI\u00c8RE<\/h6>\n
\nAND PALEOLITHIC PORTABLE ART MADE FROM BONE MATERIALS:
\nFirst Data from the Sites of Plantade, Lafaye, Courbet and Montastruc (Aveyron Valley)<\/a><\/p>\n
\nClaire LUCAS<\/h6>\n
\nDid they Play a Specific Role?<\/a><\/p>\n
\nMarco SERRADIMIGNI, Marta COLOMBO, Neva CHIARENZA, Renata GRIFONI,
\nPaola ASTUTI, Annachiara GALOTTA, Marco USALA<\/h6>\n
\nYulia VOLKOVA<\/h6>\n
\nGenevi\u00e8ve PIN\u00c7ON<\/h6>\n
\n(ANGLES-SUR-L\u2019ANGLIN, VIENNE, FRANCE):
\nDisparities or Common Meanings?<\/a><\/p>\n
\nIain DAVIDSON<\/h6>\n
\nPortable Art and Changes of Symbolic Meaning<\/a><\/p>\n
\nCarmen de las HERAS, Jos\u00e9 Antonio LASHERAS, Pedro RASINES,
\nRam\u00f3n MONTES, Pilar FAT\u00c1S, Alfredo PRADA, Emilio MU\u00d1OZ<\/h6>\n
\nGillian MORRISS-KAY<\/h6>\n
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