![\"Icone](\"https:\/\/blogs.univ-tlse2.fr\/palethnologie\/files\/2014\/04\/ico-pdf-021.gif\")
\u00a0\u00a0\u00a0Download<\/a><\/p>\n\n
SIG 00<\/strong><\/p>\n FOREWORD<\/a><\/p>\n SIG 01<\/strong><\/p>\n THE DEEP STRUCTURE OF PLEISTOCENE ROCK ART: SIG 02<\/strong><\/p>\n FINDING THE FIRST INTENTIONAL MARK MAKERS: SIG 03<\/strong><\/p>\n EVIDENCE FOR SYMBOLIC BEHAVIOR IN THE MOUSTERIAN<\/a><\/p>\n SIG 04<\/strong><\/p>\n SEX & DRUGS & ROCK ART: SIG 05<\/strong><\/p>\n THE DOUBLE AND THE VISION: SIG 06<\/strong><\/p>\n ROCK ART AND HUMAN DIMENSIONS OF CLIMATE CHANGE<\/a><\/p>\n SIG 07<\/strong><\/p>\n LEARNING FROM ARTS AND CRAFTS IN THE PLEISTOCENE<\/a><\/p>\n SIG 08<\/strong><\/p>\n SYMBOLISM AND BECOMING A HUNTER-GATHERER<\/a><\/p>\n SIG 09<\/strong><\/p>\n BEAUTY AS MEANING<\/a><\/p>\n SIG 10<\/strong><\/p>\n THE POWER OF COLOUR<\/a><\/p>\n SIG 11<\/strong><\/p>\n THUNDEROUS REVERBERATION AND ROCK ART THUNDERSTORM IMAGERY<\/a><\/p>\n SIG 12<\/strong><\/p>\n THE EXISTENCE OF ACOUSTIC SIGNS AND THEIR MEANINGS IN PALEOLITHIC CAVES<\/a><\/p>\n SIG 13<\/strong><\/p>\n MYTHS AND SYMBOLS IN UPPER PALEOLITHIC ART: SIG 14<\/strong><\/p>\n FROM THE ICONOGRAPHY OF ROCK ART TO ITS ANTHROPOLOGICAL INTERPRETATION<\/a><\/p>\n SIG 15<\/strong><\/p>\n HER AND HIM, EXPLORING THE CREATION MYTH AND SYMBOLISM OF GENDER SIG 16<\/strong><\/p>\n GROTTA DI POZZO (AQ, CENTRAL ITALY), A CAVE DECORATED WITH A \u201cWOMAN\u2019S TOUCH\u201d<\/a><\/p>\n SIG 17<\/strong><\/p>\n PALAEOLITHIC CAVE ART IN ITALY: SIG 18<\/strong><\/p>\n FUNCTIONS, MEANING AND SYMBOLISM SIG 19<\/strong><\/p>\n ARTISTIC MANIFESTATIONS: SIG 20<\/strong><\/p>\n TOWARDS A MORE RIGOROUS DEFINITION OF TERMS: SIG 21<\/strong><\/p>\n MIXED HUMAN-ANIMAL REPRESENTATIONS IN PALAEOLITHIC ART: SIG 22<\/strong><\/p>\n COMPARISON OF TWO CONTEXTS OF CLAY USE IN THE EUROPEAN UPPER PALEOLITHIC<\/a><\/p>\n SIG 23<\/strong><\/p>\n ANALYZING THE TOPOGRAPHIC DISTRIBUTION SIG 24<\/strong><\/p>\n MUSICAL INSTRUMENTS IN SIBERIA (EARLY STAGE OF THE UPPER PALEOLITHIC)<\/a><\/p>\n SIG 25<\/strong><\/p>\n SOCIAL MEMORY INSCRIBED IN ROCK ART: SIG 26<\/strong><\/p>\n FROM PLEISTOCENE ART TO THE WORSHIP OF MOUNTAINS IN CHINA: SIG 27<\/strong><\/p>\n SIGNS, WALLS AND SPACES <\/p>","protected":false},"excerpt":{"rendered":" Symposium 9 Signs, symbols, myth, ideology\u2026 \u00a0\u00a0\u00a0Download SIG 00 Dario SEGLIE, Enrico COMBA FOREWORD SIG 01 Ellen DISSANAYAKE THE DEEP STRUCTURE OF PLEISTOCENE ROCK ART: the \u201cArtification Hypothesis\u201d SIG 02 Margaret BULLEN FINDING THE FIRST INTENTIONAL MARK MAKERS: Clues in Brain Development SIG 03 Marin C\u00c2RCIUMARU, Elena-Cristina NI\u0162U, Minodora \u0162U\u0162UIANU-C\u00c2RCIUMARU EVIDENCE FOR SYMBOLIC BEHAVIOR IN … Continue reading 2013-Symposium-09<\/span> Dario SEGLIE, Enrico COMBA<\/h6>\n
\nEllen DISSANAYAKE<\/h6>\n
\nthe \u201cArtification Hypothesis\u201d<\/a><\/p>\n
\nMargaret BULLEN<\/h6>\n
\nClues in Brain Development<\/a><\/p>\n
\nMarin C\u00c2RCIUMARU, Elena-Cristina NI\u0162U, Minodora \u0162U\u0162UIANU-C\u00c2RCIUMARU<\/h6>\n
\nLarissa MENDOZA STRAFFON<\/h6>\n
\nRevisiting Three Hypotheses on the Origins of Visual Art in the Pleistocene<\/a><\/p>\n
\nMatteo Wladimiro SCARDOVELLI<\/h6>\n
\nWhat Cognitive Level is Necessary to Associate a Drawing with its Referent?<\/a><\/p>\n
\nThomas HEYD, Tilman LENSSEN-ERZ<\/h6>\n
\nAnthony SINCLAIR, Natalie UOMINI<\/h6>\n
\nIain DAVIDSON<\/h6>\n
\nMarcel OTTE<\/h6>\n
\nSimona PETRU<\/h6>\n
\nSteven J. WALLER<\/h6>\n
\nIegor REZNIKOFF<\/h6>\n
\nAnne-Catherine WELT\u00c9, Georges LAMBERT<\/h6>\n
\nthe Role of Animal\/Animal and Animal\/Human Assemblages<\/a><\/p>\n
\nGeorges SAUVET, Robert LAYTON, Tilman LENSSEN-ERZ,
\nEsther L\u00d3PEZ-MONTALVO, Paul TA\u00c7ON, Andr\u00e9 WOLDARCZYZ<\/h6>\n
\nLiliana JANIK<\/h6>\n
\nIN UPPER PALAEOLITHIC PORTABLE ART OF EURASIA<\/a><\/p>\n
\nMargherita MUSSI<\/h6>\n
\nDario SEGLIE<\/h6>\n
\nFrom the Iconography of Signs to the Underlying Symbols<\/a><\/p>\n
\nFran\u00e7ois DJINDJIAN<\/h6>\n
\nOF EUROPEAN UPPER PALAEOLITHIC ANIMAL REPRESENTATIONS<\/a><\/p>\n
\nLioudmila IAKOVLEVA<\/h6>\n
\na Vector of Sociocultural Knowledge in Upper Paleolithic Societies<\/a><\/p>\n
\nLivio DOBREZ<\/h6>\n
\nAre there Scenes in European Palaeolithic Art?<\/a><\/p>\n
\nEnrico COMBA<\/h6>\n
\nan Anthropological Perspective<\/a><\/p>\n
\nEstelle BOUGARD<\/h6>\n
\nHip\u00f3lito COLLADO GIRALDO<\/h6>\n
\nOF PALAEOLITHIC ROCK ART AT CUEVA DE MALTRAVIESO<\/a><\/p>\n
\nLyudmila LBOVA, Darya KOZHEVNIKOVA, Pavel VOLKOV<\/h6>\n
\nLynda D. McNEIL<\/h6>\n
\nBear Restoration Complex in Pleistocene-Holocene Transition Siberia and North America<\/a><\/p>\n
\nPatricio BUSTAMANTE D\u00edaz, W. Fay YAO, Daniela BUSTAMANTE<\/h6>\n
\nMethodological Tools for Mimesis in Paleoart<\/a><\/p>\n
\n\u00c9ric ROBERT<\/h6>\n
\nModalities of Expression in the western European Upper Paleolithic<\/a><\/p>\n
\n