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2021, Archaeology and Economy in the Ancient World – Proceedings of the 19th International Congress of Classical Archaeology, Cologne/Bonn 2018
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85 pages
1 file
Bentz, Martin und Heinzelmann, Michael: Strictly Economic? Ancient Serial Production and its Premises: Panel 3.18, herausgegeben von Arne Reinhardt, Heidelberg: Propylaeum, 2021 (Archaeology and Economy in the Ancient World – Proceedings of the 19th International Congress of Classical Archaeology, Cologne/Bonn 2018, Band 20)
Classical Review, 1993
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2007
Review of Zofia H. Archibald, John K. Davies & Vincent Gabrielsen (eds.), Making, Moving and Managing. The New World of Ancient Economies, 323-31 BC (by Dianne van de Zande, in BABESCH Annual Papers on Mediterranean Archaeology, Volume 82, 2007, 299-300).
While economic approaches are becoming generally more important and even mainstream topics, this is not necessarily the case for research into Pre-Roman Italy, defined as the area of the Italian Peninsula, Sicily and Sardinia during the Iron Age. Until recently, there was almost no research into Pre-Roman Italy focused on economic studies, and the existing research has been mostly dedicated to very specific contexts: (1) specialization of crafts and production in the context of urbanization processes; (2) specific production areas, such as agriculture, metal processing, and salt production; (3) studies focusing on Greek Colonies and Greek Colonial encounters with indigenous populations; (4) analyses of consumption patterns, mainly in the case of Greek pottery consumption. Recent excavations and investigations devoted to the study of workshop structures, such as those at Gabii, Pithekoussai, Kroton, Lokroi Epizephyrioi, Naxos, Selinunt and Kyme / Cumae, have provided a range of new data that is stimulating a valuable and highly constructive discussion on the organization of production and crafts in Pre-Roman Italy. Against this background, four members of the study group ‘Etruscans and Italic Cultures’ from the ‘German Association of Archaeologists’ (Arbeitsgemeinschaft Etrusker und Italiker des DArV e.V.) formed a panel to discuss the economic aspects of Pre-Roman Italy on the basis of their ongoing research projects: all of these focus on the field of production and crafts. The aim is to contribute to an intensified debate on geographical, chronological and functional patterns in the organization of crafts and productions by discussing current case studies and methods.
HAL (Le Centre pour la Communication Scientifique Directe), 2019
the 35th Anniversary of IHAC and the 60th Birthday of Professor Zhang Qiang at the Institute for the History of Ancient Civilizations of Northeast Normal University in Changchun which took place in January 2020. I would like to thank my dear colleague Sven Günther for the invitation to participate in this conference and to thank him and the whole staff of IHAC for their overwhelming hospitality.
The terms ‘ritual economy’ or ‘temple economy’ (in analogy to the term ‘palace economy’) have been coined to describe these religious-economic functions, and have been studied quite profoundly in the context of the Ancient Greek world. However, there is a still a lack of analyses for ritual economies in Etruscan sanctuaries, and the Etruscan religion. This paper shall tackle important aspects of production and crafts, and offer a reconstruction regarding the organization of possible Etruscan ritual economies. I am going to discuss three economic activities before outlining some principles of the Etruscan ritual economy: (1) metal processing; (2) textile production; and (3) trade and the standardization of weights in sanctuaries.
Journal of Ancienct Civilizations, 2017
Mulryan, M. & Lavan, L. (eds.) LAAJ 10: Local Economies? Production and Exchange of Inland Regions in Late Antiquity, 2013
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2021
Ancient West and East 23, 2024
Social Network Analysis and Connoisseurship in the Study of Athenian Potters’ Communities.” in Reconstructing Scales of Production in the Ancient Greek World: Producers, Processes, Products, People, edited by Martin Bentz and Eleni Hasaki, 2020