The ringwork construction and the Ventosiños enclos (Coeses, Lugo). Preliminary study of an Late Bronze ensemble
Abstract
During the construction works of the a-54 from Lugo to Santiago de Compostela highway, a structure was documented in Ventosiños place, in the parish of Coeses (Lugo), of a kind so far unknown in the context of Galician Prehistory. It was a ring-shaped construction, built with sediment and stone elements, enclosing an inner area in which various pits with lithic and ceramic remains and in situ placed vessels inside were found. In addition, North of this structure, a fence or enclos was located, enveloping an even larger area, in which impressions of diferent morphologies and pits were found. Some of them had perforated disks and in situ placed vessels inside.
Present analysis is intended to briefly summarize the preliminary data obtained from the archaeological works carried out in the whole ensemble, since the site is still under study.
- Referencias
- Cómo citar
- Del mismo autor
- Métricas
Andrew, Dudley (2004): “An Atlas of World cinema”. En Framework, 2, 9-23.
Appadurai, Arjun (1990): “Disjunction and Difference in the Global Cultural Economy”. En Public Culture, número 2, pp. 1-24.
Baer, Hester y Long, Ryan (2004): “Transnational cinema and the mexican state in Alfonso Cuaron´s Y tu mamá también”. En South Central Review, número 21.3, pp. 150-168.
Bordwell, David (2008): The Poetics of Cinema. New York: Routledge.
Chaudhuri, Shohini (2005): Contemporary World cinema: Europe, the Middle East, East Asia and South Asia, Edinburgh: Edinburgh University Press.
De Valck, Marijke (2007): Film Festivals: From European Geopolitics to Global Cinephilia. Amsterdam: Amsterdam University Press.
Elsaesser, Thomas (2005): “Film Festival Networks: The New Topographies of Cinema in Europe.” En European Cinema: Face to Face with Hollywood. Amsterdam: Amsterdam University Press.
Ezra, Elizabeth and Rowden, Terry (2006): Transnational Cinema: The film reader. London: Routledge.
Falassi, Alessandro (1987): Time Out of Time: Essays on the Festival.Albuquerque: University of New Mexico Press.
Giroux, Henry y McLaren, Peter. (1994): Between Borders. Pedagogy and the Politics of Cultural Studies. Nueva York y Londres: Routledge.
Halle, Randall (2010): “Offering tales they want to hear: transnacional European film funding as neo-orientalism”. En Galt, Rosalinde y Schoonover, Karl: Global Art Cinema: New Theories and Histories. Oxford: Oxford Univerty Press.
Higson, Andrew (1989): “The Concept of National Cinema”. En Screen 30, nº.4, Oxford: Oxford University Press.
Higbee, Will y Lim, Son Hwee (2010): “Concepts of transnational cinema: towards a critical transnationalism in film Studies”. En Transnational Cinemas 1:1, pp. 7–21.
Kerr, Paul (2010): ‘Babel’s network narrative: packaging a globalized art cinema‟. En Transnational Cinemas 1: 1, pp. 37–51.
Luna, María (2013): “Los viajes transnacionales del cine colombiano”. En Archivos de la Filmoteca, 71, 69-82.
Miller, Toby, (2005): El nuevo Hollywood. Del imperialismo cultural a las leyes del marketing. Barcelona: Paidós Comunicación.
Naficy, Hamid (1996): “Phobic Spaces and Liminal Panics: Independent Transnational Film Genre’”. En Wilson, Rob y Dissanayake, Wimal (edición). Global-Local: Cultural Production and the Transnational Imaginary. Durham and London: Duke University Press, pp. 119–144.
Naficy, Hamid (2001): An Accented Cinema: Exilic and Diasporic Filmmaking. Princeton and Oxford: Princeton University Press.
Neale, Steve (1981): “Art Cinema as Institution”. En Screen número 22, pp. 11-39.
Ruiz del Olmo, Francisco Javier (2011): “Primitivismo, postclasicismo y flujos culturales globales en el cine contemporáneo”. En Sedeño, Ana y Ruiz del Olmo, Francisco Javier (coordinación): Análisis del cine contemporáneo: estrategias estéticas, narrativas y de puesta en escena. Málaga: Servicio de Publicaciones de la Universidad de Málaga,
Sinclair, John (2000): Televisión: comunicación global y regionalización.Barcelona: Gedisa.
Shohat, Ezra y Stam, Robert (2002): Multiculturalismo, cine y medios de comunicación. Barcelona: Paidós.
Thanouli, Eleftheria (2008): “Narration in World cinema: Mapping the flows of formal exchange in the era of globalisation”. En New Cinemas, número 6, pp. 5-15.
Wu, Huaiting y Chan, Joseph Man (2007): “Globalizing Chinese martial arts cinema: the global-local alliance and the production of Crouching Tiger, Hidden Dragon‟. En Media Culture & Society, número 29:2, pp. 195–217.
Appadurai, Arjun (1990): “Disjunction and Difference in the Global Cultural Economy”. En Public Culture, número 2, pp. 1-24.
Baer, Hester y Long, Ryan (2004): “Transnational cinema and the mexican state in Alfonso Cuaron´s Y tu mamá también”. En South Central Review, número 21.3, pp. 150-168.
Bordwell, David (2008): The Poetics of Cinema. New York: Routledge.
Chaudhuri, Shohini (2005): Contemporary World cinema: Europe, the Middle East, East Asia and South Asia, Edinburgh: Edinburgh University Press.
De Valck, Marijke (2007): Film Festivals: From European Geopolitics to Global Cinephilia. Amsterdam: Amsterdam University Press.
Elsaesser, Thomas (2005): “Film Festival Networks: The New Topographies of Cinema in Europe.” En European Cinema: Face to Face with Hollywood. Amsterdam: Amsterdam University Press.
Ezra, Elizabeth and Rowden, Terry (2006): Transnational Cinema: The film reader. London: Routledge.
Falassi, Alessandro (1987): Time Out of Time: Essays on the Festival.Albuquerque: University of New Mexico Press.
Giroux, Henry y McLaren, Peter. (1994): Between Borders. Pedagogy and the Politics of Cultural Studies. Nueva York y Londres: Routledge.
Halle, Randall (2010): “Offering tales they want to hear: transnacional European film funding as neo-orientalism”. En Galt, Rosalinde y Schoonover, Karl: Global Art Cinema: New Theories and Histories. Oxford: Oxford Univerty Press.
Higson, Andrew (1989): “The Concept of National Cinema”. En Screen 30, nº.4, Oxford: Oxford University Press.
Higbee, Will y Lim, Son Hwee (2010): “Concepts of transnational cinema: towards a critical transnationalism in film Studies”. En Transnational Cinemas 1:1, pp. 7–21.
Kerr, Paul (2010): ‘Babel’s network narrative: packaging a globalized art cinema‟. En Transnational Cinemas 1: 1, pp. 37–51.
Luna, María (2013): “Los viajes transnacionales del cine colombiano”. En Archivos de la Filmoteca, 71, 69-82.
Miller, Toby, (2005): El nuevo Hollywood. Del imperialismo cultural a las leyes del marketing. Barcelona: Paidós Comunicación.
Naficy, Hamid (1996): “Phobic Spaces and Liminal Panics: Independent Transnational Film Genre’”. En Wilson, Rob y Dissanayake, Wimal (edición). Global-Local: Cultural Production and the Transnational Imaginary. Durham and London: Duke University Press, pp. 119–144.
Naficy, Hamid (2001): An Accented Cinema: Exilic and Diasporic Filmmaking. Princeton and Oxford: Princeton University Press.
Neale, Steve (1981): “Art Cinema as Institution”. En Screen número 22, pp. 11-39.
Ruiz del Olmo, Francisco Javier (2011): “Primitivismo, postclasicismo y flujos culturales globales en el cine contemporáneo”. En Sedeño, Ana y Ruiz del Olmo, Francisco Javier (coordinación): Análisis del cine contemporáneo: estrategias estéticas, narrativas y de puesta en escena. Málaga: Servicio de Publicaciones de la Universidad de Málaga,
Sinclair, John (2000): Televisión: comunicación global y regionalización.Barcelona: Gedisa.
Shohat, Ezra y Stam, Robert (2002): Multiculturalismo, cine y medios de comunicación. Barcelona: Paidós.
Thanouli, Eleftheria (2008): “Narration in World cinema: Mapping the flows of formal exchange in the era of globalisation”. En New Cinemas, número 6, pp. 5-15.
Wu, Huaiting y Chan, Joseph Man (2007): “Globalizing Chinese martial arts cinema: the global-local alliance and the production of Crouching Tiger, Hidden Dragon‟. En Media Culture & Society, número 29:2, pp. 195–217.
The ringwork construction and the Ventosiños enclos (Coeses, Lugo). Preliminary study of an Late Bronze ensemble. (2015). Zephyrvs, 76, 57-76. https://doi.org/10.14201/zephyrus2015765776
+
−